User's Guide Fireface UCX II The most powerful USB audio interface ever! 24 Bit / 192 kHz SteadyClock FS ™ TotalMix FX™ SyncCheck™ USB 2.
Safety Instructions and Proper use Read the manual carefully and completely before using the device. Pay attention to the following information on how to use and operate the Fireface UCX II safely. Improper use can lead to loss of warranty claims (see warranty statement on page 82). Proper Use The Fireface UCX II is a digital interface for professional audio applications for use with CE approved class B computers.
Safety Instructions and Proper Use ....................... 2 General 1 2 3 4 5 Introduction ............................................................... 8 Package Contents ..................................................... 8 System Requirements .............................................. 8 Brief Description and Characteristics ..................... 8 First Usage - Quick Start 5.1 Connectors – Controls - Display ............................. 9 5.2 Quick Start ......................................
Installation and Operation - Mac OS X 13 Hardware, Driver and Firmware Installation 13.1 Hardware and Driver Installation .......................... 30 13.2 De-installing the Drivers ....................................... 30 13.3 Firmware Update .................................................. 30 14 Configuring the Fireface 14.1 Settings Dialog ..................................................... 31 14.2 Clock Modes - Synchronization ............................ 33 15 Mac OS X FAQ 15.
TotalMix FX 25 Routing and Monitoring 25.1 Overview .............................................................. 54 25.2 The User Interface ............................................... 56 25.3 The Channels ....................................................... 57 25.3.1 Settings ........................................................ 59 25.3.2 Equalizer ...................................................... 60 25.3.3 Dynamics ..................................................... 62 25.
Class Compliant Mode 31 32 33 34 35 36 37 General ..................................................................... 94 System Requirements ............................................. 94 Operation ................................................................. 95 33.1 Useful Hints .......................................................... 95 33.2 Class Compliant under Windows/Mac OS X ........ 96 Supported Inputs and Outputs .............................. 96 Front panel Operation ..................
User's Guide Fireface UCX II General User's Guide Fireface UCX II © RME 7
1. Introduction Thank you for choosing the Fireface UCX II. This unique audio system is capable of transferring analog and digital audio data directly to Windows and Mac computers. The latest Plug and Play technology guarantees a simple installation, even for the inexperienced user. Numerous unique features like a well thought-out Settings dialog and an integrated routing solution realize a quick, comfortable and efficient operation of the Fireface UCX II.
5. First Usage – Quick Start 5.1 Connectors – Controls – Display The front of the Fireface UCX II features two instrument and microphone inputs, a stereo headphone output, a rotary encoder with push functionality, four buttons, a graphical colour display and two status LEDs. The Neutrik combo sockets of the two Mic/Line inputs provide XLR and 6.3 mm / 1/4" TRS connection. They have LEDs for phantom power (48V) indication.
The rear panel of the Fireface UCX II features 4 analog inputs and 6 analog outputs, the power socket, USB, DURec (USB-A), word clock, MIDI I/O, ADAT I/O, and a connector for the included breakout cable D-sub to XLR/RCA (SPDIF/AES I/O). Balanced Line Level Inputs. 4 balanced analog inputs via 6.3 mm stereo TRS connectors. Balanced Line Level Outputs. 6 balanced analog outputs via 6.3 mm stereo TRS. AES/EBU & SPDIF. XLR. Via breakout cable the Fireface UCX II supports both SPDIF coaxial as well as AES/EBU.
5.2 Quick Start After the driver installation (chapter 6 / 13) connect the TRS jacks or the XLR inputs with the analog signal source. The input sensitivity of the rear inputs can be changed in TotalMix (Input Channel Settings, +13 dBu / +19 dBu and Gain), assuring the highest signal to noise ratio will be achieved. Also try to achieve an optimum input level by adjusting the source itself. Raise the source’s output level until the peak level meters in TotalMix reach about –3 dB.
The Global and Analog Level Meter Screen on the far right also shows: The current sample rate Clock mode and Lock/Sync status of the Word, SPDIF, AES and ADAT inputs MIDI I/O activity by two yellow dots USB and Class Compliant mode active (CC) Current output of the volume setting, dB value to it DSP meter, shows the load of the DSP by activated FX Turning the knob displays the volume screen of the currently selected output. Pressing the knob toggles the display between Main Out and Phones.
5.
5.5 Special Options In the menu SETUP/REV - Options - Hardware/Diagnosis there are some additional setting options which are not described elsewhere in this manual. Standalone ARC. For the optional ARC USB (Advanced Remote Control), when connected directly to the UCX II, the following options are available: Standalone ARC Volume. Deactivates all keys. Only the encoder wheel works, with a fixed assignment to Main Volume.
User's Guide Fireface UCX II Installation and Operation – Windows User's Guide Fireface UCX II © RME 15
6. Hardware, Driver and Firmware Installation 6.1 Hardware and Driver Installation To simplify installation it is recommended to first install the drivers before the unit is connected to the computer. But it will also work the other way round. RME is constantly improving the drivers. Please download the latest drivers from the RME website. Driver version 4.30 or higher is available via http://rme.to/downloads. Unzip the downloaded file and start the driver installation with rmeinstaller.exe.
