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RME Fireface UFX+ Audio Interface

RME Fireface UFX+
RME Fireface UFX+
 
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List Price: $2,999.00
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Product Code: 1844

 

RME Fireface UFX+ Audio Interface

The RME Fireface UFX+ Audio Interface becomes the center of any multitrack studio because it is able to handle up to 94 channels I/O with ease. With unprecedented flexibility, compatibility, and RME’s famous low latency hardware and driver designs, the Fireface UFX+ raises the bar to new heights.

The RME Fireface UFX+ Audio Interface is packed with features not found on its older sibling, including MADI I/O (188 channels of I/O, 128 channels more than the Fireface UFX), a more powerful DSP, USB 3.0, Thunderbolt™ technology, and a new optional remote control. Numerous unique features, well thought-out configuration dialogs, an industry-leading mixing engine and monitoring solution, professional DSP effects and class-leading analog circuits with latest digital converters firmly places the RME Fireface UFX+ as the new reference in multitrack recording, mixing and monitoring.

You Name it, You Connect it

Its flexibility in connectivity and expansion is unrivalled – Analog, ADAT, MADI, AES, SPDIF. USB 2, USB 3 and Thunderbolt technology are standard on the RME Fireface UFX+. The RME Fireface UFX+ has an impressive channel count: 12 analog + 16 ADAT + 2 AES + 64 MADI = 94 channels input plus output = 188 channels in total. Thunderbolt technology gives the RME Fireface UFX+ real PCI Express audio ­performance under Mac and Windows, with lowest latency, lowest system overhead and lowest CPU load. The RME Fireface UFX+ is fully Thunderbolt technology compatible under Windows, including hot-plugging.

All new AD/DA converters, optimized analog I/O circuits, as well as improved SNR and THD values guarantee pristine, crystal clear and transparent audio. A new PAD-free mic circuit design with +18 dBu maximum input level and 75 dB gain range serves even the most critical recording situation and source trouble-free.

New low impedance Hi-Power phones outputs (2 Ohms) with +19 dBu maximum output level provide ample output power as well as volume on any phones, high or low impedance.

Comprehensive MADI Connectivity

The RME Fireface UFX+ opens the doors to a host of RME and 3rd party digital and analog I/O solutions. Expanding your analog channel count, the ability to route/mix within the digital domain through numerous sources presents many flexible options. Multiple external MADI devices can also be connected in series.

To further enhance MADI flexibility, the RME Fireface UFX+ boasts some typical RME-style features. For example in USB 2 mode, which is limited to 30 channels I/O (12 analog plus 16 ADAT plus AES), the MADI I/O is still available via RME’s integrated hardware mixer TotalMix FX. Word Clock I/O (BNC) can be switched to MADI I/O (coaxial), and a special split mode even supports the use of both MADI I/Os simultaneously, with 32 channel each on optical and coaxial.

Improved DURec (Direct USB Recording)

DURec, which is available on the front of the RME Fireface UFX+, now offers second generation hardware with improved USB functionality and compatibility, providing greater reliability even with slower or multi-partitioned USB thumb drives.

The maximum number of recordable channels has been raised to 76, meaning all 12 analog inputs plus 64 MADI channels can be recorded simultaneously. An internal Realtime Clock (RTC) delivers time-stamped files, and playback now includes several advanced player functions previously unavailable.

ARC USB Remote Control - Plug’n Play Plus

The ARC USB connects to your computer via USB, and talks to TotalMix FX directly. It has 15 freely assignable and illuminated buttons, one encoder wheel, and a TS jack to connect a foot switch.

The ARC USB is a USB 1.1 MIDI remote control for the RME Fireface UFX+. Thanks to operating as a UAC 1 class device, it is natively compatible to Windows and Mac OS X. As soon as it is present in the operating system, TotaIMix FX will automatically detect the ARC USB, and communicate with it via simple MIDI remote commands to control the RME Fireface UFX+.

TotalMix FX

Since 2001, TotalMix has added unlimited routing and mixing to RME audio interfaces. Its unique capability to create as many independent submixes as output channels available, turned it into the most flexible and powerful mixer of its kind.

