The Fireface UCX is a highly integrated pro audio solution in an ultra-compact format for studio and live recordings. It continues RME's long tradition of designing compact high-end interfaces, packing into a half-rack size unit what usually would be spread out over two or three 19 inch panels.
In doing this the Fireface UCX marks a new packing record: 300 electronic components more than inside the already well-stocked Fireface UC! In a tremendous effort RME packed once again all the latest technologies, introduced with the award winning flagship UFX, plus a bunch of newly developed ones, into a half 19 inch housing with full mobile usability.
The result is an awesome combination of RME's most successful products: Fireface UFX, Firefaces UC/400 and Babyface. The Fireface UCX is not just a smaller version of the smash hit UFX, with the HFX-core, the preamps and the complete effects engine. The UCX continues the tradition of RME's tremendously successful compact interfaces, and combines it with the Babyface's usability through the optional RME remotes. With the Fireface UCX RME reinvented an already perfect product, by improving existing features and characteristics plus adding sophisticated new ones:
- Low Latency mastering grade converters with outstanding specifications.
- Two mic preamps with the premium technology from RME's high-end recording bestsellers Micstasy and UFX, including the AutoSet overload protection.
- A newly developed Hammerfall audio core, supporting USB and FireWire with the maximum performance and ultra-low latency operation, combined with the legendary RME driver stability and maintenance, on both bus protocols.
- TotalMix FX with the complete Fireface UFX DSP engine, including all effects up to 192 kHz.
- Monitoring Controller: combining the impressive flexibility of the TotalMix FX monitoring tool set and the optional RME Remote Control.
- RME's unique DIGICheck metering and analysis toolbox for Windows PC and Mac.
- Plus support for RME's Advanced Remote Control, active jitter suppression technology, professional reference level support, advanced stand-alone functionality, full 192 kHz operation, and last but not least two high speed MIDI I/Os.
- On top of it: The Fireface UCX is the first professional audio interface with Class Compliant mode to work with Apple's iPad, for perfect stereo up to 18 channel recording and playback, and the addition of truly professional I/Os.
- 18 Input / 18 Output channels
- 8 x Analog I/O
- 2 x Mic/ Line Preamps, digitally controlled
- 2 x Line / Instrument inputs, digitally controlled
- 1 x SPDIF I/O coaxial
- 1 x ADAT I/O (or 1 x SPDIF I/O optical)
- 1 x Word Clock I/O
- 2 x MIDI I/O (via breakout cable)
- 1 x FireWire 400
- 1 x USB 2.0 (USB 3 compatible)
- optional: Advanced Remote Control
- TotalMix FX (with UFX effects engine)
So the UCX is a half rack unit, which is actually more powerful, than most 19 inch units. All in all the Fireface UCX is the new compact-sized dream interface, created with care for every detail, and a new premium solution for any desktop and live usage, without compromises in sound, stability and ultra-low latency operation.
The UCX provides 8 analog I/O in a very flexible combination:
8 Inputs. On the rear: 4 balanced TRS. On the front: 2 XLR inputs with Mic/Line preamps (65 dB Gain) and 2 Hi-Z capable TRS Line/Instrument inputs..
8 Outputs. On the rear: 6 balanced TRS outputs. On the front: One additional TRS stereo phones (playback channels 7/8). The high power phones output offers high volumes even with high-impedance headphones.
Sound Quality. Equipped with a new 2011 A/D and D/A high-performance converter design all I/Os operate at up to 192 kHz. The AD/DA conversion supersedes the outstanding technical specifications of the Fireface UC/400 with an impressive 114 dBA dynamic range on both record and playback. The advanced multi-bit converter architecture guarantees excellent S/N and THD specs across a wide analog level range. In the best RME tradition and product philosophy, the UCX converters and preamps have no characteristic "sound" of their own. They neither add nor remove anything, but capture the original signal just as it is.
Due to its efficient jitter reduction, RME's superior SteadyClockTM finalizes the state-of-the-art AD/DA conversion, even when clocking to an external digital source.
Low Latency Converters
All analog I/Os use a low latency converter design with impressive 14 samples for the ADC, and 7 samples for the DAC, independent of the used sample rate. These values are about a quarter of the Fireface UC/400 (43/28), and even outperform much more expensive devices. A technical breakthrough that reduces the overall latency of timing critical applications, in live situations, and in computer-based recording studios. The converter latency is so low (0.4 ms at 48 kHz) that it can be ignored, turning analog digital monitoring into real analog-style monitoring!
Professional Level Support
A great converter needs to support the common studio levels for the perfect adaptation to other analog equipment without loosing headroom. Like all other RME devices the UCX supports the common professional studio levels: -10 dBV, +4 dBu, Lo / HiGain. The software-controlled reference levels, realized discretely in the analog domain, ensure highest dynamic range and fidelity.
- Inputs 3 to 8: -10 dBV, +4 dBu and Lo Gain (adjustable in two groups - channels 3/4 and 5 to 8).
- Outputs 1 to 8: -10 dBV, +4 dBu and Hi Gain (adjustable in two groups - channels 1 to 6 and 7/8).