7. Configuring the Fireface – Settings Dialog 7.1 General Configuration of the Fireface UCX II is done via its own settings dialog. The panel Settings can be opened by clicking on the fire or hammer symbol in the Task Bar's system tray. The mixer of the Fireface UCX II, TotalMix FX, can be opened by clicking on the DSP FX symbol in the Task Bar's system tray The hardware of the Fireface UCX II offers a number of helpful practical functions and options to suit many different requirements.
Buffer Size (Latency) The setting Buffer Size determines the latency between incoming and outgoing ASIO and WDM data, as well as affecting system stability (see chapter 9.1). USB Diagnosis indicates USB transmission errors. The display will be reset on any start of a playback/record. More information can be found in chapter 40.3. Output Format Word – Single Speed The word clock output signal usually equals the current sample rate.
Clock Mode Sample Rate Sets the currently used sample rate. Offers a central and comfortable way of configuring the sample rate of all WDM devices to the same value, as since Vista the audio software is no longer allowed to set the sample rate. However, an ASIO program can still set the sample rate by itself. During record/playback the selection is greyed out, so no change is possible.
Application examples Pitch allows for a simultaneous change of speed and tune during record and playback. From alignment to other sources up to creative effects – everything is possible. Pitch enables you to intentionally de-tune the complete DAW. This way, the DAW can match instruments which have a wrong or unchangeable tuning. 7.
Note: Since Windows Vista the audio application can no longer control the sample rate under WDM. Therefore the driver of the Fireface UCX II includes a way to set the sample rate globally for all WDM devices within the Settings dialog, see chapter 7.1. As the change within the system requires some time, record/playback should not be started immediately, but only after at least 5 seconds after a change.
8.3 Channel Count under WDM The Fireface ADAT optical ports support sample rates of up to 192 kHz. For this to work singlechannel data is spread to two or four ADAT channels using the Sample Multiplexing technique. This reduces the number of available ADAT channels from 8 to 4 or 2 per ADAT port. Whenever the Fireface changes into Double Speed (88.2/96 kHz) or Quad Speed mode (176.4/192 kHz) all devices no longer available vanish automatically.
8.5 Analog Recording For recordings via the analog inputs the corresponding record device has to be chosen (Fireface UCX II Analog (x+x)). The input sensitivity of the rear inputs can be changed in two steps and with adjustable gain in TotalMix (Input Channel Settings, Level), assuring the highest signal to noise ratio will be achieved. A further optimization can be achieved by adjusting the source itself. Raise the source’s output level until the peak level meters in TotalMix reach about –3 dB.
8.7 Clock Modes - Synchronization In the digital world, all devices must be either Master (clock source) or Slave (clock receiver). Whenever several devices are linked within a system, there must always be a single master clock. ! A digital system can only have one master! If the Fireface’s clock mode is set to 'Master', all other devices must be set to ‘Slave’. The Fireface UCX II utilizes a very user-friendly, intelligent clock control, called AutoSync.
9. Operation under ASIO 9.1 General Start the ASIO software and select ASIO MADIface USB as the audio I/O device or the ASIO audio driver. The Fireface UCX II supports ASIO Direct Monitoring (ADM). The Fireface UCX II MIDI I/Os can be used with both MME MIDI and DirectMusic MIDI. 9.2 Channel Count under ASIO At a sample rate of 88.2 or 96 kHz, the ADAT optical input and outputs operate in S/MUX mode, so the number of available channels per port is reduced from 8 to 4. At a sample rate of 176.
9.3 Known Problems If a computer does not provide sufficient CPU-power, and/or sufficient USB or PCI bus transfer rates, and/or sufficient PCIe-bus transfer rates, then drop outs, crackling and noise will appear. Raising the buffer size in the Settings dialog of the Fireface UCX II helps in most cases. It is also recommended to deactivate all PlugIns to verify that these are not the reason for such effects. Further information is found in chapter 40.3.
11. DIGICheck Windows The DIGICheck software is a unique utility developed for testing, measuring and analysing digital audio streams. Although this Windows software is fairly self-explanatory, it still includes a comprehensive online help. DIGICheck 5.94 operates as multi-client ASIO host, therefore can be used in parallel to any software, be it WDM or ASIO, with both inputs and outputs (!). The following is a short summary of the currently available functions: Level Meter.
12. Hotline – Troubleshooting The newest information can always be found on our website www.rme-audio.com, section FAQ, Latest Additions. The 8 ADAT channels don’t show up at the optical output The optical output has been switched to ‘SPDIF’. The ADAT playback devices are still usable by routing and mixing them in TotalMix to other outputs. Playback works, but record doesn’t Check that there is a valid signal at the input. If so, the current sample frequency is displayed in the Settings dialog.
User's Guide Fireface UCX II Installation and Operation – Mac OS X User's Guide Fireface UCX II © RME 29
13. Hardware, Driver and Firmware Installation 13.1 Hardware and Driver Installation After the Fireface has been connected to the computer and switched on install the drivers. RME is constantly improving the drivers. Please download the latest drivers from the RME website at http://rme.to/downloads. Unzip the downloaded file and start the driver installation by double-clicking Fireface USB.pkg.
14. Configuring the Fireface UCX II 14.1 Settings Dialog Configuring the Fireface is done via its own settings dialog. Start the program Fireface USB Settings. The mixer of the Fireface UCX II (TotalMix FX) can be configured by starting the program Totalmix. The Fireface’s hardware offers a number of helpful, practical functions and options to suit many different requirements.
