User's Guide Fireface UC Portable USB Audio at its best! ™ TotalMix 24 Bit / 192 kHz 9 ™ SyncAlign ZLM ™ ™ SyncCheck ™ SteadyClock USB 2.
General 1 2 3 4 5 Introduction ...............................................................6 Package Contents .....................................................6 System Requirements ..............................................6 Brief Description and Characteristics.....................6 First Usage - Quick Start 5.1 Connectors and Front Panel ...................................7 5.2 Quick Start ..............................................................
18 19 20 Using more than one Fireface ............................... 35 DIGICheck Mac........................................................ 35 Hotline – Troubleshooting ..................................... 36 Stand-Alone Operation, Connections 21 Stand-alone Operation 21.1 Front Panel Operation ......................................... 38 21.2 8-channel AD/DA-Converter ................................ 39 21.3 2-channel Mic Preamp......................................... 39 21.4 Monitor Mixer ........
28 Tips and Tricks 28.1 ASIO Direct Monitoring (Windows) ......................69 28.2 Copy a Submix.....................................................69 28.3 Delete a Submix...................................................69 28.4 Doubling the Output Signal ..................................69 28.5 Recording a Submix - Loopback..........................70 28.6 MS Processing .....................................................71 29 MIDI Remote Control 29.1 Overview .....................................
User's Guide Fireface UC General User's Guide Fireface UC © RME 5
1. Introduction Thank you for choosing the Fireface UC. This unique audio system is capable of transferring analog and digital audio data directly to a computer from practically any source. 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 UC at the very top of the range of computer-based audio interfaces.
5. First Usage – Quick Start 5.1 Connectors and Front Panel The front of the Fireface UC features instrument, microphone and line inputs, a stereo line/headphone output, a rotary encoder with 7 segment display, and several status and MIDI LEDs. The Neutrik combo jacks of the Mic/Line inputs can be used via XLR and 1/4" TRS plugs. Both inputs display overload (CLIP), signal presence (SIG) and phantom power (48V) via green, red and yellow LEDs.
Word Clock I/O (BNC): A push switch activates internal termination (75 Ohms). When termination is activated the yellow LED beside the switch lights up. MIDI I/O: Provides two MIDI inputs and outputs via the included breakout cable. USB 2.0: USB socket for connection to the computer. POWER (switch): Turns the Fireface UC on and off. Socket for power connection. The included hi-performance switch mode power supply makes the Fireface operate in the range of 100V to 240V AC.
User's Guide Fireface UC Installation and Operation - Windows User's Guide Fireface UC © RME 9
6. Hardware Installation • Connect the power supply to the Fireface and then to any suitable power outlet. Power-on the Fireface with the rear power switch. • Check the correct firmware version by a double click on the rotary encoder button. The display PC means Windows, the display AP means Mac. The double click automatically switches between both versions. Note: a change of state is only possible when the unit is not connected to the computer.
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 UC/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.
8. Configuring the Fireface 8.1 Settings Dialog - General Configuration of the Fireface UC is done via its own settings dialog.
Output Format Word 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. Optical The optical TOSLINK output can operate as ADAT or SPDIF output. The Channel Status is fixed to Consumer state. Note: The optical input detects the incoming format automatically. SPDIF coax.
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.
8.3 Settings Dialog – Gain The tab Gain has options to change the reference level of some channels. The gain of channels 1 to 4 is adjustable per channel within the TotalMix FX settings panel (click the wrench symbol). Level Line In Defines the reference level of the rear analog inputs 5-8. The available settings are -10 dBV, +4 dBu and LoGain. Line Out Defines the reference level of the rear analog outputs 1-6. The available settings are -10 dBV, +4 dBu and HiGain.
9. Operation and Usage 9.1 Playback 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 as Playback Device, Audio Devices, Audio etc. We recommend switching all system sounds off (via >Control Panel /Sound<). Also Fireface should not be the Preferred Device for playback, as this could cause loss of synchronization and unwanted noises.
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 outputs. For this to work, the WDM SPDIF device of the Fireface UC 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.
9.3 Notes on WDM The driver offers one WDM streaming device per stereo pair, like ADAT 1+2 (Fireface UC). 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.
