User's Guide
The most powerful FireWire
24 Bit / 192 kHz 9
SyncAlign
Fireface UFX
®
and USB audio interface ever!
™
ZLM™ SyncCheck™
TotalMix
™
SteadyClock
™
USB 2.0 / FireWire 400 Digital I/O System
12 + 16 + 2 Channels Analog / ADAT / AES Interface
24 Bit / 192 kHz Digital Audio
60 x 30 Matrix Router
2 x MIDI I/O
Full Stand-Alone Operation
MIDI Remote Control
Important Safety Instructions..................................5
General
1 Introduction ...............................................................8
2 Package Contents.....................................................8
3 System Requirements ..............................................8
4 Brief Description and Characteristics.....................8
5 First Usage - Quick Start
5.1 Connectors – Controls - Display .............................9
5.2 Quick Start ............................................................11
Installation and Operation - Windows
6 Hardware Installation..............................................14
7 Driver and Firmware
7.1 Driver Installation .................................................14
7.2 Driver Update .......................................................15
7.3 De-installing the Drivers .......................................15
7.4 Firmware Update..................................................15
8 Configuring the Fireface
8.1 Settings Dialog – General ....................................16
8.2 Settings Dialog – Pitch .........................................18
9 Operation and Usage
9.1 Playback...............................................................19
9.2 DVD Playback (AC-3 / DTS) ................................ 20
9.3 Notes on WDM.....................................................21
9.4 Channel Count under WDM.................................22
9.5 Multi-client Operation ...........................................22
9.6 Analog Recording.................................................23
9.7 Digital Recording..................................................23
9.8 Clock Modes - Synchronization ...........................24
10 Operation under ASIO
10.1 General ................................................................25
10.2 Channel Count under ASIO .................................25
10.3 Known Problems ..................................................26
11 Using more than one Fireface UFX .......................26
12 DIGICheck Windows ...............................................27
13 Hotline – Troubleshooting......................................28
Installation and Operation - Mac OS X
14 Hardware Installation..............................................30
15 Driver and Firmware
15.1 Driver Installation .................................................30
15.2 Driver Update.......................................................31
15.3 Firmware Update..................................................31
16 Configuring the Fireface
19.1 Settings Dialog .....................................................32
19.2 Clock Modes - Synchronization ...........................34
17 Mac OS X FAQ
17.1 Round about Driver Installation............................35
17.2 MIDI doesn't work ................................................35
17.3 Repairing Disk Permissions .................................35
17.4 Supported Sample Rates.....................................35
17.5 Channel Count under Core Audio........................ 36
17.6 Various Information ..............................................36
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User's Guide Fireface UFX © RME
18 Using more than one Fireface ............................... 37
19 DIGICheck Mac........................................................ 37
20 Hotline – Troubleshooting ..................................... 38
Inputs and Outputs
21 Analog Inputs
25.1 Line Rear ............................................................. 40
25.2 Microphone / Line / Inst Front .............................. 40
22 Analog Outputs
26.1 Line ...................................................................... 41
26.2 Phones / Line Out ................................................41
23 Digital Connections
27.1 ADAT ................................................................... 42
27.2 AES...................................................................... 42
27.3 MIDI .....................................................................43
24 Word Clock
28.1 Word Clock Input and Output ..............................44
28.2 Technical Description and Background............... 45
28.3 Cables and Termination....................................... 46
28.4 General Operation ...............................................46
Stand-Alone Operation
25 Operation and Usage
25.1 General ................................................................ 48
25.2 Settings at the Unit............................................... 48
25.3 Store / Load Setups at the Unit............................ 48
25.4 Storing Setups from the Computer ...................... 48
26 Examples
26.1 12-Channel AD/DA-Converter .............................49
26.2 4-Channel Mic Preamp ........................................ 49
26.3 Monitor Mixer .......................................................49
26.4 Digital Format Converter...................................... 49
26.5 Analog/Digital Routing Matrix .............................. 49
TotalMix FX
27 Routing and Monitoring
27.1 Overview .............................................................. 52
27.2 The User Interface ............................................... 54
27.3 The Channel ........................................................55
27.3.1 Settings ........................................................ 57
27.3.2 Equalizer ...................................................... 58
27.3.4 Dynamics ..................................................... 60
27.4 Section Control Room.......................................... 61
27.5 The Control Strip.................................................. 62
27.5.1 View Options................................................ 63
27.5.2 Snapshots - Groups..................................... 64
27.6 Reverb and Echo ................................................. 65
27.7 Preferences.......................................................... 67
27.8 Settings ................................................................ 68
27.9 Hotkeys and Usage .............................................69
27.10 Menu Options....................................................... 70
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28 The Matrix
28.1 Overview ..............................................................71
28.2 Elements of the Matrix View ................................71
28.3 Usage ...................................................................71
29 Tips and Tricks
29.1 ASIO Direct Monitoring (Windows) ......................72
29.2 Copy a Submix .....................................................72
29.3 Delete a Submix ...................................................72
29.4 Doubling the Output Signal ..................................72
29.5 Recording a Submix - Loopback..........................73
29.6 MS Processing .....................................................74
30 MIDI Remote Control
30.1 Overview ..............................................................75
30.2 Mapping ...............................................................75
30.3 Setup ....................................................................76
30.4 Operation .............................................................76
30.5 Simple MIDI Control .............................................77
30.6 Stand-Alone MIDI Control ....................................78
30.7 Loopback Detection .............................................79
Technical Reference
31 Technical Specifications
31.1 Analog ..................................................................82
31.2 MIDI......................................................................83
31.3 Digital ...................................................................83
31.4 Digital Inputs ........................................................84
31.5 Digital Outputs......................................................85
31.6 General ................................................................85
32 Technical Background
32.1 Lock and SyncCheck ...........................................86
32.2 Latency and Monitoring........................................87
32.3 USB Audio............................................................88
32.4 FireWire Audio .....................................................93
32.5 DS – Double Speed .............................................95
32.6 QS – Quad Speed................................................95
32.7 Noise Level in DS / QS Mode ..............................97
32.8 SteadyClock .........................................................97
33 Diagrams
33.1 Block Diagram Fireface UFX ...............................92
33.2 Connector Pinouts................................................93
Miscellaneous
34 Accessories.............................................................96
35 Warranty...................................................................96
36 Appendix..................................................................97
37 Declaration of Conformity......................................98
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User's Guide Fireface UFX © RME
Important Safety Instructions
ATTENTION! Do not open chassis – risk of electric shock
The unit has non-isolated live parts inside. No user serviceable parts inside.
Refer service to qualified service personnel.
Mains
• The device must be earthed – never use it without proper grounding
• Do not use defective power cords
• Operation of the device is limited to the manual
• Use same type of fuse only
To reduce the risk of fire or electric shock do not expose this device to rain or
moisture. Prevent moisture and water from entering the device. Never leave
a pot with liquid on top of the device. Do not use this product near water, i. e.
swimming pool, bathtub or wet basement. Danger of condensation inside –
don't turn on before the device has reached room temperature.
Installation
Surface may become hot during operation – ensure sufficient ventilation.
Avoid direct sun light and do not place it near other sources of heat, like radiators or stoves. When mounting in a rack, leave some space between this
device and others for ventilation.
Unauthorized servicing/repair voids warranty. Only use accessories
specified by the manufacturer.
Read the manual completely. It includes all information necessary
to use and operate this device.
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User's Guide Fireface UFX © RME
User's Guide
Fireface UFX
General
User's Guide Fireface UFX © RME
7
1. Introduction
Thank you for choosing the Fireface UFX. This unique audio system is capable of transferring
analog and digital audio data directly to a computer from practically any device. The latest Plug
and Play technology guarantees a simple installation, even for the inexperienced user. The
numerous unique features and well thought-out configuration dialog puts the Fireface UFX at
the very top of the range of computer-based audio interfaces.
The package contains drivers for Windows XP / Vista / 7 and Mac OS X x86 (Intel).
Our high-performance philosophy guarantees maximum system performance by executing as
many functions as possible not in the driver (i.e. the CPU), but within the audio hardware.
2. Package Contents
• Fireface UFX
• Cable USB 2.0, 1.8 m (6 ft)
• RME Driver CD
• Cable IEEE1394a (FW400), 4 m (13 ft)
• Power cord
• Manual
• 1 optical cable (TOSLINK), 2 m (6.6 ft)
3. System Requirements
• Windows XP SP2 or up, Intel Mac OS X (10.5 or up)
• 1 x OHCI compatible FireWire Port 400 (1394a)
or
• 1 x USB 2.0 port
• For USB: Computer with at least Pentium Core 2 Duo CPU
4. Brief Description and Characteristics
• All settings can be changed in real-time
• Buffer sizes/latencies from 48 up to 8192 samples selectable
• 8 channels 96 kHz/24 bit Record/Playback via ADAT optical (S/MUX)
• Clock modes slave and master
• Automatic and intelligent master/slave clock control
• Unsurpassed Bitclock PLL (audio synchronization) 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: 1800 channel mixer with 42 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 headphone output
• DIGICheck DSP: Level meter in hardware, peak- and RMS calculation
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User's Guide Fireface UFX © RME
5. First Usage – Quick Start
5.1 Connectors – Controls – Display
The front of the Fireface UFX features four instrument and microphone inputs, two stereo headphone outputs, three rotary encoders with push functionality, a graphical colour display, and
several status LEDs.
The Neutrik combo sockets of the
four Mic/Line inputs provide XLR and
6.3 mm / 1/4" TRS connection. They
have LEDs for Signal (SIG), Phantom
power (48V) and activated TRS input.
The latter is high impedance and can
be used as instrument input as well.
The analog outputs 9 to 12 feed the
headphones outputs Phones 1 and
Phones 2. These low impedance outputs of highest quality are able to drive headphones at
higher levels undistorted, no matter if low or high impedance headphones are used.
MIDI 2 I/O. Two 5-pin DIN connectors as MIDI input and output.
Memory. Connector for USB stick or USB hard drive. Offers direct Recording / Playback from
the device (not available. Will be activated in a later firmware update).
State LEDs. WC, AES, ADAT1, ADAT2. indicate a valid input signal separately for each digital
input. Additionally, RME's exclusive SyncCheck indicates if one of these inputs is locked, but
not synchronous to the others, in which case the LED will flash. See also chapter 9.8 / 16.2,
Clock Modes - Synchronisation.
MIDI LEDs. Indicate separately for input and output if MIDI are received or transmitted.
The blue LED USB and FW extinguish if no USB or FireWire connection has been initialised, or
has been interrupted (error, cable not connected etc.). If both cables are connected USB has
priority.
The rotary encoder Volume
sets the monitoring volume
directly at the device.
Pushing the button will
change between Main Out,
Phones 1 and Phones 2.
Watch the display for further
information.
The four keys, the two encoders 1 and 2, the high-resolution and clear colour display, and a
well thought-out menu structure enable the user to quickly change and configure the device’s
settings completely without a computer. Help notes and clear markers in the display guide the
user through all functions.
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The rear panel of the Fireface UFX features eight analog inputs and outputs, the power socket,
and all digital inputs and outputs:
Balanced Line Level Inputs. 8 balanced analog inputs via 6.3 mm stereo TRS.
Balanced Line Level Outputs. 8 balanced analog outputs, six via 6.3 mm stereo TRS, two via
XLR.
AES/EBU I/O. XLR. The Fireface
UFX accepts the commonly used
digital audio formats, SPDIF as well
as AES/EBU.
ADAT1 I/O. TOSLINK. Standard
ADAT optical port, 8 channels.
ADAT2 I/O. TOSLINK. Standard ADAT optical port, 8 channels. Can also be used as optical
SPDIF input and output, if set up accordingly in the Settings dialog.
Word Clock I/O. BNC. A push switch activates internal termination (75 Ohms). With termination
activated the yellow LED besides the switch will light up.
Remote. Mini-DIN. Connector for the optional remote control with Volume, Store, Dim and Re-
call functions.
USB 2.0. USB socket for connection to the computer.
FW 400. 6-pin FireWire socket for connection to the computer.
MIDI I/O 1. Two 5-pin DIN connectors working as MIDI input and output.
IEC receptacle for mains power connection.
The specially developed, internal hiperformance switch mode power supply
makes the Fireface operate in the range of
100V to 240V AC. It is short-circuit-proof, has
an integrated line-filter, is fully regulated
against voltage fluctuations, and suppresses
mains interference.
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User's Guide Fireface UFX © RME
5.2 Quick Start
After the driver installation (chapter 7 / 15) 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, Level), 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 analog line inputs of the Fireface UFX can be used with +4 dBu and -10 dBV signals. The
electronic input stage can handle balanced (XLR, TRS jacks) and unbalanced (TS jacks) input
signals correctly.
The signal level of the front inputs can also be optimized directly at the
Fireface. The key MIC/GAIN gives direct access to this setting, which is
then controlled by the encoders 1 and 2. A two-colour LED beside the
sockets signals overload by a colour change from green to red.
The digital outputs of the Fireface UFX provide AES/EBU (SPDIF compatible) and ADAT optical
signals at the corresponding ports.
On the analog playback side (the DA side), a coarse adjustment of the analog output level at
the rear jacks is available in TotalMix (Output Channel Settings, Level) or the Channel Settings
directly at the device.
The output signal of channels 9/10 and 11/12 is available on the front.
Their output level can be set using the VOLUME encoder. This output is a
very low impedance type, which can also be used to connect headphones.
The Fireface UFX can store and load its current state in 6 different
memory slots, called Setups. With this, the Fireface UFX can be used
stand-alone after setting it up accordingly, replacing lots of dedicated
devices (see chapter 25).
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User's Guide Fireface UFX © RME
User's Guide
Fireface UFX
Installation and Operation – Windows
User's Guide Fireface UFX © RME
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6. Hardware Installation
USB
• Use the power cord to connect the Fireface with any suitable power outlet.
• Connect computer and Fireface using the supplied USB cable.
• Power on computer and UFX.
Chapter 32.3 explains how to find the ideal USB port.
FireWire
• Use the power cord to connect the Fireface with any suitable power outlet.
• Connect computer and Fireface using the supplied 6-pin FireWire cable (IEEE1394a). In
case your computer does not have any FireWire port, PCI, PCI Express, CardBus and ExpressCard cards can be used to add them. In case your notebook does not have a 6-pin
jack, or did not include a 6-pin to 4-pin adapter: such adapters are available in your local
computer store.
• Power on the computer. Switch on the Fireface when Windows shows the desktop.
: FireWire and USB can be connected at the same time. However, the unit will use only
Note
one port. After power-on, USB has priority.
7. Driver and Firmware
7.1 Driver Installation
After the Fireface UFX has been switched on (see 6. Hardware Installation), the hardware as-
sistant finds a Fireface UFX. Insert the RME Driver CD into your CD-ROM drive, and follow
further instructions which appear on your computer screen. The driver files are located in the
directory \Fireface_USB and \Fireface_FW on the RME Driver CD.
Windows now installs the driver of the Fireface UFX and
registers it as a new audio device in the system. After a
reboot, the symbols of TotalMix and Settings dialog will
appear in the task bar.
In case the Hardware Wizard does not show up automatically after installation of the card,
do not attempt to install the drivers manually! An installation of drivers for non-recognized
hardware will cause a blue screen when booting Windows!
In Windows 7 Microsoft removed the automatic start of the Driver Software Update dialog. The-
refore this dialog has to be started manually after the failed driver installation. Hit the Windows
key, type 'Device Manager', start the Device Manager by selecting it from the list and hit Enter.
The device is shown with a yellow warning symbol. Usually it is already found in the correct
category, Sound, Video and Game Controller (Plug & Play detects a multimedia device). Right
click on the device and select 'Update Driver Software' from the context menu.
The dialog Update Driver Software appears. Now follow the instructions given below.
Possible reasons why a Fireface is not found automatically:
• The USB or FireWire port is not active in the system (check in Device Manager)
• The USB or FireWire cable is not, or not correctly inserted into the socket
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User's Guide Fireface UFX © RME
7.2 Driver Update
When facing problems with the automatic driver update, the user-driven way of driver installation will work.
Under >Control Panel /System /Device Manager /Sound, Video and Game Controllers /RME
Fireface UFX /Properties /Driver< you'll find the 'Update Driver' button.
XP: Select 'Install from a list or specific location (advanced)', click 'Next', select 'Don't
search I will choose the driver to install', click 'Next', then 'Have Disk'. Now point to the
driver update's directory.
Vista/7: Select 'Browse my computer for driver software', then 'Let me pick from a list of
device drivers from my computer', then 'Have Disk'. Now point to the driver update's direc-
tory.
This method also allows for the installation of older drivers than the currently installed ones.
7.3 De-installing the Drivers
A de-installation of the Fireface's driver files is not necessary – and not supported by Windows
anyway. Thanks to full Plug & Play support, the driver files will not be loaded after the hardware
has been removed. If desired these files can then be deleted manually.
Unfortunately Windows Plug & Play methods do not cover the additional autorun entries of TotalMix, the Settings dialog, and the registration of the ASIO driver. These entries can be removed from the registry by a software de-installation request. This request can be found (like all
de-installation entries) in Control Panel, Software. Click on the entry 'RME Fireface'.
7.4 Firmware Update
The Flash Update Tool updates the firmware of the Fireface UFX to the latest version. It requires an already installed driver.
Start the program fut_usb.exe. The Flash
Update Tool displays the current revision of
the Fireface firmware, and whether it needs
an update or not. If so, then simply press the
'Update' button. A progress bar will indicate
when the flash process is finished (Verify Ok).
After the update the unit needs to be reset.
This is done by powering down the Fireface
for a few seconds.
Attention
off for less than 5 seconds, because Windows
completely unloads the driver, which takes
some time to finish.
A reboot of the computer is not necessary.
When the update unexpectedly fails (status: failure), the unit's Safety BIOS will be used from
the next boot on, the unit stays fully functional. The flash process should then be tried again.
