The RME Fireface UCX II USB/Firewire and iPad Audio Interface is the ultimate audio solution providing you with 40 channels of analog and digital connectivity for a range of recording applications. Two mic/line combo inputs provide pristine sound via the high-grade preamps capturing every nuance of your performance with incredible detail. The Fireface UCX II builds on the success of the original with a range of upgrades and enhancements with a variety of connectivity to make it one of the most versatile interfaces available. Celebrating 20 years of RME this new flagship interface features new and improved SteadyClock FS technology helping to reduce jitter even more than the original. It even features a built-in audio digital recorder (DuREC) so can capture the inputs and outputs directly on a USB memory device. The streamlined layout allows you to make intuitive changes on the fly complete with the latest plug and play technology to get you set up and running within minutes. Whether on the stage or in the studio the UCX II will shine. The 40-channel design allows you to use the Fireface UCX II as a studio hub or as a portable field recorder. Mix monitor and measure using the powerful TotalMix applications complete with the interface. With MIDI I/O ADAT I/O AES/EBU and SPDIF I/O USB 2.0 and even a switchable word clock I/O the UCX II provides you with everything you could possibly need for any recording application.
Powerful portable and versatile Whether you’re tracking instruments and recording vocals or need a fully-fledged field mixer on the road the RME Fireface UCX II can do it all. This highly versatile and ultra-compact interface makes the recording process smoother than ever providing you with two high-grade mic/line preamps designed to capture every nuance of your performance. The new and improved design sees a range of upgrades and enhancements designed to streamline your use. For example the latest plug and pug technology is included so you can get setup and recording within minutes. The integrated routing solution also helps to improve efficiency and the intuitive Settings dialog allows you to navigate parameters with ease. The 40-channel configuration is perfect for the stage or the studio with the unit being able to function as a standalone interface with a front-panel control section for ease of use. Using the four keys and encoder you can quickly and easily navigate between settings and parameters and even save up to six mixer states using the internal memory. If that’s not enough it can even be controlled via MIDI for added flexibility. Wide range of analog and digital connectivity No matter what your gear is the Fireface UCX II will almost certainly have a connection for it. With the swiss-army knife collection of connections the UCX II gives you all the tools you need to process virtually any analog or digital signal. The rear panel features analog balanced line I/O MIDI I/O ADAT I/O AES/EBU connections and even S/PDIF I/O just to name a few. It also utilises the latest jitter-reduction technology (SteadClockFS) basing the design on a femtosecond clock for the utmost accuracy. DuRec (Direct USB Recording) One of the most unique features of the Fireface is the DuRec (Direct USB Recording) function. This function provides an integrated digital recorder directly recording to a USB memory device such as a USB memory stick or hard drives (Up to 2 TB capacity) making it perfect for capturing all the inputs and outputs. The front panel of the unit features the USB port needed to connect your memory drive independent from a PC or Mac. RME’s TotalMix FX The included real-time mixer TotalMix FX allows for fully independent routing and mixing to various physical outputs simultaneously. This means sending independent stereo sub mixes of both input and playback channels to all physical outputs. A version of RME’s TotalMix FX available for Windows Mac and iOS systems is included with the RME Fireface UCX II. This allows the user to apply EQ reverb and delays to all inputs and outputs. Designed to utilise the full capabilities of the Fireface interface TotalMix FX is a great tool for users regularly recording in different locations. RME’s TotalMix Remote RME’s latest software TotalMix Remote further enhances the functionality of the Fireface. This allows for remote control of the Fireface from multiple devices. This becomes greatly beneficial when using the UCX II in live environments allowing you to walk around the space and adjust the sound. This is similarly beneficial when you are monitoring in an external control room to the studio space. Specifications General