9.4 Channel Count under WDM The Fireface’s ADAT optical interface offers 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.
9.6 Analog Recording For recordings via the analog inputs the corresponding record device has to be chosen (Fireface UC Analog (x+x)). The input sensitivity of the rear inputs can be changed via the Settings dialog (Gain/Level) in three steps so that the recording is done with optimized levels. A further improvement is possible by slowly raising the source’s output level until the peak level meters in TotalMix reach about –3 dB.
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, 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 'Internal', all other devices must be set to ‘Slave’. The Fireface UC utilizes a very user-friendly, intelligent clock control, called AutoSync.
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. Fireface UC supports ASIO Direct Monitoring (ADM). The Fireface UC supports 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 is reduced from 8 to 4. At a sample rate of 176.
10.3 Known Problems If a computer does not provide sufficient CPU-power and/or sufficient USB-bus transfer rates, then drop outs, crackling and noise will appear. Such effects can be avoided by using a higher buffer setting/latency in the Settings dialog of the Fireface UC. Furthermore PlugIns should be deactivated temporarily to make sure they do not cause these problems. More information can be found in chapter 31.3. Another common source of trouble is incorrect synchronization.
When using more than one Fireface UC the USB bus might get overloaded. To prevent this connect all units to different USB busses. This should be possible without further hardware as many popular USB 2.
13. Hotline – Troubleshooting 13.1 General The newest information can always be found on our website www.rme-audio.com, section FAQ, Latest Additions. Important: Check that the correct (PC = Windows, AP = Mac) firmware is loaded by a doubleclick on the rotary encoder. The input signal cannot be monitored in real-time • ASIO Direct Monitoring has not been enabled within the DAW, and/or monitoring has been disabled globally (TotalMix Options).
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User's Guide Fireface UC Mac OS X – Installation and Operation User's Guide Fireface UC © RME 27
14. Hardware Installation • Connect the power supply to the Fireface and then to any suitable power outlet. Power-on the Fireface with the rear power switch. • Check the correct firmware version by a double click on the rotary encoder button. The display PC means Windows, the display AP means Mac. The double click automatically switches between both versions. Note: a change of state is only possible when the unit is not connected to the computer.
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: /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.
16. Configuring the Fireface 16.1 Settings Dialog Configuring the Fireface UC is done via its own settings dialog. Start the program Fireface USB Settings. The mixer of the Fireface (TotalMix) can be configured by starting the program Fireface USB Mixer. The Fireface’s hardware 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.
Level Line In Defines the reference level of the rear analog inputs 5-8. The available settings are -10 dBV, +4 dBu and LoGain. Line Out Defines the reference level of the rear analog outputs 1-6. The available settings are -10 dBV, +4 dBu and HiGain. Phones Defines the reference level of the analog outputs 7/8. The available settings are -10 dBV, +4 dBu and HiGain. Clock Mode Sample Rate Used to set the current sample rate.
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 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 'Internal', all other devices must be set to ‘Slave’. The Fireface UC utilizes a very user-friendly, intelligent clock control, called AutoSync.
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 supported 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.
17.5 Channel Count under Core Audio The Fireface’s ADAT optical interface offers 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. It is not possible to change the number of Core Audio devices without a reboot of the computer. Therefore whenever the Fireface UC changes into Double Speed (88.
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 UC. 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).
20. Hotline – Troubleshooting The newest information can always be found on our website www.rme-audio.com, section FAQ, latest Additions. Important: Check that the correct (PC = Windows, AP = Mac) firmware is loaded by a doubleclick on the rotary encoder. The unit and drivers have been installed correctly, but playback does not work: • Is Fireface UC listed in the System Profiler? (Vendor ID 2613).
User's Guide Fireface UC Stand-Alone Operation and Connections User's Guide Fireface UC © RME 37
21. Stand-alone Operation The Fireface UC has an internal memory to permanently store all configuration data. The data is stored directly after any change, and are loaded at power-on. Saved settings are: Settings dialog Sample rate, clock mode Master/Slave, configuration of the channels and the digital I/Os. TotalMix The complete mixer state. This also improves the clock situation immediately after power-on, avoiding wrong clocking and noise disturbances in a complex setup, caused by wrong synchronization.