With supported hardware, TotalMix FX includes a complete effects system, which not only adds flexibility to the recording chain, but also makes latency saddled software solutions obsolete.

TotalMix FX can completely replace an external mixer, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs, incl. main monitors and headphone mixes for musicians.

TotalMix FX for iPad™ App

TotalMix FX for iPad™ adds full control over hardware mixer and DSP effects for RME Fireface UFX+, UFX, UCX, 802, Babyface, Babyface Pro and MADIface Pro when in Class Compliant Mode, and lets you create, store and load complete mixes directly from the iPad™.

RME Fireface UFX+ Audio Interface Connectivity

  • 94 Input / 94 Output Channels
  • 12 x Analog I/O
  • 4 x Mic/Instrument Preamp, Digitally Controlled
  • 1 x AES/EBU I/O
  • 2 x ADAT I/O (or 1 x ADAT I/O plus 1 x SPDIF I/O Optical)
  • 1 x Word Clock I/O / MADI Coaxial
  • 1 x MADI Optical I/O
  • 2 x MIDI I/O
  • 1 x Thunderbolt™ Connectivity
  • 1 x USB 3.0
  • TotalMix FX
  • Advanced Remote Control USB (Optional)

RME Fireface UFX+ Audio Interface Features

  • All settings can be changed in real-time
  • Buffer sizes/latencies from 32 up to 8192 samples selectable
  • 8 Channels 96 kHz/24 bit Record/Playback via ADAT optical (S/MUX)
  • 4 Channels 192 kHz/24 bit Record/Playback via ADAT optical (S/MUX4)
  • Professional 64-channel MADI I/O
  • Clock modes slave and master
  • Automatic and intelligent master/slave clock control
  • Unsurpassed Bitclock PLL (audisynchronization) in ADAT mode
  • SteadyClock: Jitter-immune, super-stable digital clock
  • DDS technology for free setting of the sample rate
  • SyncAlign guarantees sample aligned and never swapping channels
  • SyncCheck tests and reports the synchronization status of input signals
  • TotalMix for latency-free submixes and perfect ASIO Direct Monitoring
  • TotalMix: 4096 channel mixer with 46 bit internal resolution
  • TotalMix FX: 3-band EQ, Low Cut, Reverb, Echo, Compressor, Expander, Auto Level
  • 2 x MIDI I/O, 32 channels high-speed Low-Jitter MIDI
  • 2 x Hi-power low impedance headphone output
  • DIGICheck DSP: Level meter in hardware, peak- and RMS calculation