: the Fireface should not be switched
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8. Configuring the Fireface
8.1 Settings dialog - General
Configuration of the Fireface UFX is done via its own settings dialog. The panel 'Settings' can
be opened:
• by clicking on the fire symbol in the Task Bar's system tray
The mixer of the Fireface UFX, TotalMix, can be opened:
• by clicking on the double arrow symbol in the Task Bar's system tray
The hardware of the Fireface UFX offers a number of helpful, well thought-of practical functions
and options which affect how the card operates - it can be configured to suit many different
requirements.
The following is available in the 'Settings' dialog:
• Latency
• Operation of the DSP
• Configuration of the digital I/Os
• Current sample rate
• Synchronization behaviour
• State of input and output
Any changes made in the Settings
dialog are applied immediately confirmation (e.g. by clicking on OK
or exiting the dialog) is not required.
However, settings should not be
changed during playback or record
if it can be avoided, as this can
cause unwanted noises.
Also, please note that even in 'Stop'
mode, several programs keep the
recording and playback devices
open, which means that any new
settings might not be applied immediately.
The tab About includes information
about the current driver and
firmware version of the Fireface
UFX.
Buffer Size
The setting Buffer Size determines the latency between incoming and outgoing ASIO and WDM
data, as well as affecting system stability (see chapter 10.1).
Errors does not refer to buffer errors, but USB and FireWire transmission errors. The display
will be reset on any start of a playback/record. More information can be found in chapter 32.3 /
32.4.
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Options
DSP – EQ+D for Record
Switches EQ and Dynamics of all input channels into the recording path. In case Loopback has
been activated the EQ and Dynamics of the Output channel are within the recording path. See
also chapter 29.5.
ADAT2
This optical TOSLINK output can operate as ADAT or AES/SPDIF output.
AES Input
Defines the input for the AES (SPDIF) signal. 'AES' relates to the XLR socket, 'ADAT2' to the
second optical TOSLINK input. TMS activates the transmission of Channel Status data and
Track Marker information. In case these information are not required the feature should be turned off.
AES Output
The SPDIF output can have the Channel Status Consumer (SPDIF) or Professional indication.
This setting is also valid when ADAT2 has been set as AES output. For further details please
refer to chapter 23.2.
Word Clk Out
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. So at 96 kHz and
192 kHz sample rate, the output word clock is 48 kHz.
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.
Clock Source
The unit can be configured to use its own clock (Internal = Master), or one of the input signals
(Word, AES, ADAT1 and ADAT2). If the selected source isn't available (Input Status No Lock),
the unit will change to the next available one (AutoSync). If none is available then the internal
clock is used. The current clock source is displayed as Current.
Pitch
More information on Pitch is available in chapter 8.2.
Input Status
Indicates for each input (Word, AES, ADAT1, ADAT2) whether there is a valid signal (Lock, No
Lock), or if there is a valid and synchronous signal (Sync). The third column shows the sample
frequency detected by the hardware (coarse recognition, 32 kHz, 44.1 kHz, 48 kHz etc.). In
Clock Mode the clock reference is shown. See also chapter 32.1.
Bandwidth (only for the FireWire driver)
Allows to reduce the amount of bandwidth used on the FireWire bus. See chapter 32.4.
All channels (default) activates all 30 input and output channels.
Analog + AES + ADAT1 disables channels 23–30 (ADAT2).
Analog + AES activates all 12 analog channels plus AES.
Analog 1-8 activates only the first eight analog channels.
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8.2 Settings Dialog - Pitch
Usually soundcards and audio interfaces generate their internal clock (master mode) by a
quartz. Therefore the internal clock can be set to 44.1 kHz or 48 kHz, but not to a value in between. SteadyClock, RME's sensational Low Jitter Clock System, is based on a Direct Digital
Synthesizer (DDS). This superior circuitry can generate nearly any frequency with highest precision.
DDS has been implemented into the Fireface with regard to the needs of professional video
applications, as well as to maximum flexibility. The section Pitch includes both a list of typical
video frequencies (so called pull up/pull down at 0.1% and 4%) and a fader to freely change the
basic sample rate in steps of 1 Hz (!) over a range of +/- 5%.
The Pitch function requires the Fireface to be in clock mode Master! The frequency setting
will only be applied to this one specific Fireface!
Changing the sample rate during record/playback often results in a loss of audio, or brings
up warning messages of the audio software. Therefore the desired sample rate should be
set at least coarsely before starting the software.
Coarse
Coarse modification in steps of 50 Hz
is done by clicking with the mouse to
the left and right of the fader knob.
Fine
Fine modification in steps of 1 Hz is
done by using the left/right cursor
keys.
Reset
Ctrl key plus left mouse click.
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.
Pitch allows for the change of the sample rate of all WDM devices at the same time. Since Vista
this is no longer possible via the audio program, thus requires a manual reconfiguration of all
WDM devices. Changing the sample rate from the Settings dialog solves this problem. 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.
Tip: the current CPU load can be used to determine if the audio subsystem has finished the re-
configuration.
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9. Operation and Usage
9.1 Playback
The Fireface UFX can play back audio data in supported formats only (sample rate, bit resolution). Otherwise an error message appears (for example at 22 kHz and 8 bit).
In the audio application being used, Fireface must be selected as output device. This can often
be found in the Options, Preferences or Settings menus under Playback Device, Audio Devices,
Audio etc.
We strongly recommend switching all system sounds off (via >Control Panel /Sounds<). Also
Fireface should not be the Preferred Device for playback, as this could cause loss of synchroni-
zation and unwanted noises. If you feel you cannot do without system sounds, you should con-
sider buying a cheap Blaster clone and select this as Preferred Device in >Control Panel
/Multimedia /Audio< or >Control Panel /Sound /Playback<.
The screenshot shows a typical configuration dialog of a (stereo) wave editor. Audio data is
sent to an analog or digital port, depending on which has been selected as playback device.
Increasing the number and/or size of audio buffers may prevent the audio signal from breaking
up, but also increases latency i.e. output is delayed. For synchronized playback of audio and
MIDI (or similar), be sure to activate the checkbox ‘Get position from audio driver’.
Note on Windows Vista/7
Since Vista the audio application can no longer control the sample rate under WDM. Instead the
user has to work himself through numerous settings (16 with the UFX!), and to set the sample
rate to the same value per stereo device.
Therefore the driver of the Fireface UFX includes a workaround: the sample rate can be set
globally for all WDM devices within the Settings dialog, see chapter 8.1.
:
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9.2 DVD-Playback (AC-3/DTS)
AC-3 / DTS
When using popular DVD software players like WinDVD and PowerDVD, their audio data
stream can be sent to any AC-3/DTS capable receiver using the Fireface's SPDIF output. For
this to work, the WDM SPDIF device of the Fireface has to be selected in >Control Panel/
Sounds and Multimedia/ Audio< or >Control Panel/ Sound/Playback<. Also check 'use preferred
device only'.
The DVD software's audio properties now show the options 'SPDIF Out' or similar. When selecting it, the software will transfer the non-decoded digital multichannel data stream to the Fireface.
: This 'SPDIF' signal sounds like chopped noise at highest level. Try to avoid mixing and
Note
routing the signal to your loudspeakers, as they might get damaged.
Multichannel
PowerDVD and WinDVD can also operate as software decoder, sending a DVD's multichannel
data stream directly to the analog outputs of the Fireface. For this to work select the WDM playback device ’Loudspeaker’ of the Fireface in
XP: >Control Panel/ Sounds and Multimedia/ Audio<, and check 'Use only default devices'.
Additionally the loudspeaker setup, found under >Volume/ Speaker Settings/ Advanced< has to
be changed from Stereo to 5.1 Surround.
Vista/7: >Control Panel/ Sound/ Playback < as ‘Standard’. Additionally the loudspeaker setup,
found under >Configuration<, has to be changed from Stereo to 5.1 Surround.
PowerDVD's and WinDVD's audio properties now list several multichannel modes. If one of
these is selected, the software sends the decoded analog multichannel data to the Fireface.
TotalMix can then be used to play back via any desired output channels.
The typical channel assignment for surround playback is:
1 - Left
2 - Right
3 - Center
4 - LFE (Low Frequency Effects)
5 - SL (Surround Left)
6 - SR (Surround Right)
: Selecting the Fireface to be used as system playback device is against our recommen-
Note 1
dations, as professional interfaces should not be disturbed by system events. Make sure to reassign the selection after usage or to disable any system sounds (tab Sounds, scheme 'No
audio').
Note 2
: The DVD player will be synced backwards from the Fireface. This means when using
AutoSync and/or word clock, the playback speed and pitch follows the incoming clock signal.
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9.3 Notes on WDM
The driver offers a WDM streaming device per stereo pair, like Analog 3+4 (Fireface UFX).
WDM streaming is Microsoft's current driver and audio system, directly embedded into the operating system. WDM streaming is hardly usable for professional music purposes, as all data is
processed by the so called Kernel Mixer, causing a latency of at least 30 ms. Additionally, WDM
can perform sample rate conversions unnoticed, cause offsets between record and playback
data, block channels unintentionally and much more.
Several programs do not offer any direct device selection. Instead they use the playback device
selected in Windows under
XP: <Control Panel/ Sounds and Multimedia/ Audio>
Vista/7: <Control Panel/ Sound/ Playback>
The program Sonar from Cakewalk is unique in many ways. Sonar uses the so called WDM
Kernel Streaming, bypassing the WDM mixer, thus achieves a similar performance to ASIO.
Because of the driver's multichannel streaming ability, Sonar not only finds the stereo device
mentioned above, but also the 8-channel interleaved devices, and adds the channel number at
the end:
Fireface Analog (1+2) 1/2 is the first stereo device
Fireface Analog (3+4) is the next stereo device
Fireface Analog (1+2) 3/4 are the channels 3/4 of the first 8-channel interleaved device.
It is not recommended to use these special interleaved devices. Also it is not possible to use
one stereo channel twice (the basic and the interleaved device).
Multi-Channel using WDM
The WDM Streaming device Loudspeaker (Analog 1+2) of the RME driver can operate as usual
stereo device, or as up to 8-channel device.
An 8-channel playback using the Windows Media Player requires the speaker setup 7.1 Sur-
round. Configure as follows:
XP: >Control Panel /Sounds and Multimedia /Audio /Volume /Speaker Settings /Advanced <
Vista/7: >Control Panel /Sound /Playback /Loudspeaker /Configure <
User's Guide Fireface UFX © RME
21
9.4 Channel Count under WDM
The HDSP system’s ADAT optical interfaces allow to record sample rates of up to 192 kHz using a standard ADAT recorder. For this to work single-channel 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.
WDM Stereo device Double Speed Quad Speed
Fireface Analog (1+2) Fireface Analog (1+2) Fireface Analog (1+2)
Fireface Analog (3+4) Fireface Analog (3+4) Fireface Analog (3+4)
Fireface Analog (5+6) Fireface Analog (5+6) Fireface Analog (5+6)
Fireface Analog (7+8) Fireface Analog (7+8) Fireface Analog (7+8)
Fireface Analog (9+10) Fireface Analog (9+10) Fireface Analog (9+10)
Fireface SPDIF Fireface SPDIF Fireface SPDIF
Fireface ADAT 1 (1+2) Fireface ADAT 1 (1+2) Fireface ADAT 1 (1+2)
Fireface ADAT 1 (3+4) Fireface ADAT 1 (3+4) Fireface ADAT 1 (3+4)
Fireface ADAT 1 (5+6) Fireface ADAT 1 (5+6) Fireface ADAT 1 (5+6)
Fireface ADAT 1 (7+8) Fireface ADAT 1 (7+8) Fireface ADAT 1 (7+8)
Fireface ADAT 2 (1+2) Fireface ADAT 2 (1+2) Fireface ADAT 2 (1+2)
Fireface ADAT 2 (3+4) Fireface ADAT 2 (3+4) Fireface ADAT 2 (3+4)
Fireface ADAT 2 (5+6) Fireface ADAT 2 (5+6) Fireface ADAT 2 (5+6)
Fireface ADAT 2 (7+8) Fireface ADAT 2 (7+8) Fireface ADAT 2 (7+8)
Note: Under Vista/7 the analog outputs 1/2 show up as Loudspeaker.
9.5 Multi-client Operation
RME audio interfaces support multi-client operation. This means several programs can be used
at the same time. Also ASIO and WDM can be used simultaneously. The use of multi-client
operation requires to follow two simple rules:
• Multi-client operation requires identical sample rates!
I.e. it is not possible to use one software with 44.1 kHz and the other with 48 kHz.
• Different software can not use the same channels at the same time.
If for example Cubase uses channels 1/2, this playback pair can't be used in WaveLab, no matter if ASIO or WDM. However, this is no limitation at all, because TotalMix allows for any output
routing, and therefore a playback of multiple software on the same hardware outputs. Note that
identical inputs can be used at the same time, as the driver simply sends the data to all applications simultaneously.
ASIO-Multiclient
RME audio interfaces support ASIO multi-client operation. It is possible to use more than one
ASIO software at the same time. Again the sample rate has to be identical, and each software
has to use its own playback channels. Again the inputs can be used simultaneously.
RME's sophisticated tool DIGICheck is an exception to this rule. It operates like an ASIO host,
using a special technique to access playback channels already occupied. Therefore DIGICheck
is able to analyse and display playback data from any software, no matter which format the
software uses.
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User's Guide Fireface UFX © RME
9.6 Analog Recording
For recordings via the analog inputs the corresponding record device has to be chosen (Fireface UFX Analog (x+x)).
The input sensitivity of the rear inputs can be changed in three steps 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.
The level of the front-side analog inputs can be optimized via TotalMix (Input Channel Settings,
Gain), or directly at the Fireface UFX by the key Mic/Gain and the encoders 1/2. A double coloured signal and clip LED provides useful information about the current level state.
Further information is found in chapters 21.1 and 21.2.
It often makes sense to monitor the input signal or send it directly to the output. This can be
done at zero latency using TotalMix (see chapter 21).
An automated control of real-time monitoring can be achieved by Steinberg’s ASIO protocol
with RME’s ASIO drivers and all ASIO 2.0 compatible programs. When 'ASIO Direct Monitoring'
has been switched on, the input signal is routed in real-time to the output whenever a recording
is started (punch-in).
9.7 Digital Recording
Unlike analog soundcards which produce empty wave files (or noise) when no input signal is
present, digital interfaces always need a valid input signal to start recording.
Taking this into account, RME added a
comprehensive I/O signal status display to
the Fireface UFX, showing sample frequency,
lock and sync status for every input, and
several status LEDs directly at the unit.
The sample frequency shown in the fields
Clock Mode and Input Status is useful as a
quick display of the current configuration of
the unit and the connected external
equipment. If no sample frequency is
recognized, it will read ‘No Lock’.
This way, configuring any suitable audio application for digital recording is simple. After selecting the correct input, Fireface UFX displays the current sample frequency. This parameter can
then be changed in the application’s audio attributes (or similar) dialog.
User's Guide Fireface UFX © RME
23
9.8 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 UFX utilizes a very user-friendly, intelligent clock control, called AutoSync. In
AutoSync mode, the system constantly scans the digital input for a valid signal. If any valid sig-
nal is found, the Fireface switches from the internal quartz (Clock Mode – Current Internal) to a
clock extracted from the input signal (Clock Mode – Current ADAT, AES or Word). The differ-
ence to a usual slave mode is that whenever the clock reference fails, the system will automatically use its internal clock and operate in clock mode Master.
AutoSync guarantees that record and record-while-play will always work correctly. In certain
cases however, e.g. when the inputs and outputs of a DAT machine are connected directly to
the Fireface UFX, AutoSync may cause feedback in the digital carrier, so synchronization
breaks down. To solve this problem switch the Fireface clock mode to Master (Clock Source –
Internal).
The Fireface's ADAT optical and AES inputs operate simultaneously. Because there is no input
selector however, the unit has to be told which of the signals is the sync reference (a digital
device can only be clocked from a single source). By selecting a Clock Source a preferred input
is defined. As long as the unit sees a valid signal there, this input will be designated as the sync
source.
In some situations changing the clock mode can not be avoided. Example: An ADAT recorder is
connected to the ADAT input (ADAT immediately becomes the AutoSync source) and a CD
player is connected to the AES input. Try recording a few samples from the CD and you will be
disappointed - few CD players can be synchronized. The samples will inevitably be corrupted,
because the signal from the CD player is read with the clock from the ADAT. In this case the
Clock Source should be temporarily set to AES.
RME’s exclusive SyncCheck technology (first implemented in the Hammerfall) enables an easy
to use check and display of the current clock status. SyncCheck indicates whether there is a
valid signal (Lock, No Lock) for each input (Word Clock, ADAT, AES), or if there is a valid and
synchronous signal (Sync). In the field Clock Mode the clock reference is shown. See chapter
32.1.
Under WDM the Fireface will (has to)
set the sample rate. Therefore the
error shown to the right can occur. A
stable signal with a sample rate of 32
kHz is detected at the ADAT input
(Sync), but Windows audio had been
set to 44100 Hz before. The red color
of the text label signals the error
condition, and prompts the user to set
32000 Hz manually as sample rate.
Under ASIO the audio software sets
the sample rate, so that such an error
can not happen. If the input sample
rate is different then there will be no
Sync indication.
In practice, SyncCheck provides the user with an easy way of checking whether all digital devices connected to the system are properly configured. With SyncCheck, finally anyone can
master this common source of error, previously one of the most complex issues in the digital
studio world.
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10. Operation under ASIO
10.1 General
Start the ASIO software and select ASIO Fireface USB as the audio I/O device or the audio
driver.
The Fireface UFX supports ASIO Direct Monitoring (ADM).
The Fireface UFX MIDI I/O can be used with both MME MIDI and DirectMusic MIDI.
