The Fireface UFX+ becomes the center of any multitrack studio because it is able to handle up to 94 channels I/O with ease.
With unprecedented flexibility, compatibility, the inclusion of DURec (Direct USB Recording) and RME's famous low latency hardware and driver designs, the Fireface UFX+ raises the bar to new heights.
Packed with features not found on its older sibling, including MADI I/O (188 channels of I/O, 128 channels more than the Fireface UFX), a more powerful DSP, USB 3.0, Thunderbolt technology, and a new optional remote control firmly places the RME Fireface UFX+ as the new reference in multitrack recording, mixing and monitoring.
Features
You name it, you connect it
Its flexibility in connectivity and expansion is unrivalled - Analog, ADAT, MADI, AES, SPDIF. USB 2, USB 3 and Thunderbolt technology are standard on the Fireface UFX+. The UFX+ has an impressive channel count: 12 analog + 16 ADAT + 2 AES + 64 MADI = 94 channels input plus output = 188 channels in total. Thunderbolt technology gives the Fireface UFX+ real PCI Express audio performance under Mac and Windows, with lowest latency, lowest system overhead and lowest CPU load. The Fireface UFX+ is fully Thunderbolt technology compatible under Windows, including hot-plugging.
All new AD/DA converters, optimized analog I/O circuits, as well as improved SNR and THD values guarantee pristine, crystal clear and transparent audio. A new PAD-free mic circuit design with +18 dBu maximum input level and 75 dB gain range serves even the most critical recording situation and source trouble-free.
New low impedance Hi-Power phones outputs (2 Ohms) with +19 dBu maximum output level provide ample output power as well as volume on any phones, high or low impedance.
Comprehensive MADI Connectivity
The Fireface UFX+ opens the doors to a host of RME and 3rd party digital and analog I/O solutions. Expanding your analog channel count, the ability to route/mix within the digital domain through numerous sources presents many flexible options. Multiple external MADI devices can also be connected in series.
To further enhance MADI flexibility, the Fireface UFX+ boasts some typical RME-style features. For example in USB 2 mode, which is limited to 30 channels I/O (12 analog plus 16 ADAT plus AES), the MADI I/O is still available via RME's integrated hardware mixer TotalMix FX. Word Clock I/O (BNC) can be switched to MADI I/O (coaxial), and a special split mode even supports the use of both MADI I/Os simultaneously, with 32 channel each on optical and coaxial.
Improved DURec (Direct USB Recording)
DURec, which is available on the front of the Fireface UFX+, now offers second generation hardware with improved USB functionality and compatibility, providing greater reliability even with slower or multi-partitioned USB thumb drives.
The maximum number of recordable channels has been raised to 76, meaning all 12 analog inputs plus 64 MADI channels can be recorded simultaneously. An internal Realtime Clock (RTC) delivers time-stamped files, and playback now includes several advanced player functions previously unavailable.
ARC USB Remote Control - Plug'n Play Plus
The ARC USB connects to your computer via USB, and talks to TotalMix FX directly. It has 15 freely assignable and illuminated buttons, one encoder wheel, and a TS jack to connect a foot switch.
The ARC USB is a USB 1.1 MIDI remote control for the Fireface UFX+. Thanks to operating as a UAC 1 class device, it is natively compatible to Windows and Mac OS X. As soon as it is present in the operating system, TotaIMix FX will automatically detect the ARC USB, and communicate with it via simple MIDI remote commands to control the UFX+.
TotalMix FX
Since 2001, TotalMix has added unlimited routing and mixing to RME audio interfaces. Its unique capability to create as many independent submixes as output channels available, turned it into the most flexible and powerful mixer of its kind.
With supported hardware, TotalMix FX includes a complete effects system, which not only adds flexibility to the recording chain, but also makes latency saddled software solutions obsolete.
TotalMix FX can completely replace an external mixer, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs, incl. main monitors and headphone mixes for musicians.