Output Options SPDIF Format The SPDIF coaxial output signal can have the Channel Status Professional or Consumer. For further details please refer to chapter 21.3. Optical Out The optical TOSLINK output can operate as ADAT or SPDIF output. Clock Options Word Clock I/O – Single Speed The word clock output signal usually equals the current sample rate. Selecting Single Speed causes the output signal to always stay within the range of 32 kHz to 48 kHz.
14.2 Clock Modes - Synchronization In the digital world, all devices must be either Master (clock source) or Slave (clock receiver). Whenever several devices are linked in a system, there must always be a single master clock. ! A digital system can only have one master! If the Fireface’s clock mode is set to 'Master', all other devices must be set to ‘Slave’. The Fireface UCX II utilizes a very user-friendly, intelligent clock control, called AutoSync.
15. Mac OS X FAQ 15.1 MIDI doesn't work In some cases the applications do not show the MIDI port. The reason for this is usually visible within the Audio MIDI Setup. It displays no RME MIDI device, or the device is greyed out and therefore inactive. Mostly, removing the greyed out device and searching for MIDI devices again will solve the problem. The Fireface’ MIDI is class compliant. Therefore it comes without a driver.
15.5 Various Information Programs that don't support card or channel selection will use the device chosen as Input and Output in the System Preferences – Sound panel. Via Launchpad – Other – Audio MIDI Setup the Fireface can be configured for the system wide usage in more detail. Programs that don't support channel selection will always use channels 1/2, the first stereo pair. To access other inputs, use the following workaround with TotalMix: route the desired input signal to output channels 1/2.
17. DIGICheck NG Mac The DIGICheck software is a unique utility developed for testing, measuring and analysing digital audio streams. Although the software is fairly self-explanatory, it still includes a comprehensive online help. DIGICheck NG 0.86 operates in parallel to any software, showing all input data. The following is a short summary of the currently available functions: Level Meter. High precision 24-bit resolution, 2/8/20 channels.
18. Hotline – Troubleshooting The newest information can always be found on our website www.rme-audio.com, section FAQ, latest Additions. The unit and drivers have been installed correctly, but playback does not work: Has Fireface been selected as current playback device in the audio application? The 8 ADAT channels don’t seem to work The optical output ADAT has been switched to SPDIF. The ADAT playback devices are still usable by routing and mixing them in TotalMix to other outputs.
User's Guide Fireface UCX II © RME
User's Guide Fireface UCX II Inputs and Outputs User's Guide Fireface UCX II © RME 39
19. Analog Inputs 19.1 Line Rear The Fireface has four balanced Line inputs as 1/4" TRS jacks on the back of the unit. The electronic input stage is built in a servo balanced design which handles unbalanced (mono jacks) and balanced (stereo jacks) correctly, automatically adjusting the level reference. ! When using unbalanced cables with TRS jacks: be sure to connect the 'ring' contact of the TRS jack to ground. Otherwise noise may occur, caused by the unconnected negative input of the balanced input.
19.3 Instrument / Line Front Inputs 3/4 of the Fireface UCX II are exceptionally flexible. Several gain and impedance options make them the ideal receivers for both line and instrument signals. Line Inputs 3/4 have balanced line inputs as 1/4" TRS jacks. The electronic input stage is built in a servo balanced design which handles unbalanced (mono jacks) and balanced (stereo jacks) correctly, automatically adjusting the level reference.
20. Analog Outputs 20.1 Line The short circuit protected, low impedance line outputs of channels 1 to 6 are available as 1/4" TRS jacks on the back of the unit. The electronic output stage is built in a servo balanced design which handles unbalanced (mono jacks) and balanced (stereo jacks) correctly.
20.3 DC-coupled Outputs (CV/Gate) All eight analog outputs of the UCX II are DC-coupled. AC coupling via capacitor is common, both directly after the DAC chip and directly at the output socket. This prevents a fixed DC component at the output, which could cause negative effects such as popping noise or malfunctions in other devices that are also DC-coupled. However, it also serves as protection against dangerous DC from the outside.
21. Digital Connections 21.1 ADAT The ADAT optical input of the Fireface UCX II is fully compatible with all ADAT optical outputs. RME's unsurpassed Bitclock PLL prevents clicks and drop outs even in extreme varipitch operation, and guarantees a fast and low jitter lock to the digital input signal. A usual TOSLINK cable is sufficient for connection. ADAT In Interface for receiving an ADAT signal. Carries the channels 1 to 8.
21.3 SPDIF (Coaxial, Optical) The Fireface UCX II has up to three SPDIF inputs and outputs: coaxial, optical and AES can be used simultaneously, with different audio signals. Note that the sources have to be synchronous, as the unit does not have a dedicated sample rate converter. The SPDIF coaxial input accepts SPDIF and AES/EBU, Consumer as well as Professional format. To receive signals in AES/EBU format, an adapter cable is required.
22. Word Clock 22.1 Word Clock Input / Output SteadyClock guarantees an excellent performance in all clock modes. Based on the highly efficient jitter suppression, the Fireface refreshes and cleans up any clock signal, and provides it as reference clock at the BNC output (see chapter 40.8). The Fireface UCX II has one BNC socket with dual functionality – it can serve as word clock input OR word clock output. The current mode is set in the Settings dialog by the user.