10.2 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 176.4 and 192 kHz, the ADAT optical input and output operates in S/MUX4
mode, so the number of available channels is limited to 2.
: When changing the sample rate range between Single, Double and Quad Speed the
Note
number of channels presented from the ASIO driver will change too. This may require a reset of
the I/O list in the audio software.
Single Speed Double Speed Quad Speed
Fireface Analog 1 to 12 Fireface Analog 1 to 12 Fireface Analog 1 to 12
Fireface AES L / R Fireface AES L / R Fireface AES L / R
Fireface ADAT 1 to 16 Fireface ADAT 1 to 8 Fireface ADAT 1 to 4
User's Guide Fireface UFX © RME
25
10.3 Known Problems
If a computer does not provide sufficient CPU-power and/or sufficient USB or PCI* bus transfer
rates, then drop outs, crackling and noise will appear. Raising the buffer size in the Settings
dialog of the Fireface UFX 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 32.3.
*The note on PCI is not an error in this manual: very often FireWire controllers are connected to
the PCI bus. Therefore the same problems known from PCI audio cards can occur with FireWire audio interfaces as well. Further information is found in chapter 32.4.
Another common source of trouble is incorrect synchronization. ASIO does not support asynchronous operation, which means that the input and output signals not only have to use the
same sample frequency, but also have to be in sync. All devices connected to the Fireface UFX
must be properly configured for Full Duplex operation. As long as SyncCheck (in the Settings
dialog) only displays Lock instead of Sync, the devices have not been set up properly!
The same applies when using more than one Fireface UFX - they all have to be in sync. Else a
periodically repeated noise will be heard.
Fireface UFX supports ASIO Direct Monitoring (ADM). Please note that not all programs sup-
port ADM completely or error-free. The most often reported problem is the wrong behaviour of
panorama in a stereo channel.
In case of a drift between audio and MIDI, or in case of a fixed deviation (MIDI notes placed
close before or behind the correct position), the settings in Cubase/Nuendo have to be
changed. At the time of print the option 'Use System Timestamp' should be activated. The Fireface supports both MME MIDI and DirectMusic MIDI. It depends on the used application which
one will work better.
11. Using more than one Fireface UFX
The current driver supports up to three Fireface UFX. All units have to be in sync, i.e. have to
receive valid sync information (either via word clock or by using AutoSync and feeding synchronized signals).
• If one of the Firefaces is set to clock mode Master, all others have to be set to clock mode
AutoSync, and have to be synced from the master, for example by feeding word clock. The
clock modes of all units have to be set up correctly in the Fireface Settings dialog.
• If all units are fed with a synchronous clock, i.e. all units show Sync in their Settings dialog,
all channels can be used at once. This is especially easy to handle under ASIO, as the
ASIO driver presents all units as one.
Note
: TotalMix is part of the hardware of each Fireface. Up to three mixers are available, but
these are separated and can't interchange data. Therefore a global mixer for all units is not
possible.
In real-world an operation of more than one Fireface UFX makes no sense and is therefore not
actively supported by RME. Each further unit would lead to problems on the USB and FireWire
bus, caused by the high number of channels. The UFX has been developed as monitor controller and – not extendable – digital mixer. It makes more sense to connect external converters to
the ADAT I/Os of the UFX, adding up to 16 channels of analog record and analog playback.
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12. 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 5.31 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. High precision 24-bit resolution, 2/10/28 channels. Application examples: Peak
level measurement, RMS level measurement, over-detection, phase correlation measurement, dynamic range and signal-to-noise ratios, RMS to peak difference (loudness), long
term peak measurement, input check. Oversampling mode for levels higher than 0 dBFS.
Supports visualization according to the K-System.
• Hardware Level Meter for Input, Playback and Output. Reference Level Meter freely con-
figurable, causing near zero CPU load, because calculated from the Fireface hardware.
• Vector Audio Scope. World wide unique Goniometer showing the typical afterglow of a
oscilloscope-tube. Includes Correlation meter and level meter.
• Surround Audio Scope. Professional Surround Level Meter with extended correlation
analysis, ITU weighting and ITU summing meter.
• Spectral Analyser. World wide unique 10-, 20- or 30-band display in analog bandpass-filter
technology. 192 kHz-capable!
• Bit Statistics & Noise. Shows the true resolution of audio signals as well as errors and DC
offset. Includes Signal to Noise measurement in dB and dBA, plus DC measurement.
• Totalyser. Spectral Analyser, Level Meter and Vector Audio Scope in a single window.
• Channel Status Display. Detailed analysis and display of SPDIF and AES/EBU Channel
Status data.
• Global Record. Long-term recording of all channels at lowest system load.
• Completely multi-client. Open as many measurement windows as you like, on any chan-
nels and inputs or outputs!
To install DIGICheck, go to the \DIGICheck directory on the RME Driver CD and run setup.exe.
Follow the instructions prompted on the screen.
DIGICheck is constantly updated. The latest version is always available on our website
www.rme-audio.com, section Downloads / DIGICheck.
User's Guide Fireface UFX © RME
27
13. Hotline – Troubleshooting
16.1 General
The newest information can always be found on our website www.rme-audio.com, section FAQ,
Latest Additions.
The 8 ADAT channels don’t seem to work
• The optical output ADAT2 has been switched to AES/SPDIF. As can be seen in the block
diagram, all channels and their assignments still exist, but the optical transmitter has been
disconnected from ADAT2 and is now fed from the AES output (channels 13/14). The
ADAT2 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.
• Check whether the Fireface UFX has been selected as recording device in the audio application.
• Check whether the sample frequency set in the audio application (‘Recording properties’ or
similar) matches the input signal.
• Check that cables/devices have not been connected in a closed loop. If so, set the system’s
clock mode to Master.
Crackle during record or playback
• Increase the number and size of buffers in the ‘Settings’ dialog or in the application.
• Try different cables (coaxial or optical) to rule out any defects here.
• Check that cables/devices have not been connected in a closed loop. If so, set the system’s
clock mode to ‘Master’.
• Check the Settings dialog for displayed Errors.
Driver installation and Settings dialog/TotalMix work, but a playback or record is not possible
• While recognition and control of the device are low bandwidth applications, playback/record
needs the full FireWire transmission performance. Therefore, defective FireWire cables with
limited transmission bandwidth can cause such an error scheme. The same is true for USB
cables.
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User's Guide Fireface UFX © RME
User's Guide
Fireface UFX
Installation and Operation – Mac OS X
User's Guide Fireface UFX © RME
29
14. Hardware Installation
USB
• Use the power cord to connect the Fireface with any suitable power outlet.
• Connect computer and Fireface using the supplied USB cable.
• Power on computer and UFX.
The Mac OS detects the hardware as Fireface (serial number).
FireWire
• Use the power cord to connect the Fireface with any suitable power outlet.
• Connect computer and Fireface using the supplied 6-pin FireWire cable (IEEE1394a). In
case your computer does not have any FireWire port, PCI, PCI Express, CardBus and ExpressCard cards can be used to add them. In case your notebook does not have a 6-pin
jack, or did not include a 6-pin to 4-pin adapter: such adapters are available in your local
computer store.
• Power on the computer. Switch on the Fireface when Windows shows the desktop.
: FireWire and USB can be connected at the same time. However, the unit will use only
Note
one port. After power-on, USB has priority.
15. Driver and Firmware
15.1 Driver Installation
After the Fireface has been switched on (see 14. Hardware Installation) install the drivers from
the RME Driver CD. The driver files are located in the folder \Fireface_USB and \Fireface_FW
on the RME Driver CD. Installation works automatically by a double-click on the file Fireface
USB.pkg or Fireface.pkg.
RME recommends downloading the latest driver version from the RME website. If done, the
procedure is as follows:
A double-click onto driver_usb_mac.zip expands the archive file to Fireface USB.pkg. Instal-
lation works automatically by a double-click on this file.
A double-click onto fireface_x86.zip expands the archive file to Fireface.pkg. Installation
works automatically by a double-click on this file.
During driver installation the programs Fireface USB Settings and Fireface USB Mixer (TotalMix FX), or Fireface Settings and Fireface Mixer respectively, are copied to the Applica-
tions folder. It is recommended to link these two programs to the Dock so that they are always
available.
Possible reasons why a Fireface is not found automatically:
• The USB or FireWire port is not active in the system (check in Device Manager)
• The USB or FireWire cable is not, or not correctly inserted into the socket
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15.2 Driver Update
In case of a driver update it's not necessary to remove the old driver first, it will be overwritten
during the installation. In case of problems the driver files can be deleted manually by dragging
them to the trash bin:
USB
/Applications/Fireface USB Mixer
/Applications/Fireface USB Settings
/System/Library/Extensions/FirefaceUSB.kext
/Users/username/Library/Preferences/Fireface USB Folder
/Users/username/Library/Preferences/de.rme-audio.FirefaceUSBMixer.plist
/Users/username/Library/Preferences/de.rme-audio.TotalmixFX.plist
/Users/username/Library/Preferences/de.rme-audio.Fireface_USB_Settings.plist
/Library/LaunchAgents/de.rme-audio.firefaceUSBAgent.plist
FireWire
/Applications/Fireface Mixer
/Applications/Fireface Settings
/System/Library/Extensions/FirefaceAudioDriver.kext
/Users/username/Library/Preferences/Fireface Folder
/Users/username/Library/Preferences/com.rme.FirefaceMixer.plist
/Users/username/Library/Preferences/de.rme-audio.TotalmixFX.plist
/Users/username/Library/Preferences/de.rme-audio.FirefaceSettings.plist
/Library/LaunchAgents/de.rme-audio.firefaceAgent.plist
15.3 Firmware Update
The Flash Update Tool updates the firmware of the Fireface UFX to the latest version. It requires an already installed driver.
Start the program Fireface USB Flash. The Flash Update Tool displays the current revision of
the Fireface firmware, and whether it needs an update or not. If so, simply press the 'Update'
button. A progress bar will indicate when the flash process is finished (Verify Ok).
After the update the Fireface UFX needs to be reset. This is done by powering down the Fireface for a few seconds. A reboot of the computer is not necessary.
When the update fails (status: failure), the unit's second BIOS will be used from the next cold
boot on (Secure BIOS Technology). Therefore the unit stays fully functional. The flash process
should then be tried again on a different computer.
User's Guide Fireface UFX © RME
31
16. Configuring the Fireface
16.1 Settings Dialog
Configuring the Fireface is done via its own settings dialog. Start the program Fireface USB
Settings. The mixer of the Fireface UFX (TotalMix FX) can be configured by starting the pro-
gram Fireface USB Mixer.
The Fireface’s hardware offers a number of helpful, well thought-out practical functions and
options which affect how the card operates - it can be configured to suit many different requirements.
The following is available in the 'Settings' dialog:
• Operation of the DSP
• Configuration of digital I/Os
• Current sample rate
• Synchronization behaviour
• State of input and output
Any changes performed in the
Settings dialog are applied
immediately - confirmation (e.g. by
exiting the dialog) is not required.
However, settings should not be
changed during playback or
record if it can be avoided, as this
can cause unwanted noises.
Use the drop down menu
Properties For to select the unit
to be configured.
On the right of it the current
firmware and driver version is
shown.
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User's Guide Fireface UFX © RME
Options
DSP – EQ+D for Record
Switches EQ and Dynamics of all input channels into the recording path. In case Loopback has
been activated the EQ and Dynamics of the Output channel are within the recording path. See
also chapter 29.5.
ADAT2
This optical TOSLINK output can operate as ADAT or AES/SPDIF output.
AES Input
Defines the input for the AES (SPDIF) signal. 'AES' relates to the XLR socket, 'ADAT2' to the
second optical TOSLINK input.
AES Output
The SPDIF output can have the Channel Status Consumer (SPDIF) or Professional indication.
This setting is also valid when ADAT2 has been set as AES output. For further details please
refer to chapter 23.2.
Word Clk Out
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. So at 96 kHz and
192 kHz sample rate, the output word clock is 48 kHz.
Clock Mode
Sample Rate
Used to set the current sample rate. This is the same setting as in the Audio MIDI Setup, just
added here for your convenience.
The unit can be configured to use its own clock (Internal = Master), or one of the input signals
(Word, AES, ADAT1 and ADAT2). If the selected source isn't available (Input Status No Lock),
the unit will change to the next available one (AutoSync). If none is available then the internal
clock is used. The current clock source is displayed as Current.
Input Status
Indicates for each input (Word, AES, ADAT1, ADAT2) whether there is a valid signal (Lock, No
Lock), or if there is a valid and synchronous signal (Sync). The third column shows the sample
frequency detected by the hardware (coarse recognition, 32 kHz, 44.1 kHz, 48 kHz etc.). In
Clock Mode the clock reference is shown. See also chapter 32.1.
Bandwidth (only for the FireWire driver)
Allows to reduce the amount of bandwidth used on the FireWire bus. See chapter 32.4.
All channels (default) activates all 30 input and output channels.
Analog + AES + ADAT1 disables channels 23–30 (ADAT2).
Analog + AES activates all 12 analog channels plus AES.
Analog 1-8 activates only the first eight analog channels.
User's Guide Fireface UFX © RME
33
16.2 Clock Modes - Synchronization
In the digital world, all devices must be either Master (clock source) or Slave (clock receiver).
Whenever several devices are linked 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 UFX utilizes a very user-friendly, intelligent clock control, called AutoSync. In
AutoSync mode, the system constantly scans the digital input for a valid signal. If any valid sig-
nal is found, the Fireface switches from the internal quartz (Clock Mode – Current Internal) to a
clock extracted from the input signal (Clock Mode – Current ADAT, AES or Word). The differ-
ence to a usual slave mode is that whenever the clock reference fails, the system will automatically use its internal clock and operate in clock mode Master.
AutoSync guarantees that record and record-while-play will always work correctly. In certain
cases however, e.g. when the inputs and outputs of a DAT machine are connected directly to
the Fireface UFX, AutoSync may cause feedback in the digital carrier, so synchronization
breaks down. To solve this problem switch the Fireface clock mode to Master (Clock Source –
Internal).
The Fireface's ADAT optical and AES inputs operate simultaneously. Because there is no input
selector however, the unit has to be told which of the signals is the sync reference (a digital
device can only be clocked from a single source). By selecting a Clock Source a preferred input
is defined. As long as the unit sees a valid signal there, this input will be designated as the sync
source.
In some situations changing the clock mode can not
be avoided. Example: An ADAT recorder is
connected to the ADAT input (ADAT immediately
becomes the AutoSync source) and a CD player is
connected to the AES input. Try recording a few
samples from the CD and you will be disappointed few CD players can be synchronized. The samples
will inevitably be corrupted, because the signal from
the CD player is read with the clock from the ADAT.
In this case the Clock Source should be temporarily
set to AES.
RME’s exclusive SyncCheck technology (first implemented in the Hammerfall) enables an easy
to use check and display of the current clock status. SyncCheck indicates whether there is a
valid signal (Lock, No Lock) for each input (Word Clock, ADAT, AES), or if there is a valid and
synchronous signal (Sync). In the field Clock Mode the clock reference is shown. See chapter
32.1.
In practice, SyncCheck provides the user with an easy way of checking whether all digital devices connected to the system are properly configured. With SyncCheck, finally anyone can
master this common source of error, previously one of the most complex issues in the digital
studio world.
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User's Guide Fireface UFX © RME
17. Mac OS X FAQ
17.1 Round about Driver Installation
The driver with the file suffix zip provided by RME is a compressed archive. Zip is directly sup-
ported by OS X, a double click on the file is all one needs to do.
The driver consists of a package file (pkg). A double click will start the OS X installer.
The actual audio driver appears as a kernel extension file. The installer copies it to >System/
Library/ Extensions<. Its name is FirefaceUSB.kext. It is visible in the Finder, allowing you to
verify date and driver version. Yet, in fact this again is a folder containing subdirectories and
files.
Nonetheless, this 'driver file' can be removed by simply dragging it to the trash bin. This can be
helpful in case a driver installation fails.
17.2 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 is class compliant. Therefore it comes without a driver. OS X recognizes it as MIDI
device and will be using it with the driver included in the operating system.
17.3 Repairing Disk Permissions
Repairing permission can solve problems with the installation process - plus many others. To do
this, launch Disk Utility located in Utilities. Select your system drive in the drive/volume list to
the left. The First Aid tab to the right now allows you to check and repair disk permissions.
17.4 Supported Sample Rates
RME's Mac OS X driver supports all sampling frequencies provided by the hardware. This in-
cludes 32 kHz and 64 kHz, and even 128 kHz, 176.4 kHz and 192 kHz.
But not any software will support all the hardware's sample rates. The hardware's capabilities
can easily be verified in the Audio MIDI Setup. Select Audio devices under Properties of:
and choose the Fireface. A click on Format will list the supported sample frequencies.
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35
17.5 Channel Count under Core Audio
At a sample rate of 88.2 or 96 kHz, the ADAT optical input and output operates in S/MUX mode,
so the number of available channels is reduced from 8 to 4.
At a sample rate of 176.4 and 192 kHz, the ADAT optical input and output operates in S/MUX4
mode, so the number of available channels is limited to 2.
It is not possible to change the number of Core Audio devices without a reboot of the computer.
Therefore whenever the Fireface changes into Double Speed (88.2/96 kHz) or Quad Speed
mode (176.4/192 kHz) all devices stay present, but become partly inactive.
Single Speed Double Speed Quad Speed
Fireface Analog 1 to 12 Fireface Analog 1 to 12 Fireface Analog 1 to 12
Fireface AES L / R Fireface AES L / R Fireface AES L / R
Fireface ADAT 1 to 16 Fireface ADAT 1 to 8 Fireface ADAT 1 to 4
17.6 Various Information
The driver of the Fireface requires at least Mac OS 10.5, as special USB functions are used that
are not available in older versions of the operating system.