TotalMix FX for iPad App
TotalMix FX for iPad adds full control over hardware mixer and DSP effects for Fireface UFX+, UFX, UCX, 802, Babyface, Babyface Pro and MADIface Pro when in Class Compliant Mode, and lets you create, store and load complete mixes directly from the iPad
Specifications
Connectivity
94 Input / 94 Output channels
12 x Analog I/O
4 x Mic/Instrument Preamp, digitally controlled
1 x AES/EBU I/O
2 x ADAT I/O (or 1 x ADAT I/O plus 1 x SPDIF I/O optical)
1 x Word Clock I/O / MADI Coaxial
1 x MADI optical I/O
2 x MIDI I/O
1 x Thunderbolt connectivity
1 x USB 3.0
TotalMix FX
optional: Advanced Remote Control USB
Analog
AD, Line In 1-8, rear
Resolution AD: 24 bitSignal to Noise ratio (SNR): 113 dB RMS unweighted, 116 dBAFrequency response @ 44.1 kHz, -0.1 dB: 5 Hz - 20.8 kHzFrequency response @ 96 kHz, -0.5 dB: 3 Hz - 45.8 kHzFrequency response @ 192 kHz, -1 dB: 2 Hz - 92 kHzTHD: < -110 dB, < 0.00032 %THD+N: < -104 dB, < 0.00063 %Channel separation: > 110 dBMaximum input level: +19 dBuInput: 6.3 mm TRS jack, electronically balancedInput impedance: 8 kOhm unbalanced, 12 kOhm balancedInput sensitivity switchable to Lo Gain, +4 dBuInput level for 0 dBFS @ Lo Gain: +19 dBuInput level for 0 dBFS @ +4 dBu: +13 dBuVariable gain: 0 to +12 dBMinimum level for 0 dBFS: +1 dBu, -1.2 dBV
Microphone In 9-12, front
As AD, but:
Input: XLR, electronically balancedInput impedance: 3.4 kOhmSignal to Noise ratio (SNR): 115 dB RMS unweighted, 118 dBAGain range: 75 dBMaximum input level, Gain 0 dB: +18 dBuMaximum input level, Gain 75 dB: -57 dBuCLIP LED: 0 dBFSSIG LED: -60 dBFSInstrument In 9-12, front
As AD, but:
Input: 6.3 mm TS jack, unbalancedInput impedance: 1 MOhmSignal to Noise ratio (SNR): 114 dB RMS unweighted, 118 dBAGain range: 42 dBMaximum input level, Gain 8 dB: +21 dBuMaximum input level, Gain 50 dB: -21 dBu
DA, Line Out 3-8, rear
Resolution: 24 bitDynamic range (DR): 115 dB RMS unweighted, 118 dBAFrequency response @ 44.1 kHz, -0.5 dB: 5 Hz - 20.8 kHzFrequency response @ 96 kHz, -0.5 dB: 5 Hz - 45 kHzFrequency response @ 192 kHz, -1 dB: 5 Hz - 89 kHzTHD: < -110 dB, < 0.00032 %THD+N: < -104 dB, < 0.00063 %Channel separation: > 110 dBMaximum output level: +19 dBuOutput: 6.3 mm TRS jack, servo-balancedOutput impedance: 75 Ohm unbalanced, 150 Ohm balancedOutput level switchable Hi Gain, +4 dBu, -10 dBVOutput level at 0 dBFS @ Hi Gain: +19 dBuOutput level at 0 dBFS @ +4 dBu: +13 dBuOutput level at 0 dBFS @ -10 dBV: +2 dBV
DA - Stereo Monitor Output XLR (1-2)
As DA, but:
Output: XLR, balancedOutput level switchable 24 dBu, Hi Gain, +4 dBu, -10 dBVOutput level at 0 dBFS @ 24 dBu: +24 dBuOutput level at 0 dBFS @ Hi Gain: +19 dBuOutput level at 0 dBFS @ +4 dBu: +13 dBuOutput level at 0 dBFS @ -10 dBV: +2 dBV
DA - Stereo Monitor Output Phones (9-12)
As DA, but:
Output: 2 x 6.3 mm TRS stereo jack, unbalancedMaximum output level at 0 dBFS, High: +19 dBuMaximum output level at 0 dBFS, Low: +2 dBVOutput impedance: 2 OhmMax power per channel @ 32 Ohm load, 0.1% THD: 210 mW (2.6 Vrms, +10.5 dBu)
MIDI
2 x MIDI I/O via 5-pin DIN jacksGalvanically isolated by optocoupled inputHi-speed mode: Jitter and response time typically below 1 msSeparate 128 byte FIFOs for input and output
