RME Audio Fireface UCX Manuale Utente Scaricare il pdf

resolution March 2012

REVIEW

udio interfaces to computers have become

highly sophisticated bits of kit and RME

has a long track record in manufacturing

these devices with the Fireface UFX an

excellent example of the breed. However, for many

applications it is overkill. Enter its little brother, the

UCX, which has one or two unique tricks of its own.

Housed in a half-width 1U the UK£807 (+ VAT) unit

is deceptively powerful for its size offering 36 channels

of audio and a 90-channel mixer with 42-bit internal

resolution (30 hardware input channels, 30 software

playback input channels and 30 hardware output

channels.) These numbers reduce at HD sampling

rates (up to 192kHz). Like the larger UFX the UCX

offers a lot more than a simple interface — it is also a

comprehensive and ﬂexible routing matrix and mixer,

a monitor controller, a high quality clock source and

has a pair of very serious digitally controlled analogue

preamps. It also has an alternative ﬁrmware that

supports ‘Class Compliant Mode’ which adds some

intriguing possibilities in conjunction with an iPad

or iPad2.

On the front panel two XLR/jack combo sockets

are Mic/Instrument analogue inputs 1–2 with Clip,

Signal present and 48V phantom power indicator

LEDs. Analogue outputs 3–4 are jacks with Clip and

Signal present indicator LEDs. A rotary encoder/

switch sets the input gains and output volumes

from the front panel. The knob works in Channel

or Level modes indicated by LEDs. A two character

alphanumeric display shows which channel you will

affect and the level set. The knob is used for pan on

stereo channels by holding it in for a second and also

accesses setup mode and stores and recalls setups.

Channel modes and many other setup parameters are

only accessible via the TotalMix application. A block

of State and MIDI LEDs indicate WC source, Word

clock, SPDIF, ADAT or Host and MIDI In 1, In 2, Out 1

and Out 2 activity. The headphone jack uses analogue

outputs 7–8 and has generous output level.

Around the back, ¼-inch balanced jacks access

analogue inputs 5–8 and outputs 1–6. Phonos deal

with SPDIF in and out and a pair of Toslink optical

sockets provide 8 channels of ADAT format I-O. The

optical input auto-switches when SPDIF is detected

and the output can be switched to SPDIF in software.

Word clock In and Out are BNC; 75ohm termination

is set in software. One mini DIN is for the supplied or

optional remote controls and the other does MIDI in

and out via the supplied breakout cable. USB2 and

FireWire 400 sockets connect to a host computer.

Although not recommended, both can be connected

at once. The ﬁrst active port takes precedence. Power

is supplied by an external in-line convertor. The

connection is the usual concentric type and a toggle

power switch completes the picture. The power plug

has an indicator LED built in; a nice touch.

TotalMix FX, the digital mixer and signal router

application, is powered by two DSP chips. It

offers a comprehensive routing matrix and

a full mixer with three-band EQ and

high-pass ﬁlter, dynamics and

reverb/echo effects. Mixer

outputs can be rerouted

back to DAW inputs for

recording. The EQ is

very useful, as are

the dynamics,

the reverb and

echo effects.

The control

room section even

includes a talkback button.

In conjunction with the remote control

the monitor section is more than adequate for

most purposes. External hardware control of the

mixer is possible via Mackie Control Protocol.

Autoset is a very nice, lazy option that sets the

analogue gain according to the input level. It attempts

to keep 6dB of headroom and is inaudible in everyday

use. It neatly avoids overs with no effort on the part

of the user. The only catch is that levels in excess

of -6dBFS will reduce the gain permanently until

the user intervenes. While setup may seem a little

complex initially, it all makes sense and very quickly

becomes intuitive.

The supplied remote control is almost identical to

the RME Babyface in appearance and as such it is

a very handsome object. The solid metal low proﬁle

case has an attractively curved front, a jog-wheel/

switch and two buttons. The wheel controls volume

and its switch toggles Dim. The Recall button is used

to store and recall levels and the Prog button can be

mapped to almost any TotalMix function.

Apple seems to be phasing out FireWire in favour

of Thunderbolt and many PCs are currently equipped

with neither so the dual Firewire 400/USB2 interfaces

are very welcome. Of course, it will also work with

USB3 and FireWire 800. Rather than use any of the

off-the-shelf chipsets, many of which are less than

ideal for real-time applications, RME has developed its

own solution. In my experience it gives the most solid

connections with the lowest latencies. Since the UCX

has only one USB socket and this is used as a host

connection it lacks the clever direct USB recording

present on its larger sibling the UFX.

UCX has an alternative ﬁrmware accessed via the

front panel encoder button. Once ‘CC’ is selected the

unit reboots in Class Compliant Mode. The UCX then

works by default as an 8-channel audio I-O and

Sysex capable MIDI I-O for the iPad and iPad 2. The

digital outputs work in parallel. For subscribers to the

Apple hegemony this is a very big deal and extends

the reach of the UCX considerably. The Apple Camera

Connection Kit, which converts the wide connector to

standard USB, is also required. At present professional

apps that take full advantage of the UCX do not exist

but this is changing rapidly as I write. Meanwhile it

is already working with MT DAW and Music Studio.

Like every other RME product I have used the

UCX is characterised by the cardinal virtues of

excellent engineering, accuracy and neutrality. It

is commendably compact

and, when used with a

laptop forms the heart of

a very versatile and

easily portable recording

and editing rig. I used

Pyramix Native on an

old Acer laptop and it

all worked very well. Noise

levels are low and I would

have no hesitation in using it for

professional production. It is equally

at home in a studio and can provide

all that is required for modest music set-

ups and for video editing/mixing. The six

outputs are ideal for surround monitoring and

two mic inputs are plenty for ADR and effects

recording. The enticing prospect of being able to use

it with an iPad adds the icing to the cake. n

Contact

RME, GERMANY:

Website: www.rme-audio.de

PROS

Beautiful build quality; excellent low

noise sound; versatility.

A mite complicated to learn; no USB

recording; doesn’t work with iPhone.

Apart from the supplied remote

control RME is also offering the

alternative wired Advanced

Remote Control (ARC).

This has been

designed for

direct access

to more

functions.

The ARC looks

very similar to the UCX

remote with a solid metal case,

main encoder dial and 8 pushbuttons. The

‘extra’ six have indicator LEDs. Seven of

the buttons can be assigned freely via

TotalMix FX to more than 36 different

commands. This remote also works with

recent build UFXs.

CONS

EXTRAS

RME Fireface UCX

Targeting much of the thinking behind the UFX at a different user base and price point, the

UCX has much to commend it. ROB JAMES gets in the face of an audio interface.

RME Fireface UCX 1

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22resolution March 2012REVIEWAudio interfaces to computers have become highly sophisticated bits of kit and RME has a long track record in manufactu

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