Via >System Preferences/ Audio-MIDI Setup< the hardware can be configured for the system
wide usage. Programs that don't support card or channel selection will use the device selected
as Standard-Input and Standard-Output. (Soundstudio, Mplayer, Amplitube etc.).
In the lower part of the window, the audio hardware's capabilities are shown and can be
changed in some cases. On the record side no changes are possible. 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. In the channel settings of outputs 1/2 activate Loopback. Result: the desired input signal is
now available at input channel 1/2, without further delay/latency.
Use Speaker Setup to freely configure the playback to all available channels. Even multichan-
nel playback (Surround, DVD Player) can be set up this way.
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18. Using more than one Fireface
OS X supports the usage of more than one audio device within an audio software. This is done
via the Core Audio function Aggregate Devices, which allows to combine several devices into
one.
The current driver supports up to three Fireface 400 or 800. All units have to be in sync, i.e.
have to receive valid sync information either via word clock or by feeding synchronized signals.
• If one of the Firefaces is set to clock mode Master, all others have to be set to clock mode
Slave, and have to be synced from the master, for example by feeding word clock. The
clock modes of all units have to be set up correctly in the Fireface Settings dialog.
• If all units are fed with a synchronous clock, i.e. all units show Sync in their Settings dialog,
all channels can be used at once.
Note
: TotalMix is part of the hardware of each Fireface. Up to three mixers are available, but
these are separated and can't interchange data. Therefore a global mixer for all units is not
possible.
In real-world an operation of more than one Fireface UFX makes no sense and is therefore not
actively supported by RME. Each further unit would lead to problems on the USB and FireWire
bus, caused by the high number of channels. The UFX has been developed as monitor controller and – not extendable – digital mixer. It makes more sense to connect external converters to
the ADAT I/Os of the UFX, adding up to 16 channels of analog record and analog playback.
19. DIGICheck Mac
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 0.64 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, 2/10/28 channels. Application examples: Peak
level measurement, RMS level measurement, over-detection, phase correlation measurement, dynamic range and signal-to-noise ratios, RMS to peak difference (loudness), long
term peak measurement, input check. Oversampling mode for levels higher than 0 dBFS.
Supports visualization according to the K-System.
• Hardware Level Meter for Input, Playback and Output. Reference Level Meter freely con-
figurable, causing near zero CPU load, because calculated from the Fireface hardware.
• Vector Audio Scope. World wide unique Goniometer showing the typical afterglow of a
oscilloscope-tube. Includes Correlation meter and level meter.
• Surround Audio Scope. Professional Surround Level Meter with extended correlation
analysis, ITU weighting and ITU summing meter.
• Spectral Analyser. World wide unique 10-, 20- or 30-band display in analog bandpass filter
technology. 192 kHz-capable!
• Totalyser. Spectral Analyser, Level Meter and Vector Audio Scope in a single window.
• Completely multi-client. Open as many measurement windows as you like, on any chan-
nels and inputs or outputs!
To install DIGICheck, go to the \DIGICheck directory on the RME Driver CD and run setup.exe.
Follow the instructions prompted on the screen.
DIGICheck is constantly updated. The latest version is always available on our website
www.rme-audio.com, section Downloads / DIGICheck.
User's Guide Fireface UFX © RME
37
20. 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:
• Is Fireface UFX listed in the System Profiler? (Vendor ID 2613).
• Has Fireface been selected as current playback device in the audio application?
The 8 ADAT channels don’t seem to work
• The optical output ADAT2 has been switched to AES/SPDIF. As can be seen in the block
diagram, all channels and their assignments still exist, but the optical transmitter has been
disconnected from ADAT2 and is now fed from the AES output (channels 13/14). The
ADAT2 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.
• Check whether the Fireface UFX has been selected as recording device in the audio application.
• Check whether the sample frequency set in the audio application (‘Recording properties’ or
similar) matches the input signal.
• Check that cables/devices have not been connected in a closed loop. If so, set the system’s
clock mode to ‘Master’.
Crackle during record or playback:
• Increase the number and size of buffers in the application.
• Try different cables (coaxial or optical) to rule out any defects here.
• Check that cables/devices have not been connected in a closed loop. If so, set the system’s
clock mode to ‘Master’.
• Check the Settings dialog for displayed Errors.
Possible causes for a Fireface not working
• The FireWire or USB cable is not, or not correctly inserted into the socket
Driver installation and Settings dialog/TotalMix work, but a playback or record is not possible
• While recognition and control of the device are low bandwidth applications, playback/record
needs the full FireWire transmission performance. Therefore, defective FireWire cables with
limited transmission bandwidth can cause such an error scheme. The same is true for USB
cables.
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User's Guide
Fireface UFX
Inputs and Outputs
User's Guide Fireface UFX © RME
39
21. Analog Inputs
21.1 Line Rear
The Fireface has eight 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.
One of the main issues when working with an AD-converter is to maintain the full dynamic
range within the best operating level. Therefore the Fireface UFX internally uses hi-quality electronic switches, which allow for a perfect adaptation of all rear inputs individually to the three
most often used studio levels.
The Fireface UFX uses the following level references:
Reference 0 dBFS @ Headroom
Lo Gain +19 dBu 15 dB
+4 dBu +13 dBu 9 dB
-10 dBV +2 dBV 12 dB
The above levels are also found in all other RME devices. Therefore they are fully compatible to
each other.
21.2 Microphone / Line / Inst Front
The four balanced microphone inputs of the Fireface UFX offer a digitally controlled gain of 0 to
65 dB via XLR/TRS combo jacks. The gain range is 65 dB, adjustable in 1 dB-steps over a range of 55 dB. The soft switching, hi-current Phantom power (48 Volt), switchable per channel,
provides a professional handling of condensor mics. Up to a level of +12 dBu, the front XLR
input can also be used as Line input.
The unbalanced TRS Line inputs, which can be used alternatively, add even greater flexibility to
the Fireface UFX. With 800 kOhm input impedance (Hi-Z), TRS jack and adjustable input gain
over a range of 55 dB the front-side inputs can be used perfectly with keyboards, sampler, CD
player, guitars and much more. These inputs handle levels from –34 dBu up to +21 dBu, turning
them into full level Line inputs. Thus the unit can also be used as Line gain amplifier.
The TRS jacks are free of phantom power.
A two colour LED display a present signal (green, from –46 dBFS) and warns against overload
(0 dBFS).
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22. Analog Outputs
22.1 Line
The short circuit protected, low impedance line outputs of channels 3 to 8 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.
To maintain an optimum level for devices connected to the analog outputs, the Fireface UFX
internally uses hi-quality electronic switches, which allow for a perfect adaptation of all outputs
to the three most often used studio levels.
As with the analog inputs, the analog output levels are defined to maintain a problem-free operation with most other devices. The headroom of the Fireface UFX lies between 9 and 15 dB,
according to the chosen reference level:
Reference 0 dBFS @ Headroom
Hi Gain +19 dBu 15 dB
+4 dBu +13 dBu 9 dB
-10 dBV +2 dBV 12 dB
The above levels are also found in all other RME devices. Therefore they are fully compatible to
each other.
The outputs 1 and 2 use XLR sockets. They additionally offer an output level of +24 dBu, making these outputs compatible to SMPTE (+24 dBu @ 0 dBFS, +4 dBu with 20 dB headroom):
Reference 0 dBFS @ Headroom
+24 dBu +24 dBu 20 dB
The electronic driver circuit of the XLR outputs does not operate servo-balanced! When
connecting unbalanced equipment, make sure pin 3 of the XLR output is not connected. A
connection to ground will cause higher THD (distortion)!
22.2 Headphones / Line Out
Channels 9 to 12 of the Fireface are available on the front as 1/4" TRS jacks. These channels
use the same converters as the other Line outputs, therefore offer the same technical data (118
dBA SNR).
Two hardware-based reference levels are available (set in TotalMix Output Channel Settings,
Level, High or Low). High equals the setting +4 dBu of the other channels, Low equals -10 dBV.
They can thus also be used as high-quality (yet unbalanced) line outputs.
These outputs are special low impedance types, ready to be used with headphones.
Setting the output level, i.e. the monitoring volume, is done – besides the pre-setting High/Low via TotalMix (Hardware Output, PH 9/10 and PH 11/12) or directly at the unit. Pushing the
VOLUME knob changes between Main Out, Ph 9/10 and Ph 11/12. The device remembers the
last choice. Changing the monitoring volume is therefore very easy and quickly done.
User's Guide Fireface UFX © RME
41
In case the output should operate as line
output, an adapter TRS plug to RCA phono
plugs, or TRS plug to TS plugs is required.
The pin assignment follows international
standards. The left channel is connected to
the tip, the right channel to the ring of the
TRS jack/plug.
23. Digital Connections
23.1 ADAT
The ADAT optical inputs of the Fireface UFX are 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.
ADAT1 In
Interface for the first or only device sending an ADAT signal to the Fireface UFX. Carries the
channels 1 to 8. When receiving a Double Speed signal, this input carries the channels 1 to 4,
at Quad Speed the channels 1 and 2.
ADAT2 In
Interface for the second device sending an ADAT signal to the Fireface UFX. Carries the channels 9 to 16. When receiving a Double Speed signal, this input carries the channels 5 to 8, at
Quad Speed the channels 3 and 4. Can also be used as SPDIF optical input.
ADAT1 Out
Interface for the first or only device receiving an ADAT signal from the Fireface UFX. Transmits
channels 1 to 8. When sending a Double Speed signal, this port carries channels 1 to 4, at
Quad Speed the channels 1 and 2.
ADAT2 Out
Interface for the second device receiving an ADAT signal from the Fireface UFX. Transmits
channels 9 to 16. When sending a Double Speed signal, this port carries channels 5 to 8, at
Quad Speed the channels 3 and 4. Can also be used as SPDIF optical output.
23.2 AES
The Fireface UFX provides one XLR AES/EBU input and output each. Connection is accomplished using balanced cables with XLR plugs. Input and Output are transformer-balanced and
ground-free. The incoming channel status is ignored.
AES/EBU (and SPDIF) can contain Emphasis information. Audio signals with Emphasis have a
strong high frequency boost, requiring high frequency attenuation on playback.
An Emphasis indication gets lost as there exists no standardized interface on computers to
handle this information!
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Input
Thanks to a highly sensitive input stage
SPDIF coaxial can be fed too by using
a simple cable adapter phono/XLR. To
achieve this, pins 2 and 3 of a male
XLR plug are connected individually to
the two pins of a phono plug. The cable
shielding is only connected to pin 1 of
the XLR - not to the phono plug.
In AES operation, identical signals are available at both the optical and the XLR output. An obvious use for this would be to connect two devices, i.e. using the Fireface UFX as a splitter (distribution 1 on 2).
Output
Using the cable adapter XLR/phono described above, devices with coaxial SPDIF interface can
be connected to the AES output of the Fireface UFX as well. Note that most consumer equipment with phono (SPDIF) inputs will only accept signals having a Channel Status ‘Consumer’
format. The Consumer status is activated in the Settings dialog of the Fireface UFX. In Consumer mode the output voltage is reduced as well, as SPDIF calls for a lower voltage than
AES/EBU.
The output signal coding of the Fireface UFX has been implemented according to AES3-1992
Amendment 4:
• 32 / 44.1 / 48 kHz, 64 / 88.2 / 96 kHz, 176.4 / 192 kHz depending on the current sample rate
• Audio use
• No Copyright, Copy permitted
• Format Professional or Consumer
• Category General, Generation not indicated
• 2-Channel, No Emphasis
• Aux Bits Audio use, 24 Bit
• Origin: RME
This can be done by selecting the Emphasis switch in the Settings dialog (SPDIF Out). This
setting is updated immediately, even during playback.
Professional AES/EBU equipment can be connected to the Fireface UFX thanks to the transformer-balanced coaxial outputs, and the ‘Professional’ format option with doubled output voltage. Output cables should have the same pinout as those used for input (see above), but with a
male XLR plug instead of a female one.
23.3 MIDI
Fireface UFX offers two MIDI I/O via four 5-pin DIN sockets. The MIDI ports are added to the
system by the driver. Using MIDI capable software, these ports can be accessed under the
name Fireface MIDI. Using more than one Fireface, the operating system adds a consecutive
number to the port name, like Fireface MIDI (2) etc.
The MIDI ports support multi-client operation. A MIDI input signal can be received from several
programs at the same time. Even the MIDI output can be used by multiple programs simultaneously. However, due to the limited bandwidth of MIDI, this kind of application will often show
various problems.
Note
: The MIDI input LEDs display any kind of MIDI activity, including MIDI Clock, MTC and
Active Sensing. The latter is sent by most keyboards every 0.3 seconds.
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24. Word Clock
24.1 Word Clock Input and Output
SteadyClock guarantees an excellent performance in all clock modes. Based on the highly effi-
cient jitter suppression, the Fireface refreshes and cleans up any clock signal, and provides it
as reference clock at the BNC output (see section 35.9).
Input
The Fireface's word clock input is active when Pref. Sync Ref in the Settings dialog has been
switched to Word Clock, the clock mode AutoSync has been activated, and a valid word clock
signal is present. The signal at the BNC input can be Single, Double or Quad Speed, the Fireface UFX automatically adapts to it. As soon as a valid signal is detected, the WC LED is lit, and
the Settings dialog shows either Lock or Sync (see chapter 35.1).
Thanks to RME's Signal Adaptation Circuit, the word clock input still works correctly even with
heavily mis-shaped, dc-prone, too small or overshoot-prone signals. Thanks to automatic signal
centering, 300 mV (0.3V) input level are sufficient in principle. An additional hysteresis reduces
sensitivity to 1.0 V, so that over- and undershoots and high frequency disturbances don't cause
a wrong trigger.
The Fireface's word clock input is shipped as high impedance type (not terminated). A push switch allows to activate
internal termination (75 Ohms). The switch is found on the
back beside the word clock input socket. Use a small pencil
or similar and carefully push the blue switch so that it snaps
into its lock position. The yellow LED will be lit when
termination is active. Another push will release it again and
de-activate the termination.
Output
The word clock output of the Fireface is constantly active, providing the current sample frequency as word clock signal. As a result, in Master mode the provided word clock is defined by
the currently used software. In Slave mode the provided frequency is identical to the one present at the currently chosen clock input. When the current clock signal fails, the Fireface UFX
switches to Master mode and adjusts itself to the next, best matching frequency (44.1 kHz, 48
kHz etc.).
Selecting Single Speed in the Settings dialog causes the output signal to always stay within the
range of 32 kHz to 48 kHz. So at 96 kHz and 192 kHz sample rate, the output word clock is 48
kHz.
The received word clock signal can be distributed to other devices by using the word clock out-
put. With this the usual T-adapter can be avoided, and the Fireface UFX operates as Signal
Refresher. This kind of operation is highly recommended, because
• input and output are phase-locked and in phase (0°) to each other
• SteadyClock removes nearly all jitter from the input signal
• the exceptional input (1 Vpp sensitivity instead of the usual 2.5 Vpp, dc cut, Signal Adapta-
tion Circuit) plus SteadyClock guarantee a secure function even with highly critical word
clock signals
Thanks to a low impedance, but short circuit proof output, the Fireface delivers 4 Vpp to 75
Ohms. For wrong termination with 2 x 75 Ohms (37.5 Ohms), there are still 3.3 Vpp at the output.
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24.2 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. But when using more than one device simultaneously problems are likely to
happen. For example any self-clocking will not work in a loop cabling, when there is no 'master'
(main clock) inside the loop. Additionally the clock of all participating devices has to be synchronous. This is often impossible with devices limited to playback, for example CD players, as
these have no SPDIF input, thus can't use the self clocking technique as clock reference.
In a digital studio synchronisation is maintained by connecting all devices to a central sync
source. For example the mixing desk works as master and sends a reference signal, the word
clock, to all other devices. Of course this will only work as long as all other devices are
equipped with a word clock or sync input, thus being able to work as slave (some professional
CD players indeed have a word clock input). Then all devices get the same clock and will work
in every possible combination with each other.
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’.
But word clock is not only the 'great problem solver', it also has some disadvantages. The word
clock is based on a fraction of the really needed clock. For example SPDIF: 44.1 kHz word
clock (a simple square wave signal) has to be multiplied by 256 inside the device using a special PLL (to about 11.2 MHz). This signal then replaces the one from the quartz crystal. Big
disadvantage: because of the high multiplication factor the reconstructed clock will have great
deviations called jitter. The jitter of a word clock is typically 15 times higher as when using a
quartz based clock.
The end of these problems should have been the so called Superclock, which uses 256 times
the word clock frequency. This equals the internal quartz frequency, so no PLL for multiplying is
needed and the clock can be used directly. But reality was different, the Superclock proved to
be much more critical than word clock. A square wave signal of 11 MHz distributed to several
devices - this simply means to fight with high frequency technology. Reflections, cable quality,
capacitive loads - at 44.1 kHz these factors may be ignored, at 11 MHz they are the end of the
clock network. Additionally it was found that a PLL not only generates jitter, but also rejects
disturbances. The slow PLL works like a filter for induced and modulated frequencies above
several kHz. As the Superclock is used without any filtering such a kind of jitter and noise suppression is missing.
The actual end of these problems is offered by the SteadyClock technology of the Fireface
UFX. Combining the advantages of modern and fastest digital technology with analog filter techniques, re-gaining a low jitter clock signal of 22 MHz from a slow word clock of 44.1 kHz is no
problem anymore. Additionally, jitter on the input signal is highly rejected, so that even in real
world usage the re-gained clock signal is of highest quality.
User's Guide Fireface UFX © RME
45
24.3 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. The 75 Ohms components used for word clock
are part of video technology (RG59).
Ideally, the word clock signal is a 5 Volt square wave with the frequency of the sample rate, of
which the harmonics go up to far above 500 kHz. To avoid voltage loss and reflections, both the
cable itself and the terminating resistor at the end of the chain should have an impedance of 75
Ohm. If the voltage is too low, synchronization will fail. High frequency reflection effects can
cause both jitter and sync failure.