22.2 Technical Description and Usage In the analog domain one can connect any device to another device, a synchronization is not necessary. Digital audio is different. It uses a clock, the sample frequency. The signal can only be processed and transmitted when all participating devices share the same clock. If not, the signal will suffer from wrong samples, distortion, crackle sounds and drop outs. AES/EBU, SPDIF and ADAT are self-clocking, an additional word clock connection in principle isn't necessary.
22.3 Cabling and Termination Word clock signals are usually distributed in the form of a network, split with BNC T-adapters and terminated with resistors. We recommend using off-the-shelf BNC cables to connect all devices, as this type of cable is used for most computer networks. You will find all the necessary components (T-adapters, terminators, cables) in most electronics and/or computer stores. The latter usually carries 50 Ohms components.
User's Guide Fireface UCX II Stand-Alone Operation User's Guide Fireface UCX II © RME 49
23. Operation and Usage 23.1 General Using the rotary encoder, the four buttons and the clear colour display the Fireface UCX II can be configured and set up completely at the device. Additionally internal memory allows for the permanent storage of six different states of the unit. Therefore the Fireface UCX II is able to operate fully stand-alone, without any connected computer. In stand-alone operation it can transform into totally different devices by the simple click of a button.
24. Examples 24.1 8-Channel AD/DA-Converter TotalMix' super-flexible routing functions make it easy to turn the UCX II into an 8-channel AD/DA converter, analog from/to ADAT. It’s easy to build the setup. For a clean start perform a Total Reset from the Options menu. Then select the ADAT Output 1/2 in the third row, and pull up the fader of the Analog input 1/2 in the first row. Then select ADAT 3/4, pull up Analog 3/4 and so on until all 8 analog inputs are routed to the corresponding (8) ADAT channels.
User's Guide Fireface UCX II © RME
User's Guide Fireface UCX II TotalMix FX User's Guide Fireface UCX II © RME 53
25. Routing and Monitoring 25.1 Overview The Fireface UCX II includes a powerful digital real-time mixer, the Fireface UCX II mixer, based on RME’s unique, sample-rate independent TotalMix technology. It allows for practically unlimited mixing and routing operations, with all inputs and playback channels simultaneously, to any hardware outputs. TotalMix FX adds 3-band parametric Equalizer, Low Cut, Echo, Reverb, Compressor, Expander and Auto Level.
User's Guide Fireface UCX II © RME 55
25.2 The User Interface The visual design of the TotalMix mixer is a result of its capability to route hardware inputs and software playback channels to any hardware output. The Fireface UCX II has 20 input channels, 20 software playback channels, and 20 hardware output channels: TotalMix can be used in the above view (View Options 2 Rows).
25.3 The Channels A single channel can be switched between mono and stereo mode. The mode is set in the channel settings. Channel name. The name field is the preferred place to select a channel by a mouse click. A double click opens a dialog to assign a different name. The original name will be shown when activating the option Names in the View Options. Panorama. Routes the input signal freely to the left and right routing destination (lower label, see below).
The lowest field shows the current routing target. A mouse click opens the routing window to select a routing target. The list shows all activated routings of the current channel by arrows in front of the listed entries, the current one is shown in bold letters. An arrow is only shown with an activated routing. A routing is seen as activated when audio data is sent. As long as the fader is set to −∞ the current routing will be shown in bold letters, but not have an arrow in the front. Trim Gain.
25.3.1 Settings A click on the tool symbol opens the channel’s Settings panel with differing elements. For example the option Inst exists only in input channels 3-4, and the ADAT channels do not offer the phantom power option. Stereo. Switches the channel to mono or stereo mode. 48V. Activates phantom power at the corresponding input. Serves as power supply for high quality condenser mics. This option should stay off with other sources to prevent failure by spikes. Inst.
Besides Stereo/Mono, Phase L und Phase R the settings of the Hardware Outputs have further options: Level. Sets the reference levels of the 6 analog Line outputs. The available settings are +4 dBu, +13 dBu and +19 dBu. The Phones (channels 7-8) have a Low (+4 dBu) and High (+19 dBu) setting to choose from. FX Return. The effect signal (Echo and Reverb) is mixed to the respective hardware output by the duo knob/small fader. Talkback. Activates this channel as receiver and output of the Talkback signal.
The frequency graphics give a precise overview of the filter results. Overlapping filters influence each other. This can be used to achieve more than 20 dB amplitude, or to generate difficult frequency response optimizations. Note: TotalMix has an internal headroom of 24 dB. Extreme boosts with overlapping filters can therefore cause an internal overload. In any case such an overload is displayed by the Over LED of the channel’s level meter. Preset.
25.3.3 Dynamics A click on D opens the Dynamics panel with Compressor, Expander and Auto Level. They are available in all input and output channels, and affects all routings of the respective channel. Dynamics. Activated by this button. Thresh. Threshold where Compressor or Expander start to work. The Compressor is adjustable from -60 dB to 0 dB, the Expander is adjustable from -99 dB to -20 dB. Ratio. Ratio of input to output signal. Defines the intensity of the signal processing. Adjustable from 1 to 10.