All outputs can be used for ASIO Direct Monitoring purposes.
Quality over quantity . The UCX provides two high-end mic and instrument preamps - built right into the front.
Like the famous UFX ones, both preamps use core technology of RME's Micstasy. A high-end preamp for supreme sonic demands and critical applications, like professional recordings of classical and acoustic music. The outstanding preamp design boasts extremely low distortion, excellent signal to noise ratio and a perfectly flat frequency response. A premium solution for transmitting and amplifying any audio source truly unchanged, be it high-level stage or typical studio signals, lower level and high-impedance instruments, or dynamic, condenser and ribbon microphones.
The digitally controlled gain of up to 65 dB, adjustable in steps of 1 dB over a range of 55 dB, is individually set for each preamp with the encoder knob on the front or in TotalMix FX on the host computer. All level settings are 100% reproducible and can also be adjusted using a MIDI remote controller.
Each channel can be individually switched to 48V phantom power. LEDs for signal, clip and activated phantom power give a complete overview on the unit's status.
The two TRS inputs on the front will alternatively operate as Hi-Z inputs. Directly plug in up to two guitars or other instruments - no other hardware is required.
The UCX offers a unique RME feature which was previously available only in the high-end microphone preamp Micstasy and the UFX. Usually a limiter is used during the recording to prevent clipping of the A/D converter stage. But analog processing would not only spoil the excellent technical specifications of the UCX mic preamps but also alter the original sound.
Thanks to digitally controlled gain the UCX can reduce the gain automatically, thus providing perfect protection from overload with no degradation of the audio signal, which does not have to pass any additional electronic circuitry. Additionally AutoSet does not cause any of the control noises known from usual limiters. SNR and THD stay completely unchanged.
Example: In a recording session, the recording engineer asks the vocalist or guitarist to sing or play a reference part and sets the UCX preamp gain to an unusual high level (e. g. 50 dB). AutoSet will automatically reduce the gain when the level reaches -6 dBFS. The reduction is done in a musical way, based on the intensity and duration of the input signal. Manual gain adjustment becomes obsolete most of the time, but the gain can still be set manually. AutoSet can be switched on for each of the 4 front panel mic and instrument preamp channels individually.
SPDIF: The UCX provides a coaxial SPDIF I/O working at up to 192 kHz.
ADAT: One 8-channel ADAT I/O expands the UCX by 8 channels available simultaneously with the analog channels. They can be used to connect an 8-channel AD/DA converter, a mixing console, or to insert an effect device. The ADAT I/O supports sample rates with up to 192 kHz (S/MUX4). Using an external converter like the ADI-8 QS, the UCX will provide 16 analog inputs and outputs, 12 with a sample rate of 96 kHz, and still 10 at 192 kHz.
SPDIF: The ADAT I/O can be used as optical SPDIF I/O, making the UCX connections even more flexible.
Word Clock & MIDI: A word clock input and output (BNC) with switchable termination plus two MIDI I/Os on a breakout cable complete the I/O list and turn the Fireface UCX into a professional audio system with universal usability.
Fireface UCX The UCX provides the complete effects engine of the Fireface UFX - all effects are available at all sample rates.
The DSP-based TotalMix mixer supports fully independent routing and mixing of all 18 input and playback channels to all 18 physical outputs. Up to 9 totally independent stereo submixes plus a comprehensive Control Room section offer unrivaled monitoring capabilities and unsurpassed routing flexibility.
And there is more: TotalMix FX delivers hardware mixing/routing with lots of new features and a highly improved usability.
Every input and output channel comes with a luxury feature set, comparable to a full-scale digital console. The effects per channel include 3-band parametric EQ, adjustable Low Cut, Auto Level, Compressor, Expander, MS Processing and phase reversal. The Reverb and Echo effects unit is available for all channels by way of a stereo send and return bus. The UCX easily surpasses the competition by offering all these effects even at 192 kHz operation.
Two DSPs ensure an impressive performance even in extreme applications. As usual with RME, TotalMix is available with all channels at all sample rates, completely unlimited. The second dedicated DSP only renders effects, and therefore always has sufficient resources. For example, at 48 kHz 36 EQs, 36 Low Cuts, 26 Compressors and Echo can be activated. With activated Reverb and Echo still 36 EQs, 36 Low Cuts and 16 Compressors are available.
The FX-DSP uses automatic overload surveillance. As soon as no effect can be added anymore the TotalMix surface will clearly signal this condition. When changing to higher sample rates the UCX automatically deactivates all effects that exceed the DSP's performance - the DSP will never be overloaded. This also prevents any possible damage to loudspeakers due to distortion.
The complete effects section not only adds a lot of flexibility to the recording chain, but makes latency burdened software dispensable. TotalMix can easily replace any external mixer, e. g. to create different latency-free monitoring mixes with EQ and Reverb for the main studio monitors and the headphone of the vocalist(s) in the recording room.
Furthermore, the DSP hardware calculates RMS and Peak levels for all 54 level meters, so there is zero CPU load on the host.
The main functions of TotalMix can be remote controlled via MIDI with any Mackie Control compatible controller.