Unfortunately there are still many devices on the market, even newer digital mixing consoles,
which are supplied with a word clock output that can only be called unsatisfactory. If the output
breaks down to 3 Volts when terminating with 75 Ohms, you have to take into account that a
device, of which the input only works from 2.8 Volts and above, does not function correctly already after 3 meter cable length. So it is not astonishing that because of the higher voltage,
word clock networks are in some cases more stable and reliable if cables are not terminated at
all.
Ideally all outputs of word clock delivering devices are designed as low impedance types, but all
word clock inputs as high impedance types, in order to not weaken the signal on the chain. But
there are also negative examples, when the 75 Ohms are built into the device and cannot be
switched off. In this case the network load is often 2 x 75 Ohms, and the user is forced to buy a
special word clock distributor. Note that such a device is generally recommended for bigger
studios.
The Fireface's word clock input can be high-impedance or terminated internally, ensuring maximum flexibility. If termination is necessary (e.g. because the Fireface is the last device in the
chain), push the switch at the back beside the BNC socket (see chapter 28.1).
In case the Fireface UFX resides within a chain of devices receiving word clock, plug a Tadapter into its BNC input jack, and the cable supplying the word clock signal to one end of the
adapter. Connect the free end to the next device in the chain via a further BNC cable. The last
device in the chain should be terminated using another T-adapter and a 75 Ohm resistor (available as short BNC plug). Of course devices with internal termination do not need T-adaptor and
terminator plug.
Due to the outstanding SteadyClock technology of the Fireface UFX, it is recommended not
to pass the input signal via T-adapter, but to use the Fireface's word clock output instead.
Thanks to SteadyClock, the input signal will both be freed from jitter and - in case of loss or
drop out – be reset to a valid frequency.
24.4 Operation
The green Lock LED on the front (STATE) will light up as soon as a word clock signal is detected. To change to word clock as clock source, activate there Clock Source Word in the field
Clock Mode within the Settings dialog. The status display Current changes to Word as soon as
a valid signal is present at the BNC jack. This message has the same meaning as the green
state LED, but appears on the monitor, i.e. the user can check immediately whether a valid
word clock signal is present and is currently being used.
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User's Guide
Fireface UFX
Stand-Alone Operation
User's Guide Fireface UFX © RME
47
25. Operation and Usage
25.1 General
Using the three rotary encoders and the clear colour display the Fireface UFX 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 UFX 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. Furthermore TotalMix, and with this the
application examples shown below, can also be controlled via MIDI, see chapter 30.6, Stand-
Alone MIDI Control.
25.2 Settings at the Unit
The Fireface UFX has a simple menu structure, depending on the button pressed.
MIC/GAINS. Mic.Instr. Gain 9/10, Mic.Instr. Gain 11/12. Setting the gain for the inputs 9 to 12.
METERS. Level Meter for all inputs, outputs and FX send/return.
CHANNEL. Encoder 1 selects the input and output to be configured, encoder 2 selects the
function to be configured. These are Settings, Low Cut, Parametric EQ Compressor/Expander
and Auto Level. At the outputs an additional page is shown, Mix (Mix – Analog In, Mix – AES In,
Mix – ADAT In). Mix gives access to the whole submix of the specific output. Any input routed to
that output can be modified in level and panorama.
SETUP/REV. Encoder 1 selects Setups, Options and Reverb/Echo. Options has the subpages
Clock Options, HW Options/Diagnosis and Control Room Options. Reverb/Echo has the subpages Reverb and Echo. The subpages are selected with encoder 2.
25.3 Store / Load Setups at the Unit
After hitting the key SETUP/REV turning the encoder 1 changes to Setups. First select the pre-
ferred storage place, then the desired process (load or store). The load/store process is completed by pushing encoder 2 for more than one second.
25.4 Storing Setups from the Computer
Setups can also be loaded into the unit from the computer. As the Setups are usually generated
at the computer the final step of transmission offers a convenient workflow. In TotalMix FX use
Options / Store current state into device to select the desired storage place (Setup) within the
unit.
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26. Examples
26.1 12-Channel AD/DA-Converter
When loading TotalMix' factory default 1 into the unit, With this the Fireface UFX becomes a
high quality 12-channel AD/DA-converter, which optionally also provides a monitoring of all DAchannels via outputs 9/10. Of course a monitoring of all I/Os via the AES I/O is also possible.
26.2 4-Channel Mic Preamp
Use TotalMix to route the four microphone inputs directly to the analog outputs. This turns the
Fireface UFX into a 4-channel microphone preamp. The AD- and DA-conversion will cause a
small delay of the signals of around 0.17 ms (at 192 kHz, see chapter 32.2). But this is nothing
to worry about, as it is the same delay that would be caused by changing the microphone's position by about 5.6 centimeter (2 inches).
26.3 Monitor Mixer
TotalMix allows ANY configuration of all I/Os of the Fireface. For example, set up the device as
monitor mixer for 12 analog signals, 16 digital via ADAT and 2 via AES. Additionally, TotalMix
lets you set up ANY submixes, so all existing outputs can be used for different and independent
monitorings of the input signals. The perfect headphone monitor mixer!
26.4 Digital Format Converter
As TotalMix allows for any routing of the input signals, the Fireface UFX can be used as ADAT
to AES converter, ADAT to two ADAT splitter, and AES to ADAT converter.
26.5 Analog / Digital Routing Matrix
The Matrix in TotalMix enables you to route and link all inputs and outputs completely freely. All
the above functionalities are even available simultaneously, can be mixed and combined in
many ways. Simply said: the Fireface UFX is a perfect analog/digital routing matrix!
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User's Guide
Fireface UFX
TotalMix
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27. Routing and Monitoring
27.1 Overview
The Fireface UFX includes a powerful digital real-time mixer, the Fireface UFX 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.
Here are some typical applications for TotalMix:
• Setting up delay-free submixes (headphone mixes). The Fireface UFX allows for up to 15
fully independent stereo submixes. On an analog mixing desk, this would equal 30 Aux
sends.
• Unlimited routing of inputs and outputs (free utilisation, patchbay functionality).
• Distributing signals to several outputs simultaneously. TotalMix offers state-of-the-art splitter
and distributor functions.
• Simultaneous playback of different programs via a single stereo output. The ASIO multi-
client driver supports the usage of several programs at the same time, but only on different
playback channels. TotalMix provides the means to mix and monitor these on a single stereo
output.
• Mixing of the input signal to the playback signal (complete ASIO Direct Monitoring). RME is
not only the pioneer of ADM, but also offers the most complete implementation of the ADM
functions.
• Integration of external devices. Use TotalMix to insert external effects devices, be it in the
playback or in the record path. Depending on the current application, the functionality equals
insert or effects send and effects return, for example as used during real-time monitoring
when adding some reverb to the vocals.
Every single input channel, playback channel and hardware output features a Peak and RMS
level meter, calculated in hardware. These level displays are very useful to determine the presence and routing destinations of the audio signals.
For a better understanding of the TotalMix mixer you should know the following:
• As shown in the block diagram (next page), the record signal usually stays un-altered. To-
talMix does not reside within the record path, and does not change the record level or the
audio data to be recorded (exceptions: EQ+D for Record and Loopback mode).
• The hardware input signal can be passed on as often as desired, even with different levels.
This is a big difference to conventional mixing desks, where the channel fader always controls the level for all routing destinations simultaneously.
• The level meters of input and playback channels are connected pre-fader, to be able to visu-
ally monitor where a signal is currently present. The level meters of the hardware outputs are
connected post-fader, thus displaying the actual output level.
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27.2 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 UFX has 10 input channels,
12 software playback channels, and 12 hardware output channels:
TotalMix can be used in the above view (View Options 2 Rows). The input channel should be
placed above the corresponding output channel. However, the default is a vertical alignment in
three rows as known from an Inline desk, so that the row Software Playback equals the Tape
Return of a real mixing desk:
• Top row: Hardware inputs. The level shown is that of the input signal, i.e. fader independent.
Via fader and routing menu, any input channel can be routed and mixed to any hardware
output (bottom row).
• Middle row: Playback channels (playback tracks of the audio software). Via fader and routing
menu, any playback channel can be routed and mixed to any hardware output (bottom row).
• Bottom row: Hardware outputs. Here, the total level of the output can be adjusted. This may
be the level of connected loudspeakers, or the necessity to reduce the level of an overloaded submix.
The following chapters explain step by step all functions of the user interface.
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27.3 The Channels
A single channel can be switched between mono and stereo mode. The mode is set in the
channel settings. Hardware Outputs are always stereo.
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 O-Names in the View Options.
Panorama. Routes the input signal freely to the left and right routing destination
(lower label, see below). The level reduction in center position is -3 dB.
Mute and Solo. Input channels and playback channels each have a mute and
solo button.
Numerical level display. Shows the current RMS or Peak level, updated twice
per second. OVR means overload. The setting Peak/RMS is changed in the View
Options.
Level meter. The meter shows both peak values (zero attack, 1 sample is enough
for a full scale display) by means of a yellow line, and mathematically correct RMS
values by means of a green bar. The RMS display has a relatively slow time constant, so that it shows the average loudness quite well. Overs are shown in red at
the top of the bar. In the Preferences dialog (F2) the Peak Hold time, the over
detection and the RMS reference can be set.
Fader. Determines the gain/level of the signal routed to the current routing destination (lower
label). Please note that this fader is not the fader of the channel, but only the fader of the cur-
rent routing. Compared to a standard mixing desk TotalMix does not have a channel fader, but
only Aux Sends, as many as there are hardware outputs. Therefore TotalMix can create as
many different Submixes as there are hardware outputs. This concept is understood best in the
Submix View, but more on that later.
Below the fader the Gain is shown in a numerical display field,
according to the current fader position. The fader can be:
¾ dragged with the left mouse button pressed
¾ moved by the mouse wheel
¾ set to 0 dB and −∞ by a double click. The same happens
with a single click plus held down Ctrl key.
¾ adjusted in fine mode by mouse drag and mouse wheel
when holding the Shift key down
A Shift-click on a fader adds the fader to the temporary fader
group. All faders now marked yellow are ganged, and move
simultaneously in a relative way. The temporary fader group is
deleted by a click on the F symbol in the upper right of the
window.
The arrow symbol at the bottom minimizes the channel width to that of the level meters. An-
other click maximizes it again. A mouse click with held Ctrl key causes all channels to the right
to enlarge and minimize at once.
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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. After a click on the double arrow one channel’s faders are all synchronized. Instead
of changing only a single routing the fader affects all the channel’s active routings. For a better
overview the faders currently not visible are indicated by orange triangles beside the fader path.
When moving the fader the triangles also move to a new position, equalling the faders new
settings.
Background
: TotalMix has no fixed channel fader. In case of the Fireface UFX
there are 6 stereo Aux sends, shown alternately as single fader within the channel
strip. The high number of Aux sends enables multiple and fully independent
routings.
In some cases it is necessary to synchronize the gain changes of these routings.
An example is the Post fader function, where a change of the singer’s volume shall
be performed identical to the volume change of the signal sent to the reverb
device, so that the reverb level keeps its relation to the original signal. Another
example is the signal of a guitar that is routed to different submixes, means
hardware outputs, which gets much too loud during the solo part, and therefore
needs to be reduced in volume on all outputs simultaneously. After a click on the
Trim button this can be done easily and with a perfect overview.
As all channel’s routings change simultaneously when Trim is active, this mode
basically causes the same behaviour as a trim pot within the input channel,
affecting the signal already before the mixer. That’s how this function got its name.
In the View Options / Routing the function Trim Gains can be globally switched on and off for all
channels. The global Trim mode is recommended when using TotalMix FX as live mixing desk.
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27.3.1 Settings
A click on the tool symbol opens the channel’s Settings panel with differing elements. For ex-
ample the Option Inst exists only in input channel 2, 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. Switches input 2 from XLR (breakout cable) to the TRS jack at the
unit.
Gain. Sets the gain for both analog inputs. The knob can be adjusted
by dragging the mouse or by the mouse wheel. This also works when
the mouse has been moved over the two gain displays. Then the gain
can be changed separately for left and right channel, even when the
channel is in stereo mode.
Level. Sets the reference level of the 8 analog Line inputs. The
available settings are -10 dBV, +4 dBu and LoGain.
Width. Defines the stereo width. 1.00 equals full stereo, 0.00 mono, -1.00 swapped channels.
FX Send. Setting the level of the signal sent to the FX bus which feeds Echo and Reverb. The
current setting is also visible with closed channel settings, because knob and small fader are
always synchronized. To make this function as useful as possible FX Send is locked to the
highest submix, thus imitating the Aux Post Fader function of a standard mixing desk. When
moving the big fader both knob and small fader will also move. This way the reverb signal will
always have the same relation to the dry signal.
The level of the signal sent to the effects can be controlled by the FX In level meters of the FX
window. It becomes visible after a click on FX in the View Options.
MS Proc. Activates M/S processing within the stereo channel. Monaural information is sent to
the left channel, stereo information to the right.
Phase L. Inverts the phase of the left channel by 180°.
Phase R. Inverts the phase of the right channel by 180°.
: the functions Width, MS Proc, Phase L and Phase R affect all routings of the respective
Note
channel.
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Besides Phase L und Phase R the settings of the Hardware Outputs have more options:
Level. Sets the reference levels of the 8 analog Line outputs. The
available settings are -10 dBV, +4 dBu and HiGain. The outputs 1/2
additionally offer +24 dBu. The Phones (channels 9-12) have a Low and
High 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.
Loopback. Sends the output data to the driver as record data. The
corresponding submix can be recorded then. This channel’s hardware
input sends its data only to TotalMix, no longer to the recording
software.
Another difference to the input and playback channels is the Cue button
instead of Solo. A click on Cue sends the respective Hardware Output’s
audio to the Main Out. With this any hardware output can be controlled
and listened to through the monitoring output very conveniently.
27.3.2 Equalizer
A click on EQ opens the Equalizer panel. It is available in all input and output channels, and
affects all routings of the respective channel (pre fader). The panel includes a low cut and a 3band parametric equalizer which can be activated separately.
Lo Cut. Activated by the button Lo Cut. The slope of the high-pass filter is adjustable between
6, 12, 18 and 24 dB per octave. The cut-off point (-3 dB) is adjustable between 20 Hz and 500
Hz. Note: the Lo Cut is not included in the frequency graphics!
EQ. Activated by the EQ button.
Type. Band 1 and 3 can operate in peak (bell) or shelf
(shelving) mode. The middle band is fixed to peak mode.
Gain. All three bands can change their amplitude
(amplification) between +20 dB to -20 dB.
Freq. The center frequency of the filter is adjustable. Band
1: 20 Hz to 10 kHz, Band 2: 100 Hz to 20 kHz, Band 3: 500
Hz to 20 kHz. While in peak mode the center frequency is
adjusted, in shelf mode the cut-off point (-3 dB) will be
changed.
Q. The Quality factor of the filter is adjustable from 0.7
(wide) to 5.0 (narrow).
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. But the graphics do not show the changes caused by the
Low Cut filter.
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Preset. Settings of the EQ and the Low Cut
can be stored, loaded, and copied between
channels at any time. A click on Preset opens
a menu with several entries:
¾ Recall: Presets stored before by the user
can be selected and loaded
¾ Save to: There are 16 storage places
available (EQ Preset 1 to 16)
¾ Import: Loads a previously stored TM EQ
file (.tmeq)
¾ Export: Stores the current state as TM
EQ file (.tmeq)
¾ Factory: Includes 14 examples for the
creative use of Low Cut and Equalizer
¾ Reset: Resets the Low Cut and EQ to
have zero influence (Gain 0 dB)
¾ Rename: The EQ Presets 1 to 16 can be renamed. The changes will be shown in both lists
Recall and Save to.
Notes on the EQ Presets
Copy between channels: The EQ Preset menu of all channels is identical. If an EQ setup is
stored via Save to on one of the 16 storage places, it is then also available in any other channel
via Recall.
Copy between Snapshots: The Presets are not saved in Snapshots, therefore do not change
when a different Snapshot is loaded. Presets are saved in Workspaces and also loaded with
these.
Copy between Workspaces: is done by the export and import function of the Preset menu.
Important and useful Presets should always be saved as TM EQ file, so that they can not get
lost even on accidental overwrite.
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27.3.3 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.
Compressor / Expander. Activated by this button.
Thres. 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 -30 dB.
Ratio. Ratio of input to output signal. Defines the intensity
of the signal processing. Adjustable from 1 to 10.
Gain. Gain stage to compensate a loss in level caused by
the Compressor. Adjustable from -30 to +30 dB. With
inactive Compressor (Threshold 0 dB, Gain 1:1) this
function can also be used as universal digital gain stage.
Attack. Defines the rise time for the control voltage of
Compressor and Expander. Adjustable from 0 ms to 200
ms.
Release. Defines the relase time fro the control voltage of Compressor and Expander. Adjust-
able from 100 ms to 999 ms.
The amplitude graphics give a precise overview of the level changes caused by the current
settings of Compressor and Expander.
Auto Level. Activated by this button.
Max. Gain. Defines the maximum amplification of the input signal. Adjustable from 0 dB to 18
dB.
Headroom. To minimize short-time overloads and clipping of the signal peaks Auto Level can
be set to operate at a fixed offset to 0 dBFS. Adjustable from 3 dB to 12 dB.
Rise Time. Defines the speed of a level increase
after a level reduction. Adjustable from 0.1 s to
9.9 s.
Preset. Includes the same functions as
described on the previous page for the Equalizer.
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27.4 Section Control Room
In the section Control Room the menu Assign is used to define the Main Out which is used for
listening in the studio. For this output the functions Dim, Recall, Mono, Talkback and Mute FX
are automatically applied. On the unit the VOLUME knob also 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 Phones 1 or Phones 2.