25.4 Section Control Room In the section Control Room the menu Assign defines the Main Out which is used for listening in the studio. For this output the functions Dim, Recall, Mono, Talkback, External In and Mute FX are automatically applied. At the unit the VOLUME knob follows this assignment. Additionally the channel will be shifted from the Hardware Outputs into the Control Room section, and renamed Main. The same happens when assigning Main Out B or the Phones.
25.5 The Control Strip The Control Strip on the right side is a fixed element. It combines different functions that are either required globally, or constantly used, and therefore should not be hidden in a menu. It can still be hidden via the top menu Window – Hide Control Strip. The areas described in the following chapters can be minimized by a click on the arrow in their title bar. Device selection. Select the unit to be controlled in case more than one is installed on the computer. FX - DSP Meter.
25.5.1 View Options The field Show combines different functions of routing, the level meters and the mixer view. Routing Mode Submix. The Submix view (default) is the preferred view and delivers the quickest overview, operation and understanding of TotalMix. The click on one of the Hardware Output channels selects the respective submix, all other outputs are darkened. At the same time all routing fields are set to this channel.
25.5.2 Snapshots - Groups Snapshots. Snapshots include all mixer settings, but no graphical elements like window positions, window size, number of windows, visible EQs or Settings, scroll states, Presets etc. Only the state wide/narrow of the channels is registered. Moreover the Snapshot is only temporarily stored. Loading a Workspace causes the loss of all stored Snapshots, when these all had not been saved before in a Workspace, or separately via File / Save Snapshot as.
25.5.3 Channel Layout - Layout Presets To maintain overview within TotalMix FX channels can be hidden. Channels can also be excluded from being remoted. Under Options / Channel Layout a dialog lists all I/Os with their current state. Selecting one or several channels enables the options to the right: Hide Channel in Mixer/Matrix. The selected channels are no longer shown in TotalMix FX, nor are they available via MIDI or OSC remote control. Hide Channel in MIDI Remote 1-4.
After finishing those settings the whole state can be stored as Layout Preset. A click on Store and the desired memory slot makes the current channel layout recallable anytime. The button All makes all channels temporarily visible again. With a simple click on a button it will then be possible to easily switch views of only the channels involved with the mixing of the drum section, the horn section, the violins, or any other useful view.
25.6 Reverb and Echo A click on FX in the View Options / Show brings up the Output FX panel. Here all parameters for the effects Reverb and Echo are adjusted. Reverb. Activated by the On button. Type. Lists different reverb types for selection. Available are: Rooms Small, Medium, Large, Walls. Room simulation of rooms in different size and behaviour. Shorty provides a short, rich and warm reverb. Attack slaps back. Swagger enriches and blows up the original sound source.
General Settings PreDelay. Delay of the reverb signal. Adjustable from 0 ms up to 999 ms. Low Cut. High-pass filter before the reverb generation, removes low frequency signals which should not cause a reverb sound. Adjustable from 20 Hz up to 500 Hz. High Cut. Low-pass filter after the reverb generation. A reduction of the treble often lets the reverb sound more natural. Adjustable from 5 kHz up to 20 kHz. Smooth. Softens the reverb effect, affects stereo width, density and sound colour.
Echo. Activated by the On button. Type. Lists different echo algorithms for selection. Available are: Stereo Echo. Separated echo generators on left and right channel. As a result the echo follows the sound source within the stereo field. Stereo Cross. Echo generator on left and right channel with cross coupled feedback which is only working for the stereo parts of the input signal. In case the input signal is only left or right the Stereo Cross acts exactly like the Pong Echo. Pong Echo.
25.7 Preferences The dialog Preferences can be opened via the Options menu or directly via F2. Level Meters Full scale samples for OVR. Number of consecutive samples to trigger an over detection (1 to 10). Peak Hold Time. Hold time of the peak value. Adjustable from 0.1 up to 9.9 s. RMS +3 dB. Shifts the RMS value by +3 dB, so that full scale level is identical for Peak and RMS at 0 dBFS. Mixer Views FX Send follows highest Submix. Locks the FX Send knob to the channel fader.
Snapshots Do not load - Main Volume, Main/Phones Volumes, Control Room Settings. The selected values stored in the Snapshot are not loaded, so the current setting is not changed. Device Handling Always init DSP devices with TotalMix FX settings. Used to suppress the mismatch message after using the unit stand-alone. Settings in the unit are lost. Count MADI Channels per port. Not available with the Fireface UCX II. Disable ASIO Direct Monitoring.
25.8 Settings The dialog Settings can be opened via the Options menu or directly via F3. 25.8.1 Mixer Page On the mixer page some typical settings for the mixer operation are set, like Talkback source, Dim amount when Talkback is active, the stored main volume or the input used for the External Input function. Talkback Input. Selects the input channel of the Talkback signal (microphone in control room). Default: None. Dim. Amount of attenuation of the signals routed to the Phones in dB.
25.8.2 MIDI Page The MIDI page has four independent settings for up to four MIDI remote controls, using CC commands or the Mackie Control protocol. Index Select one of four settings pages and thus remote controls. Settings are remembered automatically. To activate or deactivate any of the four remote controls check or uncheck ‘In Use’. MIDI Remote Control MIDI In. Input where TotalMix receives MIDI Remote data. MIDI Out. Output where TotalMix sends MIDI Remote data. Disable MIDI in background.