RME Fireface UFX+ Audio Interface Specifications

  • Analog:
    • AD, Line In 1-8, Rear:
      • Resolution AD: 24 bit
      • Signal to Noise Ratio (SNR): 113 dB RMS unweighted, 116 dBA
      • Frequency Response @ 44.1 kHz, -0.1 dB: 5 Hz – 20.8 kHz
      • Frequency Response @ 96 kHz, -0.5 dB: 3 Hz – 45.8 kHz
      • Frequency Response @ 192 kHz, -1 dB: 2 Hz – 92 kHz
      • THD: < -110 dB, < 0.00032 %
      • THD+N: < -104 dB, < 0.00063 %
      • Channel Separation: > 110 dB
      • Maximum Input Level: +19 dBu
      • Input: 6.3 mm TRS jack, electronically balanced
      • Input Impedance: 8 kOhm unbalanced, 12 kOhm balanced
      • Input Sensitivity: Switchable to Lo Gain, +4 dBu
      • Input Level for 0 dBFS @ Lo Gain: +19 dBu
      • Input Level for 0 dBFS @ +4 dBu: +13 dBu
      • Variable Gain: 0 to +12 dB
      • Minimum Level for 0 dBFS: +1 dBu, -1.2 dBV
    • Microphone In 9-12, front, As AD, but:
      • Input: XLR, electronically balanced
      • Input Impedance: 3.4 kOhm
      • Signal to Noise Ratio (SNR): 115 dB RMS unweighted, 118 dBA
      • Gain Range: 75 dB
      • Maximum Input Level, Gain 0 dB: +18 dBu
      • Maximum Input Level, Gain 75 dB: -57 dBu
      • CLIP LED: 0 dBFS • SIG LED: -60 dBFS
    • Instrument In 9-12, front, As AD, but:
      • Input: 6.3 mm TS jack, unbalanced
      • Input Impedance: 1 MOhm
      • Signal to Noise Ratio (SNR): 114 dB RMS unweighted, 118 dBA
      • Gain Range: 42 dB
      • Maximum Input Level, Gain 8 dB: +21 dBu
      • Maximum Input Level, Gain 50 dB: -21 dBu
    • DA, Line Out 3-8, Rear:
      • Resolution: 24 bit
      • Dynamic Range (DR): 115 dB RMS unweighted, 118 dBA
      • Frequency Response @ 44.1 kHz, -0.5 dB: 5 Hz – 20.8 kHz
      • Frequency Response @ 96 kHz, -0.5 dB: 5 Hz – 45 kHz
      • Frequency Response @ 192 kHz, -1 dB: 5 Hz - 89 kHz
      • THD: < -110 dB, < 0.00032 %
      • THD+N: < -104 dB, < 0.00063 %
      • Channel Separation: > 110 dB
      • Maximum Output Level: +19 dBu
      • Output: 6.3 mm TRS Jack, servo-balanced
      • Output Impedance: 75 Ohm unbalanced, 150 Ohm balanced
      • Output Level: Switchable Hi Gain, +4 dBu, -10 dBV
      • Output Level at 0 dBFS @ Hi Gain: +19 dBu
      • Output Level at 0 dBFS @ +4 dBu: +13 dBu
      • Output Level at 0 dBFS @ -10 dBV: +2 dBV
    • DA - Stereo Monitor Output XLR (1-2) As DA, but:
      • Output: XLR, balanced
      • Output Level: Switchable 24 dBu, Hi Gain, +4 dBu, -10 dBV
      • Output Level at 0 dBFS @ 24 dBu: +24 dBu
      • Output Level at 0 dBFS @ Hi Gain: +19 dBu
      • Output Level at 0 dBFS @ +4 dBu: +13 dBu
      • Output Level at 0 dBFS @ -10 dBV: +2 dBV
    • DA - Stereo Monitor Output Phones (9-12) As DA, but:
      • Output: 2 x 6.3 mm TRS stereo jack, unbalanced
      • Maximum Output Level at 0 dBFS, High: +19 dBu
      • Maximum Output Level at 0 dBFS, Low: +2 dBV
      • Output Impedance: 2 Ohm
      • Max Power Per Channel @ 32 Ohm load, 0.1% THD: 210 mW (2.6 Vrms, +10.5 dBu)
  • MIDI:
    • 2 x MIDI I/O via 5-Pin DIN Jacks:
      • Isolation: Galvanically isolated by optocoupled input
      • Hi-Speed Mode: Jitter and response time typically below 1 ms
      • FIFOs: Separate 128 byte FIFOs for input and output
    • 1 x MIDI I/O via MADI:
      • Invisible transmission via User bit of channel 56 (up to 48 kHz)
      • Invisible transmission via User bit of channel 28 (up to 96 kHz)
  • Digital:
    • Clocks: Internal, ADAT, AES, MADI, word clock
    • Low Jitter Design: < 1 ns in PLL mode, all inputs
    • Internal Clock: 800 ps Jitter, Random Spread Spectrum
    • Jitter Suppression of External Clocks: > 30 dB (2.4 kHz)
    • Effective Clock Jitter Influence on AD/DA Conversion: Near zero
    • PLL: Ensures zero dropout, even at more than 100 ns jitter
    • Digital Bitclock PLL: For trouble-free varispeed ADAT operation
    • Supported Sample Rates: 28 kHz up to 200 kHz
  • Digital Inputs:
    • MADI:
      • Optical: via FDDI duplex SC connector
      • Compatibility: 62.5/125 and 50/125 compatible
      • Coaxial: via BNC (Word Clock input), 75 Ohm
      • High-Sensitivity Input Stage: (< 0.2 Vpp) Accepts 56 channel and 64 channel mode, plus 96k Frame