Power supply: external power supply Typical power consumption: 13 Watts Current at 12 Volt operating voltage: 910 mA (11 Watts) Dimensions incl. rack ears full depth (WxHxD): 265 x 44 x 155 mm (10.5″ x 1.73″ x 6.1″) Dimensions without rack ears body depth (WxHxD): 215 x 44 x 130 mm (8.5″ x 1.73″ x 5.1″) Weight: 910 g ( 2.0 lbs) Temperature range: +5 degrees up to +50 degrees (41° F up to 122°F) Relative humidity: < 75 percent non condensing Analog Inputs AD Line In 5-8 rear Resolution AD: 24 bit Signal to Noise ratio (SNR): 112 dB RMS unweighted 115 dBA Frequency response @ 44.1 kHz -0.1 dB: 5 Hz – 20.8 kHz Frequency response @ 96 kHz -0.5 dB: 3 Hz – 45.8 kHz Frequency response @ 192 kHz -1 dB: 2 Hz – 92 kHz THD: < -110 dB < 0.00032 percent THD+N: < -104 dB < 0.00063 percent Channel separation: > 110 dB Input: 6.3 mm TRS jack electronically balanced Input impedance: 8 kOhm unbalanced 12 kOhm balanced Input sensitivity: switchable to +19 dBu and +13 dBu Variable gain: 0 to +12 dB Minimum level for 0 dBFS: +1 dBu -1.2 dBV Line In 3-4 front (As AD but) Additional digital Gain stage: 0 up to +12 dB Maximum input level +19 dBu Gain 0 dB: Line +19 dBu Inst +13 dBu Maximum input level +13 dBu Gain 12 dB: Line +1 dBu Inst -5 dBu Input impedance: Instrument 1 MOhm. Line 13 kOhm balanced 9 kOhm unbalanced Input Gain Inst: +6 dB Input mode: Line balanced (TRS) Inst unbalanced (TS) Microphone In 1-2 front (As AD but) Input: XLR electronically balanced Input impedance: 5.4 kOhm Gain range: 75 dB Maximum input level Gain 0 dB: +18 dBu Maximum input level Gain 75 dB: -57 dBu EIN: -128 dBu A-weighted 60 dB gain150 Ohm 20 Hz – 20 kHz Line In 1-2 (As AD but) Input: TRS electronically balanced Input impedance: 10 kOhm balanced 5 kOhm unbalanced Maximum input level Gain 0 dB: +24 dBu Maximum input level Gain 75 dB: -51 dBu Analog Outputs DA Line Out 1-6 rear Resolution: 24 bit Dynamic range (DR): 112 dB RMS unweighted 115 dBA Frequency response @ 44.1 kHz -0.5 dB: 5 Hz – 20.8 kHz Frequency response @ 96 kHz -0.5 dB: 5 Hz – 45 kHz Frequency response @ 192 kHz -1 dB: 5 Hz – 89 kHz THD: < -108 dB < 0.0004 percent THD+N: < -104 dB < 0.00063 percent Channel separation: > 110 dB Maximum output level: +19 dBu Output: 6.3 mm TRS jack servo-balanced Output impedance: 75 Ohm Output level: switchable +19 dBu +13 dBu +4 dBu DA – Stereo Monitor Output Phones (7-8) (As DA but) Output: 6.3 mm TRS stereo jack unbalanced Maximum output level at 0 dBFS High: +19 dBu Maximum output level at 0 dBFS Low: +4 dBu Output impedance: 1 Ohm Max power per channel @ 32 Ohm load 0.1 percent THD: 210 mW (2.6 Vrms +10.5 dBu) MIDI 1 x MIDI I/O: 5-pin DIN jacks Input: Galvanically isolated by opto-coupled input Hi-speed mode: Jitter and response time typically below 1 ms Other: Separate 128 byte FIFOs for input and output Digital Clocks: Internal ADAT AES SPDIF word clock Jitter suppression of external clocks: > 50 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 Digital Inputs AES/EBU Connectivity: 1 x XLR transformer-balanced galvanically isolated according to AES3-1992 High-sensitivity input stage: < 0.3 Vpp Compatibility: SPDIF compatible (IEC 60958) Other: Accepts Consumer and Professional format Lock range: 27 kHz – 200 kHz Jitter suppression: > 50 dB (2.4 kHz) SPDIF coaxial Connectivity: 1 x RCA according to IEC 60958 High-sensitivity input stage: < 0.3 Vpp Other: Accepts Consumer and Professional format copy protection will be ignored Lock Range: 27 kHz – 200 kHz Jitter suppression: > 50 dB (2.4 kHz) ADAT Optical Connectivity: 1 x TOSLINK format according to Alesis specification 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 suppression: > 50 dB (2.4 kHz) Word Clock Connectivity: BNC Internal termination: 75 Ohm switchable Other: Automatic Double/Quad Speed detection and internal conversion to Single Speed SteadyClock: low jitter synchronization even in varispeed operation Signal Adaptation Circuit: signal refresh through auto-center and hysteresis Protection: Overvoltage protection Level range: 1.0 Vpp – 5.6 Vpp Lock range: 27 kHz – 200 kHz Jitter suppression: > 50 dB (2.4 kHz) Digital Outputs AES/EBU Connectivity: 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 SPDIF coaxial Connectivity: 1 x RCA according to IEC 60958 Output level: Professional 1.2 Vpp Consumer 0.6 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 Connectivity: 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 Word Clock Connectivity: BNC Max. output voltage: 5 Vpp Output voltage @ 75 Ohm termination: 4.0 Vpp Output impedance: 10 Ohm Frequency range: 27 kHz – 200 kHz
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