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For nearly three decades, RME has been at the forefront of digital audio, pioneering innovative new solutions for professional recording, mixing, and post-production facilities.
Founded in Germany, RME’s comprehensive range of professional audio tools combine precision engineering with cutting-edge technology. Trusted by top-tier studios, broadcast facilities, and touring engineers, RME’s designs are known for rock-solid drivers, incredibly low latency, and transparent sound.
In this guide, we’ll break down RME’s current lineup of audio interfaces, converters, mic preamps, and network audio solutions. But first, let’s dive into the history of this innovative pro audio brand.
RME’s story begins in 1996, when Ralf Männel and Matthias Carstens founded the company in Haimhausen, Germany. The two set out to create a line of affordable, user-friendly, and high-quality digital audio solutions.
RME quickly made a name for itself with its DIGI series digital audio cards—some of the first and most advanced of their time. Throughout the 2000s, RME continued to innovate with a series of cutting-edge new products, such as the Hammerfall DSP PCI cards and ADI series converters.
In 2002, RME introduced the ADI-648 MADI to ADAT converter, the first product to feature RME’s revolutionary SteadyClock technology, which enables users to extract time clock data directly from the MADI signal—something that was previously impossible due to high jitter. Today, RME employs enhanced SteadyClock FS technology in all ADI series products,
In 2006, RME introduced their first Fireface audio interface, beginning a lineage of products that would become synonymous with professional-grade recording. The Babyface series, launched in 2011, brought RME's acclaimed technology to a more portable form factor while maintaining the brand's unwavering commitment to audio quality.
Since then, RME has continued to refine its product line with enhanced versions of some of the brand’s most popular products. Ready to take a closer look at what RME has to offer?
Building on the success of the original UCX USB audio interface, RME’s UCX II offers even more bang for your buck in a compact, half-rack package.
Two front-panel mic/line preamps, along with two digitally controlled line/instrument inputs, make it easy to quickly capture any source when inspiration strikes.
The UCX II also boasts a variety of analog and digital I/O, including MIDI I/O, ADAT I/O, AES/EBU and SPDIF I/O, and USB 2.0. Plus, with support for up to 20 inputs and 20 outputs, you can seamlessly interface with all of your favorite gear.
The successor to RME’s popular Fireface UFX+, the UFX III introduces a number of improvements and new features. Most notably, the UFX III offers an impressive 188 channels of I/O, including 12 analog, 16 ADAT, AES/EBU, and dual MADI (64 channels)—all at pristine 24-bit/192 kHz quality.
RME’s latest SteadyClock FS ensures ultra-low jitter, while TotalMix FX provides flexible routing, onboard effects, and zero-latency monitoring. For standalone recording, DURec captures up to 80 channels directly to USB. The UFX III also includes premium plugins like iZotope Ozone 10 and Auto-Tune Unlimited.
If you love the UFX format but don’t need all of that I/O, check out the Fireface UFX II.
The Babyface Pro FS proves big things come in small packages, packing 24 channels of pristine 192 kHz audio into a rugged, aluminum desktop interface. With four premium preamps, near-zero latency, and TotalMix FX DSP routing, this portable powerhouse delivers studio-quality sound anywhere you go.
Adding to the legacy of the iconic Fireface 800, the Fireface 802 delivers 60 channels of pristine 192kHz audio with RME’s renowned stability. Unlike the UFX and UCX series, the 802 retains FireWire connectivity alongside USB, High-end mic preamps, reference-class converters, and TotalMix FX make this a self-contained studio powerhouse.
The Fireface 802 FS refines RME’s classic 802 with next-gen converters, SteadyClock FS jitter suppression, and DC-coupled outputs—perfect for modular synth integration. While the original 802 offered FireWire/USB flexibility, the 802 FS focuses on USB 2.0 with Class Compliant mode, enabling seamless iPad/DAWless operation.
Part of RME's renowned Digiface series, this compact USB interface delivers 32 channels of pristine digital audio via 4 optical ADAT/SPDIF ports—all in a bus-powered unit smaller than your smartphone. Perfect for expanding your studio's I/O or connecting outboard gear, it maintains RME's legendary low-latency performance and driver stability while adding modern plug-and-play simplicity.
The Digiface Dante offers 256 channels of Dante and MADI I/O at pristine 24-bit/192 kHz quality. This powerhouse packs 64 channels of MADI (via BNC) and 192 channels of Dante into a compact, bus-powered unit, making it ideal for bridging analog gear, stage boxes, and network audio systems.
Featuring two Babyface Pro FS-grade mic preamps and four analog outputs, the Digiface AES interface bridges the gap between analog gear and digital workflows. The AES/EBU, ADAT, and SPDIF I/O (all simultaneously operational) make it a versatile hub for any studio setup. Best of all, its built-in sample rate converter allows for seamless clocking between different digital sources.
RME’s Digiface AVB is the first interface to bring 256-channel AVB connectivity to Windows systems at 24-bit/192 kHz quality. This innovative design streams 128 bidirectional channels via USB 3.0, making it easier than ever to bridge your DAW to AVB ecosystems.
Unlike traditional interfaces, the Digiface AVB organizes channels into flexible streams (2-32 channels each), ensuring compatibility with any AVB gear. Plus, the integrated AVDECC controller simplifies network management.