1 x MIDI I/O via MADIInvisible transmission via User bit of channel 56 (up to 48 kHz)Invisible transmission via User bit of channel 28 (up to 96 kHz)
Digital
Clocks: Internal, ADAT, AES, MADI, word clockLow Jitter Design: < 1 ns in PLL mode, all inputsInternal clock: 800 ps Jitter, Random Spread SpectrumJitter suppression of external clocks: > 30 dB (2.4 kHz)Effective clock jitter influence on AD and DA conversion: near zeroPLL ensures zero dropout, even at more than 100 ns jitterDigital Bitclock PLL for trouble-free varispeed ADAT operationSupported sample rates: 28 kHz up to 200 kHz
Digital Inputs
MADI
Optical via FDDI duplex SC connector62.5/125 and 50/125 compatibleCoaxial via BNC (Word Clock input), 75 OhmHigh-sensitivity input stage (< 0.2 Vpp)Accepts 56 channel and 64 channel mode, plus 96k FrameStandard: up to 64 channels 24 bit 48 kHzS/MUX: up to 32 channels 24 bit 96 kHzS/MUX4: up to 16 channels 24 bit 192 kHzLock range: 25 kHz - 54 kHzJitter when synced to input signal: < 1 nsAES/EBU
1 x XLR, transformer-balanced, galvanically isolated, according to AES3-1992High-sensitivity input stage (< 0.3 Vpp)SPDIF compatible (IEC 60958)Accepts Consumer and Professional formatLock range: 27 kHz - 200 kHzJitter when synced to input signal: < 1 nsJitter suppression: > 30 dB (2.4 kHz)ADAT Optical
2 x TOSLINK, format according to Alesis specificationStandard: 2 x 8 channels 24 bit, up to 48 kHzDouble Speed (S/MUX): 2 x 4 channels 24 bit 96 kHzQuad Speed (S/MUX4): 2 x 2 channels 24 bit 192 kHzBitclock PLL ensures perfect synchronisation even in varispeed operationLock range: 31.5 kHz - 50 kHzJitter when synced to input signal: < 1SPDIF optical (ADAT2)
1 x optical, according to IEC 60958Accepts Consumer and Professional formatLock range: 27 kHz - 200 kHzJitter when synced to input signal: < 1 nsJitter suppression: > 30 dB (2.4 kHz)
Word Clock
BNCInternal termination 75 Ohm switchableAutomatic Double/Quad Speed detection and internal conversion to Single SpeedSteadyClock guarantees super low jitter synchronization even in varispeed operationNot affected by DC-offsets within the networkSignal Adaptation Circuit: signal refresh through auto-center and hysteresisOvervoltage protectionLevel range: 1.0 Vpp - 5.6 VppLock Range: 27 kHz - 200 kHzJitter when synced to input signal: < 1 nsJitter suppression: > 30 dB (2.4 kHz)
Digital Outputs
MADI
Optical via FDDI duplex SC connector62.5/125 and 50/125 compatibleCable length: up to 2000 mCoaxial via BNC, 75 OhmOutput voltage 600 mVppCable length: up to 100 mGenerates 56 channel and 64 channel mode, plus 96k FrameStandard: up to 64 channels 24 bit 48 kHzS/MUX / 96k Frame: up to 32 channels 24 bit 96 kHzS/MUX4: up to 16 channels 24 bit 192 kHz
AES/EBU
XLR, transformer-balanced, galvanically isolated, according to AES3-1992Output level Professional 4.5 Vpp, Consumer 2.6 VppFormat Professional according to AES3-1992 Amendment 4Format Consumer (SPDIF) according to IEC 60958Single Wire mode, sample rate 28 kHz up to 200 kHz
ADAT