The original name can be displayed by the function O-Names
in the View Options at any time.
Phones 1 and 2 will have dim (set in Settings) and a special
routing applied when Talkback is activated. Also putting them
beside the Main Out increases the overview within the output
section greatly.
: Phones 1 and 2 can be freely assigned in TotalMix FX.
Note
As the Phones outputs on the unit are dedicated outputs with
channels 9 to 12, these channels are also fixed for operation
at the unit. So pushing the VOLUME button will step through
Main Out (free), Phones 1 (with channels 9/10) and Phones 2
(with channels 11/12), no matter which channels have been
selected for Phones in TotalMix FX.
Dim. The volume will be reduced by the amount set in the Settings dialog (F3).
Recall. Sets the gain value defined in the Settings dialog.
Mono. Mixes left and right channel. Useful to check for mono compatibility and phase problems.
Talkback. A click on this button will dim all signals on the Phones outputs by an amount set up
in the Preferences dialog. At the same time the control room's microphone signal (source de-
fined in Preferences) is sent to the Phones. The microphone level is adjusted with the channel's
input fader.
Mute FX. Mutes Reverb and Echo on the Main Out, to hear the mix without those effects.
Assign. Allows to define the Main Out and up
to four Phones outs. The choice is limited to
ADAT 3/4, as at 192 kHz the other ADAT
channels are not available anymore.
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27.5 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.
Device selection. Select the unit to be controlled in case more than one is
installed on the computer.
DSP Meter. Shows the DSP load caused by activated EQ, Low Cut,
Compressor, Auto Level, Echo and Reverb. The DSP of the Fireface UFX
has an automatic load limiter. If no DSP resources are left further effects can
not be activated. When switching to DS and QS modes effects will be
deactivated automatically until the DSP is not overloaded anymore.
Undo / Redo. With the unlimited Undo and Redo changes of the mix can be
undone and redone, at any time. Undo/Redo does not cover graphical
changes (window size, position, channels wide/narrow etc.), and also no
changes to the Presets. The accidental overwrite of an EQ Preset can not be
made undone.
Undo/Redo also operates across Workspaces. Therefore a completely
differently set up mixer view can be loaded via Workspace, and with a single
click on Undo the previous internal mixer state is returned – but the new
mixer view stays.
Global Mute Solo Fader.
Mute. Global Mute operates in a pre fader style, muting all currently activated routings of the
channel. As soon as any Mute button is pressed, the Mute Master button lights up in the Control
Strip area. With this button all selected mutes can be switched off and on again. One can comfortably set up a mute group or activate and deactivate several mute buttons simultaneously.
Solo. As soon as any Solo button is pressed, the Solo Master button lights up in the Control
Strip area. With this button all selected Solos are switched off and on again. Solo operates as
Solo-in-Place, post fader style, as known from common mixing desks. A typical limitation for
mixing desks, Solo working only globally and only for the Main Out, does not exist in TotalMix.
Solo is always activated for the current submix only.
Fader. A Shift-click on a fader adds the fader to the temporary fader group. All faders now
marked yellow are ganged, and move simultaneously in a relative way. The temporary fader
group is deleted by a click on the F symbol.
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27.5.1 View Options
View Options. This area combines different functions of routing, the level meters and the mi-
xer view.
Routing
¾ 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. With Submix view, it is very easy to generate a submix for
any output: select the output channel, adjust the fader and pans of first
and second row – finished.
¾ Free. The Free view is for advanced users. It is used to edit several
submixes simultaneously, without the need to change between them.
Here one works with the routings fields of the input and playback
channels only, which then show different routing destinations.
¾ Trim Gains. Activates all Trim buttons on all channels. TotalMix thus
behaves like a conventional, simple mixing desk. Each fader affects all
active routings of the channel simultaneously, as if the fader were a trimpot in the hardware input.
Level Meter
¾ Pre FX – Post FX. Switches all level meters before (pre) or after (post) the effects. Level
changes by these can be easily checked using this feature. Additionally the input signal can
be checked for overloads. It is recommended to use Post FX as default setting, as the extreme reduction of a signal by LC/EQ is very seldom. Also all over displays of all level meters operate both pre and post, efficiently preventing overloads going unnoticed.
¾ RMS Level. The numerical level display in the channels displays peak or RMS.
Mixer Setup
¾ 2 Row s. Switches the mixer view to 2 rows. Hardware Inputs and Software Playbacks are
placed side by side. This view saves a lot of space, especially in height.
¾ O-Names. Display of the original names of channels when they had been renamed by the
user.
¾ FX. Opens the window to set up the effects Reverb and Echo.
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27.5.2 Snapshots - Groups
Snapshots. Snapshots include all mixer settings, but no graphical elements like window posi-
tions, 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. Via File / Load
Snapshot the mixer states can be loaded individually.
8 different mixes can be stored under individual names in the Snapshot
section. A click on any of the 8 buttons loads the corresponding Snapshot. A
double click on the name field opens the dialog Input Name to edit the name.
As soon as the mixer state is changed the button starts flashing. A click on
Store lets all buttons flash, whereby the last loaded one, the base of the
current state, flashes inversely. The storage finishes by clicking the desired
button (means storage place). The storage process is exited by another click
on the flashing Store button.
The area Snapshots can be minimized by a click on the arrow in the title bar.
Groups. The area Groups provides 4 storage places each for fader, mute
and solo groups. The groups are valid per Workspace, being active and
usable in all 8 Snapshots. But with this they are also lost when loading a new
workspace, in case they have not been saved before in a different
Workspace.
Note
: The Undo function will help in case of an accidental overwrite or
deletion of the groups.
TotalMix uses flashing signals to guide you through the group setup. After a
click on Edit and click on the desired storage place all desired functions for
this group have to be activated or selected. The storage process is finished
by another click on Edit.
When setting up a fader group make sure to not add faders that are at the most top or most
lowest position, except all faders of that group have this position.
The Mute groups operate – other than the global mute – exclusively for the current routing. This
way you can not mute signals on all outputs unintentionally. Instead signals can be muted on
specific submixes by the push of a button.
A solo group operates exactly like the global solo, signals outside the current routing are not
affected.
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27.6 Reverb and Echo
A click on FX in the View Options / Mixer Setup brings up the Output FX panel. Here all pa-
rameters for the effects Reverb and Echo are adjusted.
Reverb. Activated by the On button.
Type. Lists different reverb algorithms for selection. Available are:
¾ Rooms 1 - 4. Algorithm for room simulation with different tonal
colours. Room 1 and 2 sound dry and small, Room 3 and 4 brilliant
and a bit bigger.
¾ Envelope. Reverb effect in multitap technology, where the volume
course (envelope) is freely adjustable.
¾ Gated. Simpler version of the Envelope reverb for cut reverb
effects.
¾ Classic. Classic feedback-based reverb with comb filter, generating
both the typical sound and the very long reverb times.
Settings for Room 1-4
PreDelay. Delay of the reverb signal. Adjustable from the current buffer
size (some milliseconds) 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.
Room Scale. Determines the size of the room, thus changing density
and length of the reverb effect. Adjustable from 0.5 up to 2.0.
Smooth. Softens the reverb effect, affects stereo width, density and
sound colour. Adjustable from 0 up to 100.
Width. Adjusts the stereo width of the reverb signal from 100 (stereo) to 0 (mono).
Volume. Adjusts the level of the reverb effects signal sent to the FX return bus.
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Special Settings for Envelope and Gated
Attack. Length of time for the volume increase of the reverb signal. Also called rise time. Ad-
justable from 5 ms up to 400 ms.
Hold. Length of time for the fixed volume part of the reverb signal. Adjustable from 5 ms up to
400 ms.
Release. Length of time for the volume decrease of the reverb signal. Adjustable from 5 ms up
to 400 ms.
Special Settings for Classic
Reverb Time. Sets the duration of the reverb referenced to a volume drop of 20 dB. Adjustable
from 0.1 s up to 9.9 s.
High Damp. Sets the treble damping over time for the reverb signal. In principle, this is a low-
pass filter. Because of the operation principle of the Classic reverb it shows a slightly different
behaviour. Adjustable from 5 kHz up to 20 kHz.
Echo. Activated by the On button.
Type. Lists different echo algorithms for selection. Available are:
¾ Stereo Echo. Separated echo generators on left and right channel. As a result the echo
follows the sound source within the stereo field.
¾ 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.
¾ Pong Echo. Generates an echo that jumps between left and right channel, independent
from the source signal’s stereo position.
Settings
Delay Time. Sets the delay time for the first echo.
Feedback. Feedback to produce further echoes.
Width. Adjusts the stereo width of the echo signal from 100 (stereo) to 0 (mono).
Volume. Adjusts the level of the echo effects signal sent to the FX return bus.
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Preset. Settings of the Reverb and the Echo can be stored, loaded, and copied between chan-
nels at any time. A click on Preset opens a menu with several entries:
¾ Recall: Presets stored before by the user
can be selected and loaded
¾ Save to: There are 16 storage places
available (Reverb/Echo Preset 1 to 16)
¾ Import: Loads a previously stored TM FX
Reverb file (.tmrv) or a TM FX Echo file
(.tmeo)
¾ Export: Stores the current state as TM FX
Reverb file (.tmrv) or as TM FX Echo file
(.tmeo)
¾ Factory: Includes 10 examples for the
configuration of the Reverb
¾ Reset: Resets the Reverb or Echo
¾ Rename: The Presets 1 to 16 can be renamed. The changes will be shown in both lists
Recall and Save to.
27.7 Preferences
The dialog Preferences can be opened
via the Options menu or directly via F2.
Level Meters
¾ Full scale samples for OVR.
Number of consecutive samples to
trigger an over detection (1 to 10).
¾ Peak Hold Time. Hold time of the
peak value. Adjustable from 0.1 up to
9.9 s.
¾ 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
¾ FX Send follow s highest Submix. Locks the FX Send knob to the channel fader. As To-
talMix supports multiple routings per channel, a definition is needed which fader (only one is
visible) is the one that FX Send will follow. This is always the one with the highest fader position, means the highest gain.
¾ Center Balance/Pan w hen changing Mono/Stereo. When switching a stereo channel into
two mono channels the pan-pots are set fully left and right. This option will set them to center instead.
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27.8 Settings
The dialog Settings can be opened via the Options menu or directly via F3.
Talkback
¾ Input. Selects the input channel of the
Talkback signal (microphone in control
room).
¾ Dim. Amount of attenuation of the signals
routed to the Phones in dB.
Listenback
¾ Input. Selects the input channel of the
Listenback signal (microphone in recording
room).
¾ Dim. Amount of attenuation of the signals
routed to the Main Out in dB.
Main Out
¾ Recall. User defined listening volume,
activated by the Recall button at the unit or in
TotalMix.
¾ Dim. Amount of attenuation for the Main Out
in dB, activated by the rotary encoder at the
unit or in TotalMix.
MIDI Remote Control
¾ MIDI In. Input where TotalMix receives MIDI
Remote data.
¾ MIDI Out. Output where TotalMix sends
MIDI Remote data.
¾ Enable full LCD support. Activates full
Mackie Control LCD support with eight
channel names and eight volume/pan
values.
¾ Disable MIDI in background. Deactivates
MIDI Remote Control as soon as another
application is in the focus, or when TotalMix
has been minimized.
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27.9 Hotkeys and Usage
TotalMix FX has many hotkeys and mouse/hotkey combinations to speed up and simplify the
usage.
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.
A click in the fader path with held down Shift key will let the fader jump to 0 dB, at the next
click to −∞. Same function: Double click of the mouse.
Clicking on one of the Panorama or Gain knobs with held down Shift key lets the knob jump tp
center position. Same function: Double click of the mouse.
A double click of the mouse on a knob or its numerical field opens the according Input Value
dialog. The desired value can then be set by keyboard.
Dragging the mouse from a parameter field increases (move up) or decreases (move down) the
value in the field.
Ctrl-N opens the dialog Function Select to open a new TotalMix window.
Ctrl-W opens the dialog File Open of the operating system to load a TotalMix Workspace file.
The key W starts the dialog Workspace Quick Select for a direct selection or storage of up to 30
Workspaces.
The key M switches the active window to Mixer view. The key X switches the active window to
Matrix view. Ctrl-M opens a new Mixer window, Ctrl-X opens a new Matrix window. Another
Ctrl-M or Ctrl-X closes the new window again.
F1 opens the online help. The Level Meter setup dialog can be opened with F2 (same as in
DIGICheck). The dialog Preferences is opened with F3.
Alt-F4 closes the current window.
Alt and number 1 to 8 (not on the numeric keypad!) will load the corresponding Snapshot.
The right mouse button selects a Hardware Output. At the same time a context menu is displayed having these options:
Clear Submix. Deletes the whole submix of the selected output. All inputs and playbacks of this
routing will be set to −∞.
Copy Submix. Copies the whole submix of the selected output into memory. All input and play-
back faders from that routing will be included.
¾ Paste Submix.
Writes the previously copied submix on to the now selected output.
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27.10 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 Win-
dows desktop.
: This function may result in problems with windows containing help text, as the TotalMix
Note
window will even be on top of those windows, so the help text isn't readable.
Enable MIDI Control: Activates external MIDI control of the TotalMix mixer. The channels
which are currently under MIDI control are indicated by a colour change of the name field.
Submix linked to MIDI control. The 8-channel group follows the currently selected submix,
means Hardware Output, when a different submix is chosen on the remote as well as when
doing this in TotalMix. When using multiple windows it can be useful to deactivate this feature
for specific windows. The view will not change then.
Preferences: Opens a dialog box to configure several functions of the level meters and the
mixer. See chapter 21.7.
Settings. Opens a dialog box to configure several functions like Talkback, Listenback, Main Out
and the MIDI Remote Control. See chapter 21.8.
Reset Mix. Offers several options to reset the mixer state:
¾ Straight playback with all to Main Out. All Playback channels are routed 1:1 to the Hard-
ware Outputs. Simultaneously all playbacks are mixed down to the Main Out.
¾ Straight Playback. All Playback channels are routed 1:1 to the Hardware outputs.
¾ Clear all submixes. Deletes all submixes.
¾ Clear channel effects. Switches off all EQs, Low Cuts, Reverb and Echo and sets their
knobs to default position.
Reset channel names. Removes all names assigned by the user.
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28. The Matrix
28.1 Overview
The mixer window of TotalMix looks and operates similar to mixing desks, as it is based on a
conventional stereo design. The matrix display presents a different method of assigning and
routing channels, based on a single channel or monaural design. The matrix view of the Fireface UFX has the look and works like a conventional patchbay, adding functionality way beyond
comparable hardware and software solutions. While most patchbays will allow you to connect
inputs to outputs with just the original level (1:1, or 0 dB, as known from mechanical patchbays),
TotalMix allows you to use a freely definable gain value per crosspoint.
Matrix and TotalMix are different ways of displaying the same processes. Because of this both
views are always fully synchronized. Each change in one view is immediately reflected in the
other view as well.
28.2 Elements of the Matrix View
The visual design of the TotalMix Matrix is mainly determined by the architecture of the Fireface
UFX system:
¾ Horizontal labels. All hardware outputs
¾ Vertical labels. All hardware inputs. Below are all
playback channels.
¾ Green 0.0 dB field. Standard 1:1 routing
¾ Black field with number. Shows the current gain
value as dB
¾ Blue field. This routing is muted
¾ Brown field. Phase 180° (inverted)
¾ Dark grey field. No routing.
To maintain overview when the window size has been reduced, the labels are floating. They
won't leave the visible area when scrolling.
28.3 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.
¾ If input 1 is to be routed to output 1, use the mouse and click one time on crosspoint In 1 /
AN 1 with held down Ctrl key. Two green 0.0 dB field pop in, another click removes them.
¾ To change the gain (equals the use of a different fader position, see simultaneous display of
the mixer view), drag the mouse up or down, starting from the gain field. The value within the
field changes accordingly. The corresponding fader in the mixer view is moving simultaneously, in case the currently modified routing is visible.
¾ On the right side is the Control Strip from the mixer window, adapted to the Matrix. The but-
ton for the temporary fader group is missing as well as all View options, as they don’t make
sense here. Instead the button Mono Mode lets you decide whether all the actions per-
formed in the Matrix are valid for two channels or just one.
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The Matrix not always replaces the mixer view, but it significantly enhances the routing capabilities and - more important - is a brilliant way to get a fast overview of all active routings. It shows
you in a glance what's going on. And since the Matrix operates monaural, it is very easy to set
up specific routings with specific gains.
29. Tips and Tricks
29.1 ASIO Direct Monitoring (Windows)
Programs that support ADM (ASIO Direct Monitoring - Samplitude, Sequoia, Cubase, Nuendo
etc.) send control commands to TotalMix. This is directly shown by TotalMix. When a fader is
moved in the ASIO host the corresponding fader in TotalMix will move too. TotalMix reflects all
ADM gain and pan changes in real-time.
But: the faders only move when the currently activated routing (the selected submix) corresponds to the routing in the ASIO host. The Matrix on the other hand will show any change, as it
shows all possible routings in one view.
29.2 Copy a Submix
TotalMix allows you to copy complete submixes to other outputs. In case a complex submix is
need with only a few changes on a different output, the whole submix can be copied to that
output. Right click with the mouse on the original submix output, means Hardware Output. In
the context menu select Copy Submix. Then right click on the new submix output, choose Paste
Submix in the context menu. Now fine tune the submix.
29.3 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.
29.4 Doubling the Output Signal
If a mix should be sent out via two different hardware outputs, the most elegant way is to use a
permanently activated Cue. Set up the mixdown on the routing to the Main Out, use Copy Sub-
mix to copy the final mix to the other output, then activate Cue on this other output. The output
signal, and with this the complete mixdown, will then be played back from two stereo outputs
simultaneously – the Main Out and the other Hardware Output. Even better: the faders of both
outputs are still active, so the signal level can be adjusted individually.