21.2 8-Channel AD/DA-Converter When loading TotalMix' factory default 1 into the unit, the Fireface becomes a high quality 8channel AD/DA-converter, which also provides a monitoring of all 8 DA-channels via channels 7/8 (Preset 2: also monitoring all 8 inputs). A small modification allows for a monitoring of all I/Os via the SPDIF I/O. 21.3 2-Channel Mic Preamp Use TotalMix to route the two microphone inputs directly to the analog outputs. This turns the Fireface UC into a 2-channel microphone preamp.
22. Analog Inputs 22.1 Line Rear The Fireface has 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.
22.3 Instrument / Line Front The instrument inputs 3/4 of the Fireface UC are exceptionally flexible. Several gain and impedance options make them the ideal receivers for both line and instrument signals. Line Inputs 3/4 have balanced line inputs as 1/4" TRS jacks. The electronic input stage is built in a servo balanced design which handles unbalanced (mono jacks) and balanced (stereo jacks) correctly, automatically adjusting the level reference.
23. Analog Outputs 23.1 Line The eight short circuit protected, low impedance line outputs 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.
24. Digital Connections 24.1 ADAT The ADAT optical input of the Fireface UC is fully compatible with all ADAT optical outputs. RME's unsurpassed Bitclock PLL prevents clicks and drop outs even in extreme varipitch operation, and guarantees a fast and low jitter lock to the digital input signal. A usual TOSLINK cable is sufficient for connection. More information on Double Speed (S/MUX) can be found in chapter 35.4. ADAT In Interface for a device sending an ADAT signal to the Fireface UC.
Special Characteristics of the SPDIF Output Apart from the audio data itself, digital signals in SPDIF or AES/EBU format have a header containing channel status information. False channel status is a common cause of malfunction. The Fireface UC ignores the received header and creates a totally new one for the output signal. The Fireface UC’s new output header is optimized for largest compatibility with other digital devices: • 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.
25. Word Clock 25.1 Word Clock Input and Output SteadyClock guarantees an excellent performance in all clock modes. Based on the highly efficient jitter suppression, the Fireface refreshes and cleans up any clock signal, and provides it as reference clock at the BNC output (see section 35.8). Input The Fireface's word clock input is active when Word has been selected as Clock Source in the Settings dialog and a valid word clock signal is present.
25.2 Technical Description and Usage In the analog domain one can connect any device to another device, 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.
25.3 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.
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User's Guide Fireface UC TotalMix FX User's Guide Fireface UC © RME 49
26. TotalMix: Routing and Monitoring 26.1 Overview The Fireface UC includes a powerful digital real-time mixer, the Fireface 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. Here are some typical applications for TotalMix: • Setting up delay-free submixes (headphone mixes).
User's Guide Fireface UC © RME 51
26.2 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 UC provides 18 input channels, 18 software playback channels, and 18 hardware output channels: TotalMix can be used in the above view (View Options 2 Rows).
26.3 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 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.
A click on the tool symbol opens the channel’s Settings panel with differing elements. For example 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 inputs 1/2. Serves as power supply for high quality condenser mics. This option should stay off with other sources to prevent failure by spikes. Inst.
26.4 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 and Talkback are automatically applied. Additionally the channel will be shifted from the Hardware Outputs into the Control Room section, and renamed Main. The same happens when assigning Main Out B or the Phones. The original name can be displayed by the function O-Names in the View Options at any time.
26.5 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. 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.
26.5.1 View Options View Options. This area combines different functions of routing, the level meters and the mixer 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.
26.5.2 Snapshots - Groups Snapshots. Snapshots include all mixer settings, but no graphical elements like window positions, window size, number of windows, visible settings, scroll states 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.
Hidden channels in Mixer/Matrix are still fully functional. An existing routing/mixing/FX processing stays active. But as the channel is no longer visible it can not be edited anymore. At the same time the hidden channels are removed from the list of remote controllable channels, to prevent them from being edited unnoticed. Hidden channels in MIDI Remote 1 are removed from the list of remote controllable channels. Within an 8-channel block of a Mackie compatible control they are skipped.