2 x TOSLINKStandard: 2 x 8 channels 24 bit, up to 48 kHzDouble Speed (S/MUX): 2 x 4 channels 24 bit 96 kHzQuad Speed (S/MUX4): 2 x 2 channels 24 bit 192 kHz
SPDIF optical (ADAT2)
Format Consumer (SPDIF) according to IEC 60958Sample rate 28 kHz up to 200 kHz
Word Clock
BNCMax. output voltage: 5 VppOutput voltage @ 75 Ohm termination: 4.0 VppOutput impedance: 10 OhmFrequency range: 27 kHz - 200 kHz
General
Power supply: Internal switching PSU, 100 - 240 V AC, 36 WattsIdle power consumption: 19 WattsTypical power consumption: 22-25 WattsDimensions including rack ears (WxHxD): 483 x 44 x 210 mm (19" x 1.73" x 8.5")Dimensions without rack ears (WxHxD): 440 x 44 x 210 mm (17.3" x 1.73" x 8.3")Total depth: 240 mm (9.4")Weight: 3 kg ( 6.6 lbs)Temperature range: +5° up to +50° Celsius (41° F up to 122°F)Relative humidity: < 75%, non condensing
GTIN (UPC/EAN) : 4260123363109
Manufacturer Part Number : UFX-PLUS
Reviews
Write a review about the RME Fireface UFX+
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4.5
Gabriel Mc Cann
Montréal
November 25, 2017
Juste 4 préamp?
Voici les quelques observations que j'ai fait depuis que j'ai acheté cette machine:
1-Par rapport à ma vieille FF800, les convertisseurs présentent une bien meilleure résolution dans les hautes.
2-Le DUREC (enregistrement direct sur USB), ça fonctionne comme promis.
Read moreComme tout ce qui est RME, il faut mettre quelques minutes pour comprendre comment s'en servir à pleine capacité, mais une fois que c'est fait, on peut admirer le résultat et la pensée logique derrière la conception. Vivement un backup sans faille! Seul souci, je ferai peut-être le plein de disques externes qui présentent des connecteurs USB traditionnels.
3-Le totalmix (interface de mixage/contrôle de la carte) n'a pas cessé de s'améliorer en 10 ans. Pas d'émulations de compresseurs exotiques, juste un traitement du son en toute neutralité. Je n'ai pas poussé à pleine capacité car je ne tombe pas souvent sur un projet qui exploite 90 entrées simultanées, mais la simplicité d'opération est une valeur exceptionnelle et l'économie de temps qui en résulte n'a pas de prix.
4-La cohabitation avec LogicX (version 10.3.2 sur High Sierra et MBP 2015 avec ports TB2) est correcte, mais il faut faire avec un tampon de 256 échantillons à 96k, ce qui est un peu plus gros que ce que j'attendais (128 échantillons ou moins). Avec un plus petit tampon, des glitchs apparaissent dans l'audio. Toutefois, avec un regard sur le nombre de commentaires bons ou mauvais des utilisateurs de la Pomme ces derniers mois, je suis satisfait de pouvoir utiliser un système qui livre un résultat constant. Quand on enregistre 1h30 en continu en 96k dans un concert de musique classique, une stabilité parfaite n'a pas de prix (vous comprendrez certainement mon affection pour le DUREC).
5-Je n'ai aucune raison, à ce stade, de douter que cet interface peut livrer un autre bon 10 ans de travail sans faille, comme son prédécesseur du même fabriquant. Oui, j'aurais préféré avoir 12 préamplis sur le même 19pouces, 16 sorties DA aussi, et payer quelques centaines de moins pour tout ça, mais je ne changerais pas d'idée aujourd'hui.