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29.5 Recording a Submix - Loopback
TotalMix includes an internal loopback function, from the Hardware Outputs to the recording
software. Instead of the signal at the hardware input, the signal at the hardware output is sent to
the record software. This way, submixes can be recorded without an external loopback cable.
Also the playback from a software can be recorded by another software.
The function is activated by the Loopback button in the Settings panel of the Hardware Out-
puts. In loopback mode, the signal at the hardware input of the corresponding channel is no
longer sent to the recording software, but still passed through to TotalMix. Therefore TotalMix
can be used to route this input signal to any hardware output. Using the subgroup recording, the
input can still be recorded on a different channel.
As each of the 6 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.
The block diagram shows how the software's input signal is played back, and fed back from the
Hardware Output to the software input.
The block diagram also shows why with activated Loopback the EQ of the Hardware Output is
now within the record path. With Loopback active the EQ of the input is not in the record path,
only in the monitoring path, even when the Option DSP – EQ+D for Record is activated.
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Recording a Software's playback
In real world application, recording a software's output with another software will show the following problem: The record software tries to open the same playback channel as the playback
software (already active), or the playback one has already opened the input channel which
should be used by the record software.
This problem can easily be solved. First make sure that all rules for proper multi-client operation
are met (not using the same record/playback channels in both programs). Then route the playback signal via TotalMix to a hardware output in the range of the record software, and activate
Loopback for recording.
Mixing several input signals into one record channel
In some cases it is useful to record several sources into only one track. For example when using two microphones recording instruments and loudspeakers, TotalMix' Loopback mode saves
an external mixing desk. Simply route/mix the input signals to the same output (third row), then
redefine this output into a record channel via Loopback. This way any number of input channels
from different sources can be recorded into one single track.
29.6 MS Processing
The mid/side principle is a special positioning technique for
microphones, which results in a mid signal on one channel and a
side signal on the other channel. This information can be transformed back into a stereo signal quite easily. The process sends
the monaural mid channel to left and right, the side channel too,
but phase inverted (180°) to the right channel. For a better
understanding: the mid channel represents the function L+R,
while the side channel represents L-R.
During record the monitoring needs to be done in 'conventional' stereo. Therefore TotalMix also
offers the functionality of a M/S-decoder. Activation is done in the Settings panel of the Hard-
ware Input and Software Playback channels via the MS Proc button.
The M/S-Processing automatically operates as M/S encoder or decoder, depending on the
source signal format. When processing a usual stereo signal, all monaural information will be
shifted into the left channel, all stereo information into the right channel. Thus the stereo signal
is M/S encoded. This yields some interesting insights into the mono/stereo contents of modern
music productions. Additionally some very interesting methods of manipulating the stereo base
and generating stereo effects come up, as it is then very easy to process the side channel with
Low Cut, Expander, Compressor or Delay.
The most basic application is the manipulation of the stereo width: a change of the level of the
side channel allows to manipulate the stereo width from mono to stereo up to extended.
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30. MIDI Remote Control
30.1 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 Monitor Main outputs in
the Monitor panel can also 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.
MIDI Remote Control always operates in View Submix mode, even when the View Option Free
is currently selected in TotalMix FX.
30.2 Mapping
TotalMix supports the following Mackie Control surface elements*:
Element: Meaning in TotalMix:
Channel faders 1 – 8 volume
Master fader Main Out channel fader
SEL(1-8) + DYNAMICS Activate Trim mode
V-Pots 1 – 8 pan
pressing V-Pot knobs pan = center
CHANNEL LEFT or REWIND move one channel left
CHANNEL RIGHT or FAST FORWARD move one channel right
BANK LEFT or ARROW LEFT move eight channels left
BANK RIGHT or ARROW RIGHT move eight channels right
ARROW UP or Assignable1/PAGE+ move one row up
ARROW DOWN or Assignable2/PAGE- move one row down
EQ Master Mute
PLUGINS/INSERT Master Solo
STOP Dim Main Out
PLAY Talkback
PAN Mono Main Out
MUTE Ch. 1 – 8 Mute
SOLO Ch. 1 – 8 Solo
SELECT Ch. 1 – 8 Select
REC Ch. 1 – 8 select output bus (Submix)
F1 - F8 load Snapshot 1 - 8
F9 select Main Out
F10 - F12 select Cue Phones 1 - 3
*Tested with Behringer BCF2000 Firmware v1.07 in Mackie Control emulation for Steinberg mode and with Mackie
Control under Mac OS X.
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30.3 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 (when using only standard MIDI commands instead of Mackie
Control protocol) select NONE as MIDI Output.
• Check Enable MIDI Control in the Options menu.
30.4 Operation
The channels being under MIDI control are indicated by a colour change of the info field below
the faders, black turns to yellow.
The 8-fader block can be moved horizontally and vertically, in steps of one or eight channels.
Faders can be selected to gang them.
In Submix View mode, the current routing destination (output bus) can be selected via REC Ch.
1 – 8. This equals the selection of a different output channel in the lowest row by a mouse click
when in Submix View. In MIDI operation it is not necessary to jump to the lowest row to perform
this selection. This way even the routing can be easily changed via MIDI.
Full LC Display Support: This option in Preferences (F3) activates complete Mackie Control
LCD support with eight channel names and eight volume/pan values.
Attention: this feature causes heavy overload of the MIDI port when ganging more than 2
faders! In such a case, or when using the Behringer BCF2000, turn off this option.
When Full LC Display Support is turned off, only a brief information about the first fader of the
block (channel and row) is sent. This brief information is also available on the LED display of
the Behringer BCF2000.
Tip for Mac OS X users: LC Xview (www.opuslocus.com
lating the hardware displays of a Logic/Mackie Control, for use with controllers that can emulate
a Logic/Mackie Control but do not have a display. Examples include the Behringer BCF2000
and Edirol PCR-series.
Deactivate MIDI in Background (menu Options) disables the MIDI control as soon as another
application is in the focus, or in case TotalMix has been minimized. This way the hardware controller will control the main DAW application only, except when TotalMix is in the foreground.
Often the DAW application can be set to become inactive in background too, so that MIDI control is switched between TotalMix and the application automatically when switching between
both applications.
TotalMix also supports the 9th fader of the Mackie Control. This fader (labelled Master) will con-
trol the stereo output faders (lowest row) which are set up as Main Out in the Control Room
section.
) provides an on-screen display emu-
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30.5 Simple MIDI Control
The stereo output faders (lowest row) which are set up as Monitor Main outputs in the Monitor
panel can also 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 new moni-
toring options (listen to Phones submixes). Fortunately a Mackie Control compatible controller is
not required to control these buttons, as they are steered by simple Note On/Off commands on
MIDI channel 1.
The notes are (hex / decimal / keys):
Cue Main Out: 3E / 62 / D 3
Dim: 5D / 93 / A 5
Mono: 2A / 42 / #F 1
Talkback: 5E / 94 / #A 5
Cue Phones 1: 3F / 63 / #D 3
Cue Phones 2: 40 / 64 / E 3
Cue Phones 3: 41 / 65 / F 3
Cue Phones 4: 42 / 66 / G 3
Snapshot 1: 36 / 54 / #F 2
Snapshot 2: 37 / 55 / G 2
Snapshot 3: 38 / 56 / #G 2
Snapshot 4: 39 / 57 / A 2
Snapshot 5: 3A / 58 / #A 2
Snapshot 6: 3B / 59 / B 2
Snapshot 7: 3C / 60 / C 3
Snapshot 8: 3D / 61 / #C 3
An example of a small MIDI controller covering such MIDI functionality (and even some more) is
the Behringer BCN44. This little box has 4 pots and 8 buttons for all the above functions – for
less than 60 Euros.
Furthermore TotalMix allows to control all faders of all three rows via simple Control Change
commands.
The format for the Control Change commands is:
Bx yy zz
x = MIDI channel
yy = control number
zz = value
The first row in TotalMix is addressed by MIDI channels 0 up to 3, the middle row by channels 4
up to 7 and the bottom row by channels 8 up to 11.
16 Controller numbers are used: 102 up to 117 (= hex 66 to 75).
With these 16 Controllers (= faders) and 4 MIDI channels each per row, up to 64 faders can be
controlled per row (as required by the HDSPe MADI).
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Examples for sending MIDI strings*:
- Set input 1 to 0 dB: B0 66 40
- 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 40
*Note
: Sending MIDI strings might require to use programmer's logic for the MIDI channel, start-
ing with 0 for channel 1 and ending with 15 for channel 16.
30.6 Stand-Alone MIDI Control
When not connected to a computer, the Fireface UFX can be controlled directly via MIDI. The
stand-alone MIDI control mode is activated in the unit’s menu Options, HW Op-
tions/Diagnosis, Standalone MIDI.
: When not needed the stand-alone MIDI operation should not be active, as the unit will
Note
react on MIDI notes after power-on, and will also send MIDI notes.
Control is performed via both the Mackie Control protocol and some standard MIDI functions
(see below). In stand-alone mode not all functions known from TotalMix are available, because
some of them aren't hardware, but software routines. Functions like Talkback, Mono, Solo, rela-
tive ganging of the faders, Monitor Main and Monitor Phones are realized by complex software
code, therefore not available in stand-alone MIDI control operation.
Still many functions, and especially the most important functions to control the Fireface UFX,
are implemented in hardware, thus available also in stand-alone mode:
• All faders and pans of the first and third row
• Mute of the input signal per channel
• Ganging via 'Select'
• Choice of the routing destination, i.e. the current submix
• Sending of LED and display data to the MIDI controller
The second row (software playback) is skipped. The Fireface UFX sends display data as brief
information, enabling an easy navigation through lines and rows. Other data like PAN and miscellaneous status LEDs are supported as well.
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.
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Mackie Control Protocol
The stand-alone operation supports the following Mackie Control surface elements*:
*Tested with Behringer BCF2000 Firmware v1.07 in Mackie Control emulation for Steinberg mode.
Element: Meaning in Fireface:
Channel faders 1 – 8 volume
V-Pots 1 – 8 pan
pressing V-Pot knobs pan = center
CHANNEL LEFT or REWIND move one channel left
CHANNEL RIGHT or FAST FORWARD move one channel right
BANK LEFT or ARROW LEFT move eight channels left
BANK RIGHT or ARROW RIGHT move eight channels right
ARROW UP or Assignable1/PAGE+ move one row up
ARROW DOWN or Assignable2/PAGE- move one row down
STOP Dim Main Out
EQ Master Mute
MUTE Ch. 1 – 8 Mute
SELECT Ch. 1 – 8 Select
REC Ch. 1 – 8 select output bus (current submix)
F1 – F6 load Setup 1 - 6
Additionally the following functions are available via simple MIDI notes on MIDI channel 1:
Dim: 5D / 93 / A 5
Setup 1: 36 / 54 / #F 2
Setup 2: 37 / 55 / G 2
Setup 3: 38 / 56 / #G 2
Setup 4: 39 / 57 / A 2
Setup 5: 3A / 58 / #A 2
Setup 6: 3B / 59 / B 2
Loading the Setups stored in the device enables a quick configuration change of the UFX. With
this any possible operation state can be activated by the push of a button at any time.
30.7 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. As soon as it detects this special note at the input, the MIDI functionality is
disabled. After fixing the loopback, check Enable MIDI Control under Options to reactivate the
TotalMix MIDI.
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User's Guide
Fireface UFX
Technical Reference
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31. Technical Specifications
31.1 Analog
AD, Line In 1-8, rear
• Resolution AD: 24 bit
• Signal to Noise ratio (SNR): 110 dB RMS unweighted, 113 dBA
• Frequency response @ 44.1 kHz, -0.1 dB: 5 Hz – 21.5 kHz
• Frequency response @ 96 kHz, -0.5 dB: 5 Hz – 45.5 kHz
• Frequency response @ 192 kHz, -1 dB: 5 Hz – 66.5 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: 10 kOhm
• Input sensitivity switchable to Lo Gain, +4 dBu, -10 dBV
• Input level for 0 dBFS @ Lo Gain: +19 dBu
• Input level for 0 dBFS @ +4 dBu: +13 dBu
• Input level for 0 dBFS @ -10 dBV: +2 dBV
Microphone In 9-12, front
As AD, but:
• Input: XLR, electronically balanced
• Input impedance: 2 kOhm
• Signal to Noise ratio (SNR): 112 dB RMS unweighted, 115 dBA
• Gain range: 65 dB
• Maximum input level, Gain 0 dB: +12 dBu
• Maximum input level, Gain 65 dB: -53 dBu
• CLIP LED: 0 dBFS
• SIG LED: -46 dBFS
Instrument In 9-12, front
As AD, but:
• Input: 6.3 mm TS jack, unbalanced
• Input impedance: 800 kOhm
• Signal to Noise ratio (SNR): 112 dB RMS unweighted, 115 dBA
• Gain range: 55 dB
• Maximum input level, Gain 10 dB: +21 dBu
• Maximum input level, Gain 65 dB: -34 dBu
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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 – 22 kHz
• Frequency response @ 96 kHz, -0.5 dB: 5 Hz – 34 kHz
• Frequency response @ 192 kHz, -1 dB: 5 Hz - 50 kHz
• THD: -104 dB, < 0.00063 %
• THD+N: -100 dB, < 0.001 %
• Channel separation: > 110 dB
• Maximum output level: +19 dBu
• Output: 6.3 mm TRS jack, servo-balanced
• Output impedance: 75 Ohm
• 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: 6.3 mm TRS stereo jack, unbalanced
• Maximum output level at 0 dBFS, High: +13 dBu
• Maximum output level at 0 dBFS, Low: +2 dBV
• Output impedance: 30 Ohm
31.2 MIDI
• 2 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
31.3 Digital
• Clocks: Internal, ADAT In, AES In, word clock in
• 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 and 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
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31.4 Digital Inputs
AES/EBU
• 1 x XLR, transformer-balanced, galvanically isolated, according to AES3-1992
• High-sensitivity input stage (< 0.3 Vpp)
• SPDIF compatible (IEC 60958)
• Accepts Consumer and Professional format
• Lock range: 27 kHz – 200 kHz
• Jitter when synced to input signal: < 1 ns
• Jitter suppression: > 30 dB (2.4 kHz)
ADAT Optical
• 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: < 1 ns
• Jitter suppression: > 30 dB (2.4 kHz)
SPDIF optical (ADAT2)
• 1 x optical, according to IEC 60958
• Accepts Consumer and Professional format
• Lock range: 27 kHz – 200 kHz
• Jitter when synced to input signal: < 1 ns
• Jitter suppression: > 30 dB (2.4 kHz)
Word Clock
• BNC, not terminated (10 kOhm)
• Switch for internal termination 75 Ohm
• 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 when synced to input signal: < 1 ns
• Jitter suppression: > 30 dB (2.4 kHz)
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31.5 Digital Outputs
AES/EBU
• 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
• Single Wire mode, sample rate 28 kHz up to 200 kHz
ADAT
• 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
• BNC
• Max. output voltage: 5 Vpp
• Output voltage @ 75 Ohm termination: 4.0 Vpp
• Output impedance: 10 Ohm
• Frequency range: 27 kHz – 200 kHz
31.6 General
• Power supply: Internal switching PSU, 100 - 240 V AC, 30 Watt
• Typical power consumption: 22 Watt
• Dimensions including rack ears (WxHxD): 483 x 44 x 242 mm (19" x 1.73" x 9.5")
• Dimensions without rack ears/handles (WxHxD): 436 x 44 x 235 mm (17.2" x 1.73" x 9.3")
• Weight: 3 kg ( 6.6 lbs)
• Temperature range: +5° up to +50° Celsius (41° F up to 122°F)
• Relative humidity: < 75%, non condensing
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32. Technical Background
32.1 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 fre-
quency 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.
If an ADAT or SPDIF signal is applied to the Fireface UFX, the corresponding input LED starts
flashing. The unit indicates LOCK, i. e. a valid input signal (in case the signal is also in sync, the
LED is constantly lit, see below).
Unfortunately, LOCK does not necessarily mean that the received signal is correct with respect
to the clock which processes the read out of the embedded data. Example [1]: The Fireface is
set to 44.1 kHz internally (clock mode Master), and a mixing desk with ADAT output is connected to input ADAT1. The corresponding LED will show LOCK immediately, but usually the
mixing desk's sample rate is generated internally (also Master), and thus slightly higher or lower
than the Fireface's internal sample rate. Result: When reading out the data, there will frequently
be read errors that cause clicks and drop outs.
Also when using multiple inputs, a simple LOCK is not sufficient. The above described problem
can be solved elegantly by setting the Fireface from Master to AutoSync (its internal clock will
then be the clock delivered by the mixing desk). But in case another, un-synchronous device is
connected, there will again be a slight difference in the sample rate, and therefore clicks and
drop outs.
In order to display those problems optically at the device, the Fireface includes SyncCheck
checks all clocks used for synchronicity. If they are not synchronous to each other (i. e. abso-
lutely identical), the SYNC LED of the asynchronous input flashes. In case they are completely
synchronous, all LEDs are constantly lit. In example 1 it would have been obvious that the LED
ADAT 1 kept on flashing after connecting the mixing desk.
In practice, SyncCheck allows for a quick overview of the correct configuration of all digital devices. So one of the most difficult and error-prone topics of the digital studio world finally becomes easy to handle.
The same information is presented in the Fireface's Settings dialog. In the status display Sync-
Check the state of all clocks is decoded and shown as simple text (No Lock, Lock, Sync).
®
. It
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32.2 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. In the year 2000, RME published two ground-breaking
Tech Infos on the topics Low Latency Background, which are still up-to-date: Monitoring, ZLM
and ASIO, and Buffer and Latency Jitter, both found on the RME Driver CD.
How much Zero is Zero?