26.5.4 Scroll Location Markers Another feature to improve overview and working with TotalMix FX are scroll location markers (TotalMix view only). These are displayed automatically when the horizontal size of the TotalMix FX window is smaller than the channel display requires. Shown on the right side of the scrollbar of each row they have four elements: ¾ ¾ ¾ ¾ Arrow to the left. A left mouse click let the channels scroll to the very first one, or most left. 1. Marker number 1.
26.6 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 Views ¾ FX Send follows highest Submix. Locks the FX Send knob to the channel fader.
26.7 Settings The dialog Settings can be opened via the Options menu or directly via F3. 26.7.1 Mixer Page On the mixer page some typical settings for the mixer operation are set, like Talkback source, Dim amount when Talkback is active, the stored main volume or the input used for the External Input function. Talkback ¾ Input. Selects the input channel of the Talkback signal (microphone in control room). Default: None. ¾ Dim. Amount of attenuation of the signals routed to the Phones in dB.
26.7.2 MIDI Page The MIDI page has settings for MIDI remote control via CC commands or Mackie Control protocol. MIDI Remote Control ¾ MIDI In. Input where TotalMix receives MIDI Remote data. ¾ MIDI Out. Output where TotalMix sends MIDI Remote data. ¾ Disable MIDI in background. Deactivates MIDI Remote Control as soon as another application is in the focus, or when TotalMix has been minimized. Mackie Control Options ¾ Enable Protocol Support.
26.7.3 OSC Page The OSC page has settings for MIDI remote control via Open Sound Control (OSC). This is a network based remote protocol that can be used for example by Apple’s iPad with the app TouchOSC to wirelessly remote control TotalMix FX running on a Mac or Windows computer. TotalMix FX OSC Service ¾ IP. Shows the network address of the computer running TotalMix FX (local host). This address must be entered on the remote side. ¾ Host Name. Local computer name. ¾ Port incoming.
26.8 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 Ctrl key will let the fader jump to 0 dB, at the next click to −∞. Same function: Double click of the mouse.
26.9 Menu Options Deactivate Screensaver: When active (checked) any activated Windows screensaver will be disabled temporarily. Always on Top: When active (checked) the TotalMix window will always be on top of the Windows desktop. Note: This function may result in problems with windows containing help text, as the TotalMix window will even be on top of those windows, so the help text isn't readable. Enable MIDI / OSC Control: Activates external MIDI control of the TotalMix mixer.
27. The Matrix 27.1 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 UC has the look and works like a conventional patchbay, adding functionality way beyond comparable hardware and software solutions.
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. 28. Tips and Tricks 28.1 ASIO Direct Monitoring (Windows) Programs that support ADM (ASIO Direct Monitoring - Samplitude, Sequoia, Cubase, Nuendo etc.
28.5 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, complete 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 Outputs.
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.
29. MIDI Remote Control 29.1 Overview TotalMix can be remote controlled via MIDI. It is compatible to the widely spread Mackie Control protocol, so TotalMix can be controlled with all hardware controllers supporting this standard. Examples are the Mackie Control, Tascam US-2400 or Behringer BCF 2000. Additionally, the stereo output faders (lowest row) which are set up as Main Out in the Control Room section can also be controlled by the standard Control Change Volume via MIDI channel 1.
29.3 Setup Open the Preferences dialog (menu Options or F3). Select the MIDI Input and MIDI Output port where your controller is connected to. When no feedback is needed select NONE as MIDI Output. Check Enable MIDI Control in the Options menu. 29.4 Operation The channels being under Mackie MIDI control are indicated by a colour change of the name field, black turns to brown. The 8-fader block can be moved horizontally and vertically, in steps of one or eight channels.
29.5 MIDI Control The hardware output set up as Main Out can be controlled by the standard Control Change Volume via MIDI channel 1. With this, the main volume of the Fireface UC 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 desirable to be available in 'hardware'. These are mainly the Talkback and the Dim button, and the monitoring options (listen to Phones submixes).