25.8.3 OSC Page The OSC page has four independent settings for up to four MIDI remote controls via Open Sound Control (OSC). This is a network based remote protocol that can be used for example by Apple’s iPad with the app TouchOSC or Lemur to wirelessly remote control TotalMix FX running on a Mac or Windows computer. Index Select one of four settings pages and thus remote controls. Settings are remembered automatically. To activate or deactivate any of the four remote controls check or uncheck ‘In Use’.
25.8.4 Aux Devices The RME OctaMic XTC is a highly flexible hi-quality 8-channel microphone, line and instrument preamp with integrated AD-conversion to ADAT, AES/EBU and MADI, plus 4 channels of DAconversion for monitoring. It can be used as universal front-end for the Fireface UCX II and other interfaces. To simplify operation the most important parameters of the XTC (gain, 48V, phase, mute, AutoSet) can be controlled directly from the TotalMix FX input channels.
25.9 Hotkeys and Usage TotalMix FX has many hotkeys and mouse/hotkey combinations to speed up and simplify the usage. The below description refers to Windows. On Mac substitute Ctrl in the below list with the command key (). The Shift key enables a fine-tuning of the gain with all faders and in the Matrix. On all knobs it will speed up the setting. A click on a fader with held down Shift key adds the fader to the temporary fader group.
25.10 Menu Options Deactivate Screensaver: When active (checked) any activated Windows screensaver will be disabled temporarily. Always on Top: When active (checked) the TotalMix window will always be on top of the Windows desktop. Note: This function may result in problems with windows containing help text, as the TotalMix window will even be on top of those windows, so the help text isn't readable. Enable MIDI /OSC Control: Activates external MIDI control of the TotalMix mixer.
Operational Mode. Defines TotalMix FX basic operational mode. Choices are Full Mode (default, mixer active, all routing options available), and Digital Audio Workstation Mode (straight playback routing, no input mix). See chapter 29 for details. Network Remote Settings. Settings to remote control TotalMix FX by TotalMix Remote via network. See chapter 30. Store Current state into device. The unit can store up to 6 setups (the current state) in its own memory.
To maintain overview when the window size has been reduced, the labels are floating. They won't leave the visible area when scrolling. A right mouse click on the labels brings up the context menu with the exact same options as in the mixer view: Copy / Mirror / Paste /Clear input channels and submixes. 26.3 Operation Using the Matrix is a breeze. It is very easy to indentify the current crosspoint, because the outer labels light up in orange according to the mouse position.
27.4 Delete a Submix The easiest and quickest way to delete complex routings is by selection of the according output channel in the mixer view by a right mouse click, and selection of the menu entry Clear Submix. As TotalMix FX includes an unlimited undo the delete process can be undone without any problem. 27.5 Copy and Paste everywhere The above three tips use functions found in the right click context menu available on all channels of the mixer view.
As each of the 10 stereo hardware outputs can be routed to the record software, and none of these hardware inputs get lost, TotalMix offers an overall flexibility and performance not rivalled by any other solution. The risk of feedbacks, a basic problem of loopback methods, is low, because the feedback can not happen within the mixer, only when the audio software is switched into monitoring mode.
28. MIDI Remote Control 28.1 Overview TotalMix can be remote controlled via MIDI. It is compatible to the widely spread Mackie Control protocol, so TotalMix can be controlled with all hardware controllers supporting this standard. Examples are the Mackie Control, Tascam US-2400 or Behringer BCF 2000. Additionally, the stereo output faders (lowest row) which are set up as Main Out in the Control Room section can also be controlled by the standard Control Change Volume via MIDI channel 1.
28.3 Setup Open the Preferences dialog (menu Options or F3). Select the MIDI Input and MIDI Output port where your controller is connected to. When no feedback is needed select NONE as MIDI Output. Check Enable MIDI Control in the Options menu. 28.4 Operation The channels being under Mackie MIDI control are indicated by a colour change of the name field, black turns to brown. The 8-fader block can be moved horizontally and vertically, in steps of one or eight channels. Faders can be selected to gang them.
28.5 MIDI Control The hardware output which is set up as Main Out can be controlled by the standard Control Change Volume via MIDI channel 1. With this, the main volume of the Fireface is controllable from nearly any MIDI equipped hardware device. Even if you don't want to control all faders and pans, some buttons are highly desired to be available in 'hardware'. These are mainly the Talkback and the Dim button, and the monitoring options (listen to Phones submixes).
Examples for sending MIDI strings: - Set input 1 to 0 dB: B0 66 68 - Set input 17 to maximum attenuation: B1 66 0 - Set playback 1 to maximum: B4 66 7F - Set Output 16 to 0 dB: B8 75 68 Note: Sending MIDI strings requires to use programmer's logic for the MIDI channel, starting with 0 for channel 1 and ending with 15 for channel 16.
In stand-alone mode the unit always operates in View Submix mode. Only this way the routing destination can be changed, and several mixdowns/submixes can be set up quickly and easily. If the current TotalMix setup is transferred into the Fireface via 'Flash current mixer state', the currently selected submix output is also pre-configured in the hardware for stand-alone MIDI remote operation.