From a technical view there is no zero. Even the analog pass-through is subject to phase errors, equalling a delay between input and output. However, delays below certain values can
subjectively be claimed to be a zero-latency. This applies to analog routing and mixing, and in
our opinion also to RME's Zero Latency Monitoring. The term describes the digital path of the
audio data from the input of the interface to its output. The digital receiver of the Fireface UFX
can't operate un-buffered, and together with TotalMix and the output via the transmitter, it
causes a typical delay of 3 samples. At 44.1 kHz this equals about 68 µs (0.000068 s), at 192
kHz only 15 µs. The delay is valid for ADAT and SPDIF in the same way.
Oversampling
While the delays of digital interfaces can be disregarded altogether, the analog inputs and outputs do cause a significant delay. Modern converter chips operate with 64 or 128 times oversampling plus digital filtering, in order to move the error-prone analog filters away from the audible frequency range as far as possible. This typically generates a delay of one millisecond. A
playback and re-record of the same signal via DA and AD (loopback) then causes an offset of
the newly recorded track of about 2 ms.
Low Latency!
The Fireface UFX uses AD converters from Cirrus Logic with an innovative digital filter, achieving for the first time a delay of only 12 samples in Single Speed, 9 samples in Double Speed,
and 5 (!) samples in Quad Speed. The DA converter from Texas Instruments also has a low
delay value compared to other converters. The exact delays of the Fireface UFX are:
Sample frequency kHz 44.1 48 88.2 96 176.4 192
AD (12 x 1/fs) ms 0.27 0.25
AD (9 x 1/fs) ms 0.1 0.09
AD (5 x 1/fs) ms 0.028 0.026
DA (28 x 1/fs) ms 0.63 0.58 0.32 0.29 0.16 0.15
Buffer Size (Latency)
Windows: This option found in the Settings dialog defines the size of the buffers for the audio
data used in ASIO and WDM (see chapter 10).
Mac OS X: The buffer size is defined within the application. Only some do not offer any setting.
For example iTunes is fixed to 512 samples.
General: A setting of 64 samples at 44.1 kHz causes a latency of 1.5 ms, for record and play-
back each. But when performing a digital loopback test no latency/offset can be detected. The
reason is that the software naturally knows the size of the buffers, therefore is able to position
the newly recorded data at a place equalling a latency-free system.
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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.
Therefore, in a digital loopback test a negative offset of about 3 ms occurs. This is no real
problem, because this way of working is more than seldom, and usually the offset can be compensated manually within the application. Additionally, keep in mind that even when using the
digital I/Os usually at some place an AD- and DA-conversion is involved (no sound without...).
: Cubase and Nuendo display the latency values signalled from the driver separately for
Note
record and playback. While with our former cards these values equalled exactly the buffer size
(for example 3 ms at 128 samples), the Fireface displays an additional millisecond – the time
needed for the AD/DA-conversion. Playback even shows another millisecond added – see
Safety Buffer.
Safety Buffer
An additional small safety buffer on the playback side only has proven to be very efficient and
useful. It is therefore implemented in all RME interfaces. The Fireface UFX uses a fixed additional buffer of 32 samples with USB and 64 samples with FireWire, which is added to the current buffer size. The main advantage is the ability to use lowest latency at highest CPU loads.
Furthermore, the fixed buffer does not add to the latency jitter (see Tech Info), the subjective
timing is extraordinary.
Core Audio's Safety Offset
Under OS X, every audio interface has to use a so called Safety Offset, otherwise Core Audio
won't operate click-free. The Fireface uses a Safety Offset of 16 samples with USB and 32 samples with FireWire. This offset is signalled to the system, and the software can calculate and
display the total latency of buffer size plus AD/DA offset plus safety offset for the current sample
rate.
32.3 USB Audio
USB audio is in several ways different from PCI based audio interfaces.
A Fireface can achieve a performance similar to a PCI or PCI Express card when used with an
optimal PC. Low CPU load and click-free operation even at 48 samples buffer size are indeed
possible on current computers. However, using older computers a simple stereo playback will
begin to cause a CPU load of more than 30%.
A computer blocked for a short time – no matter if ASIO or WDM – will lose one or more data
packets. Such problems can only be solved by increasing the buffer size (and with this the latency).
The Fireface features a unique data
checking, detecting errors during
transmission via USB and displaying them
in the Settings dialog.
Additionally the Fireface provides a special mechanism to continue recording and playback in
case of drop-outs, and to correct the sample position in real-time.
Like any audio interface the Fireface should have a data transmission to the computer as undisturbed as possible. The easiest way to guarantee this is to connect it to its own bus, which
should be no big problem as most USB 2.0 interfaces are a double bus design. A check in the
Device Manager can be done as follows:
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¾ Connect the Fireface to a USB port
¾ Start the Device Manager, View set to Devices by Connection
¾ Select ACPI x86-based PC, Microsoft ACPI-Compliant System, expand PCI Bus
This branch normally includes two entries of a USB2 Enhanced Host Controller. A USB Root
Hub can be seen, which then connects all USB devices, including the Fireface. By reconnecting
to a different port this view immediately shows at which of the two controllers the Fireface is
connected. With multiple devices it can also be checked if they are connected to the same controller.
Furthermore this information can be used to operate an external USB drive without disturbing
the Fireface, 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 interfere with each other.
32.4 FireWire Audio
FireWire audio is in several ways different from PCI audio interfaces. RME’s PCI data transmission happens per channel, while FireWire is working interleaved. A direct communication with
the application (Zero CPU load) is not possible with FireWire, because communication has to
be established by the operating system's FireWire driver. Compared to PCI cards, the FireWire
subsystem creates an additional CPU load at lower latencies.
Due to insufficient buffering within FireWire controllers, single peak loads on the PCI bus can
already cause loss of one or more data packets. This is independent of the manufacturer and
no RME problem.
FireWire Audio does not reach the same performance as PCI audio. On a standard computer
with modern single PCI bus, about 100 audio channels can be transmitted per direction (record/playback). Exceeding this limit, any system activity - even outside the PCI bus - causes
drop outs.
The Fireface UFX features a unique data
checking, detecting errors during
transmission via PCI/FireWire and
displaying them in the Settings dialog.
Additionally the Fireface provides a special mechanism which allows to continue record and
playback in spite of drop-outs, and to correct the sample position in real-time. Detailed informa-
tion on this topic can be found in the Tech Info FireWire Audio by RME – Technical Background
on the RME website: http://www.rme-audio.com/english/techinfo/fwaudio_rme.htm
Transferring these experiences to FireWire and the Fireface UFX means that besides the num-
ber of channels the bus load has to be taken into account too. One channel at 96 kHz causes
the same load to the system as two channels at 48 kHz, the bus load is doubled at 96 kHz and
quadrupled at 192 kHz. Limit Bandwidth sets a constant number of channels, but those chan-
nels cause a bigger load in DS and QS mode, because more data have to be transferred. For
example the 18 channels at 192 kHz equal a FireWire and PCI bus load of 72 channels at 48
kHz:
Limit Bandwidth 48 kHz
(max 30) DS (max. 22) QS (max. 18)
All Channels 30 44 72
An.+AES+ADAT1 22 40 64
Analog+AES 14 28 56
Analog 1-8 8 16 32
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To use FireWire as efficiently as possible, the Fireface allows to reduce the number of trans-
ferred channels. Limit Bandwidth provides four options, limiting the transmission internally to 30,
22, 14 or 8 channels. This limitation is independent from the sample rate. As can be seen in the
following table, in 96/162 kHz mode there is no difference between the setting All Channels and
An.+AES+ADAT1 as the Fireface UFX offers only 18 channels in Quad Speed mode anyway.
Limit Bandwidth 48 kHz (30) 96 kHz (22) 192 kHz (18) FW-
Channels
All Channels x / / 30
An.+AES+ADAT1 x x / 22
Analog+AES x x x 14
Analog 1-8 x x x 8
32.5 DS - Double Speed
When activating the Double Speed mode the Fireface UFX operates at double sample rate. The
internal clock 44.1 kHz turns to 88.2 kHz, 48 kHz to 96 kHz. The internal resolution is still 24 bit.
Sample rates above 48 kHz were not always taken for granted, and are still not widely used
because of the CD format (44.1 kHz) dominating everything. Before 1998 there were no receiver/transmitter circuits available that could receive or transmit more than 48 kHz. Therefore a
work-around was used: instead of two channels, one AES line only carries one channel, whose
odd and even samples are being distributed to the former left and right channels. By this, you
get the double amount of data, i. e. also double sample rate. Of course in order to transmit a
stereo signal two AES/EBU ports are necessary then.
This transmission mode is called Double Wire in the professional studio world, and is also
known as S/MUX (Sample Multiplexing) in connection with the ADAT format.
Because the ADAT interface does not allow for sampling frequencies above 48 kHz (a limitation
of the interface hardware), the Fireface UFX automatically uses Sample Multiplexing in DS
mode. One channel's data is distributed to two channels according to the following table:
Analog In 1 2 3 4 5 6 7 8
DS Signal
Port
1/2
ADAT1
3/4
ADAT1
5/6
ADAT1
7/8
ADAT1
1/2
ADAT2
3/4
ADAT2
5/6
ADAT2
7/8
ADAT2
As the transmission of double rate signals is done at standard sample rate (Single Speed), the
ADAT outputs still deliver 44.1 kHz or 48 kHz.
35.6 QS – Quad Speed
Due to the small number of available devices that use sample rates up to 192 kHz, but even
more due to a missing real world application (CD...), Quad Speed has had no broad success so
far. An implementation of the ADAT format as double S/MUX results in only two channels per
optical output.
In Quad Speed mode the Fireface UFX automatically uses Sample Multiplexing. One channel's
data is distributed to four channels according to the following table:
Analog In 1 2 3 4 5 6 7 8
QS Signal
Port
1/2/3/4
ADAT1
As the transmission of quad rate signals is done at standard sample rate (Single Speed), the
ADAT output still delivers 44.1 kHz or 48 kHz.
5/6/7/8
ADAT1
1/2/3/4
ADAT2
5/6/7/8
ADAT2
- - - -
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32.7 Noise level in DS / QS Mode
The outstanding signal to noise ratio of the Fireface UFX 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 -109 dB to -104 dB at 96
kHz, and –82 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.
When limiting the measurement range from 20 Hz to 20 kHz (so called audio bandpass) the
value would be -109 dB again. This can be verified with RME's DIGICheck. The function Bit
Statistic & Noise measures the noise floor by Limited Bandwidth, ignoring DC and ultrasound.
The reason for this behaviour is the noise shaping technology of the analog to digital converters. They move all noise and distortion to the in-audible higher frequency range, above 24 kHz.
That’s how they achieve their outstanding performance and sonic clarity. Therefore the noise is
slightly increased in the ultrasound area. High-frequent noise has a high energy. Add the doubled (quadrupled) bandwidth, and a wideband measurement will show a significant drop in
SNR, while the human ear will notice absolutely no change in the audible noise floor.
32.8 SteadyClock
The SteadyClock technology of the Fireface UFX guarantees an excellent performance in all
clock modes. Thanks to a highly efficient jitter suppression, the AD- and DA-conversion always
operates on highest sonic level, being completely independent from the quality of the incoming
clock signal.
SteadyClock has been originally developed to gain a stable and clean
clock from the heavily jittery MADI data
signal (the embedded MADI clock suffers from about 80 ns jitter). Using the
Fireface's input signals AES and
ADAT, you'll most probably never experience such high jitter values. But
SteadyClock is not only ready for them,
it would handle them just on the fly.
Common interface jitter values in real
world applications are below 10 ns, a
very good value is less than 2 ns.
The screenshot shows an extremely jittery SPDIF signal of about 50 ns jitter (top graph, yellow).
SteadyClock turns this signal into a clock with less than 2 ns jitter (lower graph, blue). The signal processed by SteadyClock is of course not only used internally, but also used to clock the
digital outputs. Therefore the refreshed and jitter-cleaned signal can be used as reference clock
without hesitation.
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33. Diagrams
33.1 Block Diagram Fireface UFX
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33.2 Connector Pinouts
TRS jacks of analog input / output
The stereo 1/4" TRS jacks of the 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.
XLR jacks of analog inputs
The XLR jacks are wired according to international standards:
1 = GND (shield)
2 = + (hot)
3 = - (cold)
TRS Phones jack
The analog monitor outputs on
the front are accessible
through stereo 1/4" TRS jacks.
This allows a direct connection
of headphones. In case the
output should operate as Line
output, an adapter TRS plug to
RCA phono plugs, or TRS plug
to TS plugs is required.
The pin assignment follows
international standards. The left
channel is connected to the tip,
the right channel to the ring of
the TRS jack/plug.
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User's Guide
Fireface UFX
Miscellaneous
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95
34. Accessories
RME offers several optional components for the Fireface UFX:
Part Number Description
Standard FireWire 400 cable, both sides 6-pin male:
FWK660100BL FireWire cable IEEE1394a 6M/6M, 1 m (3.3 ft)
FWK660300BL FireWire cable IEEE1394a 6M/6M, 3 m (9.9 ft)
FWK660400BL FireWire cable IEEE1394a 6M/6M, 4 m (13 ft)
FireWire 400 cable, 4-pin male to 6-pin male (4-pin sockets are found on most laptops):
FWK460100BL FireWire cable IEEE1394a 4M/6M, 1 m (3.3 ft)
FWK460300BL FireWire cable IEEE1394a 4M/6M, 3 m (9.9 ft)
FWK460400BL FireWire cable IEEE1394a 4M/6M, 4 m (13 ft)
: Cable longer than 15 ft (4.5m) is not specified for FireWire.
Note
Optical cable with TOSLINK connectors:
OK0050 Optical cable, TOSLINK, 0.5 m (1.6 ft)
OK0100 Optical cable, TOSLINK, 1 m (3.3 ft)
OK0200 Optical cable, TOSLINK, 2 m (6.6 ft)
OK0300 Optical cable, TOSLINK, 3 m (9.9 ft)
OK0500 Optical cable, TOSLINK, 5 m (16.4 ft)
OK1000 Optical cable, TOSLINK, 10 m (33 ft)
ADI8-RC Remote control for Volume, Dim and Recall
35. Warranty
Each individual Fireface UFX undergoes comprehensive quality control and a complete test at
IMM before shipping. The usage of high grade components allows us to offer a full two year
warranty. We accept a copy of the sales receipt as valid warranty legitimation.
If you suspect that your product is faulty, please contact your local retailer. The warranty does
not cover damage caused by improper installation or maltreatment - replacement or repair in
such cases can only be carried out at the owner’s expense.
Audio AG does not accept claims for damages of any kind, especially consequential damage.
Liability is limited to the value of the Fireface UFX. The general terms of business drawn up by
Audio AG apply at all times.
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36. Appendix
RME news, driver updates and further product information are available on our website:
http://www.rme-audio.com
Distributor: Audio AG, Am Pfanderling 60, D-85778 Haimhausen, Tel.: (49) 08133 / 91810
Manufacturer:
IMM Elektronik GmbH, Leipziger Strasse 32, D-09648 Mittweida
Trademarks
All trademarks, registered or otherwise, are the property of their respective owners. RME,
DIGICheck and Hammerfall are registered trademarks of RME Intelligent Audio Solutions.
DIGI96, SyncAlign, ZLM, SyncCheck, TMS, TotalMix and Fireface are trademarks of RME Intelligent Audio Solutions. Alesis and ADAT are registered trademarks of Alesis Corp. ADAT optical
is a trademark of Alesis Corp. Microsoft, Windows, Windows XP, Windows Vista and Windows
7 are registered trademarks or trademarks of Microsoft Corp. Steinberg, Cubase and VST are
registered trademarks of Steinberg Media Technologies GmbH. ASIO is a trademark of
Steinberg Media Technologies GmbH. FireWire, the FireWire symbol and the FireWire logo are
trademarks of Apple Computer, Inc.
Copyright © Matthias Carstens, 10/2010. Version 1.1
Current driver and Firmware versions
USB: Windows 0.959, Mac OS X: 1.47, Firmware 336
FireWire: Windows 3.027, Mac OS X: 2.83, Firmware 328
DSP: Firmware 107
Although the contents of this User’s Guide have been thoroughly checked for errors, RME can
not guarantee that it is correct throughout. RME does not accept responsibility for any misleading or incorrect information within this guide. Lending or copying any part of the guide or the
RME Driver CD, or any commercial exploitation of these media without express written permission from RME Intelligent Audio Solutions is prohibited. RME reserves the right to change
specifications at any time without notice.
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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 RL2004/108/EG, and European Low Voltage Directive RL2006/95/EG.
FCC
This equipment has been tested and found to comply with the limits for a Class B digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses,
and can radiate radio frequency energy and, if not installed and used in accordance with the
instructions, may cause harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation. If this equipment does
cause harmful interference to radio or television reception, which can be determined by turning
the equipment off and on, the user is encouraged to try to correct the interference by one or
more of the following measures:
- Reorient or relocate the receiving antenna.
- Increase the separation between the equipment and receiver.
- Connect the equipment into an outlet on a circuit different from that to which the receiver is
connected.
- Consult the dealer or an experienced radio/TV technician for help.
RoHS
This product has been soldered lead-free and fulfils the requirements of the RoHS directive.
ISO 9001
This product has been manufactured under ISO 9001 quality management. The manufacturer,
IMM Elektronik GmbH, is also certified for ISO 14001 (Environment) and ISO 13485 (medical
devices).
Note on Disposal
According to the guide line RL2002/96/EG (WEEE – Directive on Waste
Electrical and Electronic Equipment), valid for all european countries,
this product has to be recycled at the end of its lifetime.
In case a disposal of electronic waste is not possible, the recycling can
also be done by IMM Elektronik GmbH, the manufacturer of the Fireface
UFX.
For this the device has to be sent free to the door to:
IMM Elektronik GmbH
Leipziger Straße 32
D-09648 Mittweida
Germany
Shipments not prepaid will be rejected and returned on the original sender's costs.
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