Examples for sending MIDI strings: - Set input 1 to 0 dB: B0 66 68 - Set input 5 to maximum attenuation: B1 6A 0 - Set playback 1 to maximum: B4 66 7F - Set Output 3 to 0 dB: B8 68 68 Note: Sending MIDI strings requires to use programmer's logic for the MIDI channel, starting with 0 for channel 1 and ending with 15 for channel 16.
29.8 Stand-Alone MIDI Control When not connected to a computer, the Fireface UC can be controlled directly via MIDI. To unlock the special stand-alone MIDI control mode first activate MIDI control in TotalMix (menu Options, Enable MIDI Control). Turning this mode off is done with MIDI control deactivated. Note: When not needed the stand-alone MIDI operation should not be active, as the unit will react on MIDI notes after power-on, and will also send MIDI notes.
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30. Technical Specifications 30.1 Analog AD, Line In 5-8, 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 – 20.6 kHz • Frequency response @ 96 kHz, -0.5 dB: 5 Hz – 45.3 kHz • Frequency response @ 192 kHz, -1 dB: 5 Hz - 90 kHz • THD: < -100 dB, < 0.001 % • THD+N: < -98 dB, < 0.0012 % • Channel separation: > 110 dB • Maximum input level: +19 dBu • Input: 6.
DA, Line Out 1-6, rear • Resolution: 24 bit • Dynamic range (DR): 110 dB, 113 dBA @ 44.1 kHz (unmuted) • Frequency response @ 44.1 kHz, -0.1 dB: 1 Hz – 20.4 kHz • Frequency response @ 96 kHz, -0.5 dB: 1 Hz – 44.8 kHz • Frequency response @ 192 kHz, -1 dB: 1 Hz - 80 kHz • THD: -100 dB, < 0.001 % • THD+N: -96 dB, < 0.0015 % • Channel separation: > 110 dB • Maximum output level: +19 dBu • Output: 6.
ADAT Optical • 1 x TOSLINK • Standard: 8 channels 24 bit, up to 48 kHz • Double Speed (S/MUX): 4 channels 24 bit 96 kHz • Quad Speed (S/MUX4) : 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) AES/EBU - SPDIF • 1 x RCA and 1 x optical, according to IEC 60958 • High-sensitivity input stage (< 0.
31. Technical Background 31.1 Lock and SyncCheck Digital signals consist of a carrier and the data. If a digital signal is applied to an input, the receiver has to synchronize to the carrier clock in order to read the data correctly. To achieve this, the receiver uses a PLL (Phase Locked Loop). As soon as the receiver meets the exact frequency of the incoming signal, it is locked. This Lock state remains even with small changes of the frequency, because the PLL tracks the receiver's frequency.
31.2 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.
Note: Cubase and Nuendo display the latency values signalled from the driver separately for 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.
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. 31.4 DS - Double Speed When activating the Double Speed mode the Fireface UC 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.
31.6 AES/EBU - SPDIF The most important electrical properties of 'AES' and 'SPDIF' can be seen in the table below. AES/EBU is the professional balanced connection using XLR plugs. The standard is being set by the Audio Engineering Society based on the AES3-1992. For the 'home user', SONY and Philips have omitted the balanced connection and use either Phono plugs or optical cables (TOSLINK). The format called S/P-DIF (SONY/Philips Digital Interface) is described by IEC 60958.
31.7 Noise Level in DS / QS Mode The outstanding signal to noise ratio of the Fireface's 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.
32. Diagrams 32.
32.2 Connector Pinouts TRS jacks of analog input / output The stereo ¼" 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.
User's Guide Fireface UC Miscellaneous User's Guide Fireface UC © RME 89
33. Accessories RME offers several optional components for the Fireface UC: Part Number Description Optical cable for SPDIF and ADAT operation: OK0050 OK0100 OK0200 OK0300 OK0500 OK1000 Optical cable, TOSLINK, 0.5 m (1.6 ft) Optical cable, TOSLINK, 1 m (3.3 ft) Optical cable, TOSLINK, 2 m (6.6 ft) Optical cable, TOSLINK, 3 m (9.9 ft) Optical cable, TOSLINK, 5 m (16.4 ft) Optical cable, TOSLINK, 10 m (33 ft) NTCARDBUS Power supply for Fireface UC.
35. 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.
36. Declaration of Conformity 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.