28.7 Loopback Detection The Mackie Control protocol requires feedback of the received commands, back to the hardware controller. So usually TotalMix will be set up with both a MIDI input and MIDI output. Unfortunately any small error in wiring and setup will cause a MIDI feedback loop here, which then completely blocks the computer (the CPU). To prevent the computer from freezing, TotalMix sends a special MIDI note every 0.5 seconds to its MIDI output.
30. TotalMix Remote TotalMix Remote is a remote control for TotalMix FX v1.50 and up, to control the hardware mixer and effects in RME audio interfaces. TotalMix Remote mirrors the current state of the host system on the iPad and Windows/Mac computers - the entire mixing state, the complete routing, all FX settings, up to the level meters, and everything in real-time.
Tip The remotes have the option Sync Channel Layouts active as default (in Preferences). This option transfers the Layout Presets and the current Channel Layout state from host to remote. Apart from the channel width state this option makes a mirror-style setup most easy. But when using the remote as individual setup, make sure to disable this option to have independent Layout Presets on the remote. Limitations • Mixer View & GUI.
User's Guide Fireface UCX II © RME
User’s Guide Fireface UCX II Class Compliant Mode User's Guide Fireface UCX II © RME 93
31. General The Fireface UCX II operates in two different modes: driver-based USB2 and Class Compliant. The latter describes a standard that is natively supported by operating systems like Windows, Mac OS X and Linux. No proprietary drivers are required, the device will be directly recognized when the CC firmware is loaded. The natively available features will be limited in comparison to those provided by the RME driver for the UCX II.
33. Operation Activation of the Class Compliant mode Remove USB cable from the UCX II. Press SETUP/REV so that the page Options is shown in the display. Turn the encoder until Hardware/Diagnosis appears in the display. Pushing the encoder the knob symbol changes into a double arrow symbol. Now turn the encoder to move the cursor vertically through the menu page. Scroll down to the entry CC Mode. Press the encoder again to change back to the knob symbol, then turn the encoder to select On.
33.2 Class Compliant Mode under Windows and Mac OS X The Class Compliant mode of the UCX II is not compatible to Windows. The UCX II will be detected, but automatic driver installation will fail. Mac OS X can be used in Class Compliant mode, although without Settings dialog and TotalMix FX it makes not much sense to do so. At least one can use the Audio MIDI Setup to check the available CC modes. The Audio window in the Audio MIDI Setup lists four modes: 8, 14, 16 and 20 channels.
35. Front panel operation The front panel operation is identical to the one under Windows and OS X, or standalone operation. The display therefore gives the usual easy access to all features and offers a quick editing of: input gains, playback levels, routing and monitoring, echo, reverb, EQ, dynamics, sample rate, status of the optical output (ADAT/SPDIF), and much more. 36.
37. Setups TotalMix FX can transfer all current settings to the device (Options/Store Current State into Device). There are six memory slots (Setups) available. An example: Inputs with no processing, gain set to +30 dB and phantom power active. Outputs without processing, faders for 1/2 set to 0 dB, 9/10 at – 20 dB, clock mode master, saved in Setup 1.
User’s Guide Fireface UCX II DURec™ - Direct USB Recording User's Guide Fireface UCX II © RME 99
38. Direct USB Recording 38.1 Overview The Fireface UCX II can record and playback up to 40 channels of audio via the DURec USB port on the rear panel. This functionality is provided by the internal DSP and is therefore independent from a Windows or Mac computer connected via USB. As all settings are also available directly at the unit it is possible to even record a whole live concert completely without a computer. Music that was copied onto the stick earlier can be played back anytime on any outputs.
Record View. Switches from Mixer View to Record View. In Record View Mute and Solo buttons in first and third row are replaced by Play and Record (Arm) buttons. A click on the Playback button opens a dialog to assign channels. A flashing playback button indicates playback channels have been selected that are not found in the played back file. A playback is not only possible at the outputs but also at the mixer input.
Record. Remain (Rec.). The medium’s remaining total record time (limited by disk space and a maximum of 100 files). Free. Free space on the media. Max R/W Time. The time needed for the read or write operation. Details see chapter 38.5. Playback. Remain (File). Remaining play time of the current file. Next. Shows and allows to select the next file to be played. Play Mode.
38.3 Limitations and Important Notes The media must be formatted as FAT32, primary type. Logical partitions are not supported. With volumes having more than one partition, a different partition than default partition 1 can be selected in Rec/Play Settings, USB Media. A recording is always stopped when the sample rate changes. Changing the record configuration (armed channels) is not possible during an ongoing recording.
The block diagram shows the signal flow for various situations, depending on the state of Loopback, EQ for Record and Play active. In the diagram Loopback and EQ are switched to off, but a playback is active in the input. Some extra notes that are worth to be pointed out again: The signal recorded by audio software is usually that from the input.
The free software is available for Windows and Mac OS X and can be downloaded from the RME website, www.rme-audio.com, section Downloads / Software. The Fireface UCX II adds some meta data to the recorded files, like date, time, recording device and channel number. The WAV File Batch Processor reads these data and writes them accordingly into the generated wav files. Additionally the processor adds the channel info to the file names. For example UFX01_I_05.