Last but not least in the Digiface series is the Digiface Ravenna, which brings groundbreaking RAVENNA/AES67 networking to RME's acclaimed interface lineup. Offering 256 channels of pristine 192 kHz audio in a portable, bus-powered unit, the Digiface Ravenna is the ultimate bridge between computer and professional audio networks.
Unlike standard interfaces, it supports redundant AES67/ST2110 streaming and operates as a standalone RAVENNA/MADI converter, no computer required. The switchable BNC ports toggle between MADI and Word Clock, while the built-in web server offers intuitive network control.
RME's MADIface XT II excels at large-scale audio routing with a staggering 394 channels of pristine 192 kHz audio through triple MADI connectivity. Building on the popular MADIface XT, this powerful MADI interface features upgraded converters, studio-grade headphone amps, and RME's legendary SteadyClock FS for femtosecond-accurate timing.
Closing out our list with RME's simplest solution, the MADIface USB delivers 128 channels of MADI I/O in a compact, bus-powered unit that's as reliable as it is portable. Unlike larger interfaces, this streamlined workhorse focuses on core functionality—seamless redundancy operation, bi-directional format conversion, and plug-and-play USB 2.0 connectivity.
RME's flagship converter delivers pristine 2-in/4-out 768 kHz/32-bit conversion, perfect for mastering and archival projects. Unique features like dual Extreme Power headphone outputs, a built-in phono preamp, and versatile routing options make it ideal for reference-level monitoring.
The ADI-2/4’s unique trigger-out function enables you to switch external devices on or off remotely. Powerful onboard DSP gives you access to a 5-band parametric EQ, bass and treble adjustment, crossfeed, and loudness sound control.
The ADI-2 DAC is the home and hi-fi optimized version of the ADI-2 Pro, offering reference-quality conversion for everyday listening. Aside from a set of RCA outputs and a dedicated IEM input, the ADI-2 DAC includes all of the same tech as its studio-grade sibling.
The RME ADI-2 FS is a streamlined 192 kHz 2-channel converter that delivers the core ADI-2 sound in a simpler package. It features balanced analog I/O, SPDIF/ADAT connectivity, and a High Power headphone output derived from RME's Extreme Power stage—perfect for those who want pro conversion quality without DSP or complex routing.
Rounding out the ADI Series lineup, the ADI-8 QS delivers 8 channels of 192kHz conversion with 4 switchable reference levels (+24dBu max) and DC-coupled outputs for modular synth integration.
Up first in the M-32 Series converter family is the M-32 Pro II, with 32 channels of pristine 192 kHz conversion via MADI and AVB connectivity. This powerhouse delivers 120dB(A) SNR and ultra-low THD, with +24 dBu headroom for broadcast-critical applications.
The dual redundant AVB ports and MILAN compatibility make it ideal for large-scale installations, while the intuitive front panel and JSON API allow seamless integration into any workflow.
M-32 Pro II series converters are also available with Dante connectivity: M32 AD Pro II-D AD / M32 DA Pro II-D DA
The first generation of M-32 Pro series converters features the same core specs as the new Pro II models, plus RME’s renowned SteadyClock FS technology. However, it doesn’t include the optional MADI I/O or redundant power supplies found in the Pro II models.
The M-1620 Pro offers 16 channels of RME’s cutting-edge conversion that bridges analog, MADI, and Milan AVB networks in a single 1U rack unit. Under the hood, it packs 16 line inputs,
16 line outputs, two headphone outputs, four channels of ADAT I/O, and MADI.
Plus, the intuitive front panel and web remote control provide instant access to its advanced routing matrix, making it easy to set up for any session.
The M-1620 Pro series converter is also available with Dante connectivity: M-1620 Pro D
The ADI-6432 delivers 64 channels of pristine digital conversion between MADI and AES/EBU, making it ideal for digital multicore setups or as an AES front end for RME's Hammerfall DSP MADI systems. Supporting 24-bit/192kHz audio, this 2U rackmount converter packs all of RME's signature features into a professional-grade package.
Key features include SteadyClock jitter reduction, comprehensive status displays, and MIDI/RS232 over MADI support.
RME's first network-ready preamp, the 12MIC combines 12 ultra-clean channels (121.2dB SNR) with MADI and AVB/MILAN connectivity. Unlike the OctaMic and Micstasy, it features redundant Ethernet ports and ADAT outputs for flexible routing.
12Mic-D is a Dante-enabled version of RME’s 12Mic preamp.
Where the Micstasy shines is remote control—this 8-channel preamp/ADC offers full MIDI control (including over MADI) and simultaneous analog/digital outputs. Unique among RME pres, it handles instrument-level signals via Hi-Z inputs and eliminates the need for splitter boxes with its parallel analog outputs.
The optional MADI card lets you daisy-chain up to 64 channels, making it a standout for live sound or complex studio setups.
The OctaMic II delivers 8 channels of pristine 192kHz conversion with RME's renowned transparent preamps, now upgraded with +21dBu headroom and phantom power-free TRS line inputs. Compared to the original OctaMic, it offers lower distortion at high gains and a more robust power supply.
RME also offers a wide range of PCI, PCI Express, and hardware expansion cards designed to bring the brand’s cutting-edge studio technology to any system.
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