      • Standard: Up to 64 channels 24 bit 48 kHz
      • S/MUX: Up to 32 channels 24 bit 96 kHz
      • S/MUX4: Up to 16 channels 24 bit 192 kHz
      • Lock Range: 25 kHz – 54 kHz
      • Jitter: When synced to input signal is < 1 ns
    • AES/EBU:
      • Type: 1 x XLR, transformer-balanced, galvanically isolated, according to AES3-1992
      • High-Sensitivity Input Stage: (< 0.3 Vpp) SPDIF compatible (IEC 60958)
      • Formats: Accepts Consumer and Professional format
      • Lock Range: 27 kHz – 200 kHz
      • Jitter: When synced to input signal is < 1 ns
      • Jitter Suppression: > 30 dB (2.4 kHz)
    • ADAT Optical:
      • Type: 2 x TOSLINK, format according to Alesis specification
      • Standard: 2 x 8 Channels 24 bit, up to 48 kHz
      • Double Speed (S/MUX): 2 x 4 Channels 24 bit 96 kHz
      • Quad Speed (S/MUX4): 2 x 2 Channels 24 bit 192 kHz
      • Bitclock PLL: Ensures perfect synchronisation even in varispeed operation
      • Lock Range: 31.5 kHz – 50 kHz
      • Jitter: When synced to input signal is < 1
    • SPDIF Optical (ADAT2):
      • Type: 1 x optical, according to IEC 60958
      • Formats: Accepts Consumer and Professional format
      • Lock Range: 27 kHz – 200 kHz
      • Jitter: When synced to input signal is < 1 ns
      • Jitter Suppression: > 30 dB (2.4 kHz)
    • Word Clock:
      • Type: BNC
      • Internal Termination: 75 Ohm switchable
      • Speed Detection: Automatic Double/Quad Speed detection and internal conversion to Single Speed
      • SteadyClock: Guarantees super low jitter synchronization even in varispeed operation
      • Effects: Not affected by DC-offsets within the network
      • Signal Adaptation Circuit: signal refresh through auto-center and hysteresis
      • Overvoltage Protection: Yes
      • Level Range: 1.0 Vpp – 5.6 Vpp
      • Lock Range: 27 kHz – 200 kHz
      • Jitter: When synced to input signal is < 1 ns
      • Jitter Suppression: > 30 dB (2.4 kHz)
  • Digital Outputs:
    • MADI:
      • Optical: via FDDI duplex SC connector
      • Compatibility: 62.5/125 and 50/125 compatible
      • Cable Length: up to 2000 m
      • Coaxial: via BNC, 75 Ohm
      • Output Voltage: 600 mVpp
      • Cable Length: Up to 100 m
      • Generates: 56 Channel and 64 channel mode, plus 96k Frame
      • Standard: Up to 64 Channels 24 bit 48 kHz
      • S/MUX / 96k Frame: Up to 32 channels 24 bit 96 kHz
      • S/MUX4: Up to 16 channels 24 bit 192 kHz
    • AES/EBU:
      • Type: XLR, Transformer-balanced, galvanically isolated, according to AES3-1992
      • Output Level: Professional 4.5 Vpp, Consumer 2.6 Vpp
      • Format: Professional according to AES3-1992 Amendment 4
      • Format: Consumer (SPDIF) according to IEC 60958
      • Mode: Single Wire mode
      • Sample Rate: 28 kHz up to 200 kHz
    • ADAT:
      • Type: 2 x TOSLINK
      • Standard: 2 x 8 Channels 24 bit, up to 48 kHz
      • Double Speed (S/MUX): 2 x 4 Channels 24 bit 96 kHz
      • Quad Speed (S/MUX4): 2 x 2 Channels 24 bit 192 kHz
    • SPDIF Optical (ADAT2):
      • Format: Consumer (SPDIF) according to IEC 60958
      • Sample Rate: 28 kHz up to 200 kHz
    • Word Clock:
      • Type: BNC
      • Max. Output Voltage: 5 Vpp
      • Output Voltage @ 75 Ohm Termination: 4.0 Vpp
      • Output Impedance: 10 Ohm
      • Frequency Range: 27 kHz – 200 kHz
  • General:
    • Power Supply: Internal switching PSU, 100 - 240 V AC, 36 Watts
    • Idle Power Consumption: 19 Watts
    • Typical Power Consumption: 22-25 Watts
    • Dimensions Including Rack Ears (W x H x D): 483 x 44 x 210 mm (19" x 1.73" x 8.5")
    • Dimensions Without Rack Ears (W x H x D): 440 x 44 x 210 mm (17.3" x 1.73" x 8.3")
    • Total Depth: 240 mm (9.4”)
    • Weight: 3 kg ( 6.6 lbs)
    • Temperature Range: +5° up to +50° Celsius (41° F up to 122°F)
    • Relative Humidity: < 75%, non condensing
  • System Requirements:
    • Windows: 7 or up
    • Intel Mac: OS X (10.6 or up)
    • Port: 1 x Thunderbolt port or USB 3.0 port
    • USB Port: 1 x USB 2.0 port (reduced number of audio channels – no MADI record/playback)
    • For USB: Computer with at least Intel Core i3 CPU