Examples of high performance media for DURec An example of a USB thumb drive that handled the maximum transfer bandwidth error-free was the SanDisk Extreme Memory. It worked without write pausing under USB 2. It was able to write 40 channels at 96 kHz on a UFX+, at USB loads below 90% and R/W Times below 100 ms. When Western Digital bought SanDisk some years ago the controller of this particular model was changed and performance from then on sucked big time.
User's Guide Fireface UCX II Technical Reference User's Guide Fireface UCX II © RME 107
39. Technical Specifications 39.1 Analog AD, Line In 5-8, rear Resolution AD: 24 bit Signal to Noise ratio (SNR): 112 dB RMS unweighted, 115 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 Input: 6.
DA - Stereo Monitor Output Phones (7-8) As DA, but: Output: 6.3 mm TRS stereo jack, unbalanced Maximum output level at 0 dBFS, High: +19 dBu Maximum output level at 0 dBFS, Low: +4 dBu Output impedance: 1 Ohm Max power per channel @ 32 Ohm load, 0.1% THD: 210 mW (2.6 Vrms, +10.5 dBu) 39.2 MIDI 1 x MIDI I/O via 5-pin DIN jacks Galvanically isolated by optocoupled input Hi-speed mode: Jitter and response time typically below 1 ms Separate 128 byte FIFOs for input and output 39.
Word Clock BNC Internal termination 75 Ohm switchable Automatic Double/Quad Speed detection and internal conversion to Single Speed SteadyClock guarantees super low jitter synchronization even in varispeed operation Not affected by DC-offsets within the network Signal Adaptation Circuit: signal refresh through auto-center and hysteresis Overvoltage protection Level range: 1.0 Vpp – 5.6 Vpp Lock Range: 27 kHz – 200 kHz Jitter suppression: > 50 dB (2.4 kHz) 39.
40. Technical Background 40.1 Lock and SyncCheck Digital signals consist of a carrier and the data. If a digital signal is applied to an input, the receiver has to synchronize to the carrier clock in order to read the data correctly. To achieve this, the receiver uses a PLL (Phase Locked Loop). As soon as the receiver meets the exact frequency of the incoming signal, it is locked. This Lock state remains even with small changes of the frequency, because the PLL tracks the receiver's frequency.
40.2 Latency and Monitoring The term Zero Latency Monitoring has been introduced by RME in 1998 for the DIGI96 series of audio cards. It stands for the ability to pass-through the computer's input signal at the interface directly to the output. Since then, the idea behind has become one of the most important features of modern hard disk recording.
AD/DA Offset under ASIO and OS X: ASIO (Windows) and Core Audio (Mac OS X) allow for the signalling of an offset value to correct buffer independent delays, like AD- and DA-conversion or the Safety Buffer described below. An analog loopback test will then show no offset, because the application shifts the recorded data accordingly. Because in real world operation analog record and playback is unavoidable, the drivers include an offset value matching the Fireface's converter delays.
Furthermore this information can be used to operate an external USB drive without disturbing the UCX II, by simply connecting the drive to the other controller. Especially with notebooks it can happen that all internal devices and all the sockets/ports are connected to the same controller, with the second controller not used at all. In that case all devices have to use the same bus and will interfere with each other. 40.
40.6 Noise level in DS / QS Mode The outstanding signal to noise ratio of the Fireface UCX II AD-converters can be verified even without expensive test equipment, by using record level meters of various software. But when activating the DS and QS mode, the displayed noise level will rise from -113 dB to -105 dB at 96 kHz, and –79 dB at 192 kHz. This is not a failure. The software measures the noise of the whole frequency range, at 96 kHz from 0 Hz to 48 kHz (RMS unweighted), at 192 kHz from 0 Hz to 96 kHz.
41. Diagrams 41.
41.2 Connector Pinouts TRS jacks of analog input / output The stereo 1/4" TRS jacks of the rear analog inputs and outputs are wired according to international standards: Tip = + (hot) Ring = – (cold) Sleeve = GND The servo balanced input and output circuitry allows to use monaural TS jacks (unbalanced) with no loss in level. This is the same as when using a TRS-jack with ring connected to ground.
User's Guide Fireface UCX II © RME
User's Guide Fireface UCX II Miscellaneous User's Guide Fireface UCX II © RME 119
42. Accessories RME offers several optional components for the Fireface UCX II: Part Number Description OK0100PRO OK0200PRO OK0300PRO Optical cable, TOSLINK, 1 m (3.3 ft) Optical cable, TOSLINK, 2 m (6.6 ft) Optical cable, TOSLINK, 3 m (9.9 ft) ARC-USB Advanced Remote Control USB for TotalMix FX 43. Warranty Each individual Fireface UCX II undergoes comprehensive quality control and a complete test at IMM before shipping.
44. Appendix RME news, driver updates and further product information are available on RME’s website: https://www.rme-audio.com Worldwide distribution: Audio AG, Am Pfanderling 60, D-85778 Haimhausen, Tel.: (49) 08133 / 918170 Support via e-mail: support@rme-audio.com List of international supporters: https://www.rme-audio.de/support.html RME user forum: https://forum.rme-audio.
45. CE / FCC Compliance CE This device has been tested and found to comply with the limits of the European Council Directive on the approximation of the laws of the member states relating to electromagnetic compatibility according to RL2014/30/EU, and European Low Voltage Directive RL2014/35/EU. FCC This device complies with Part 15 of the FCC Rules.