RME Fireface UFX+ Audio Interface Includes

  • RME Fireface UFX+ Audio Interface
  • Cable USB 3.0, 1.8 m (6 ft)
  • RME Driver CD
  • Power Cord
  • User Manual

RME Fireface UFX+ Audio Interface Downloads

Click here to view all RME products


Average Customer Review 4.5 of 5 Total Reviews: 5

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  0 of 0 people found the following review helpful:
 
Awesome Interface April 25, 2014
Reviewer: Martin Merayo from Hallandale, FL United States  
You cant go wrong with RME. At this price you get awesome converters and stability.
Im not crazy about the pres, but they are usable. All in all, awesome product

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  0 of 0 people found the following review helpful:
 
Fireface 800 November 3, 2010
Reviewer: joachime from Sweden  
Great audio interface with lots of features. Solid drivers and software utilities. Good quality on A/D and D/A converters. Works great both on Mac and PC.

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  1 of 1 people found the following review helpful:
 
Very Good Interface June 23, 2010
Reviewer: Jonathan Cohen from Pennsylvania  

The conversion is very good.  Monitorin sounds much clearer through this interface, and low level mix details are easy to hear.  The preamps are very clean, although a little noise does pop up with the gain turned all the way up.

The gain law on the preamps is a little weird.  There seems to be a dead spot around the middle, follwed by a big jump in gain around the end of the turn.  Also, the lack of an external monitor level control starts to get annoying, as the only way to turn down the monitors is to go into the DSP mixer and turn down the outs.  I sometimes hve to do this even with the volume on my material turned almost to nothing.  Also, RME's SteadyClock re clocks external signals, so the Fireface basically has to serve as your master clock.  This isn't to say that the Fireface's clock is bad, although there are better clocks out there, such as in Black Lion's mods, Apogee, Lucid, etc., but this limits the number of digital systems you can have synced to Word Clock.


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  0 of 1 people found the following review helpful:
 
Great interface January 18, 2010
Reviewer: Anonymous Person from Umea, AC Sweden  
The good and the bad:
+ Very stable drivers, good conversion, lots of connectivity, direct monitoring, good support.

- The preamps sounds a bit flat and dull (but I have really nice preamp to compare with). It's can't be externally clocked without modifications.

Overall it's a very good interface.

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  1 of 1 people found the following review helpful:
 
RME is gold in your hand January 12, 2010
Reviewer: Jean-Francois Ouellet from Montreal, QC Canada  
I have this card for 2 years now and I never regret the day I bought it.  Easy of use, versatile, fast response, drivers up to date, great sounding converters.  This is definatly THE card you need to start up your studio.

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