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demozic « Very good all in one interface »
Published on 01/14/11 at 08:29Digital audio interface with FW and USB2 port, with the menu:
- 12 analog inputs (4 line / preamp / DI / 48V phantom power), 12 analog outputs (including 2 stereo headphone outputs and XLR main output with adjustable front listening)
- 1 AES / EBU (XLR or optical port via ADAT2) + 1 AES output.
- 2 double ADAT ports (compatible SMUX2 and 96kHz and 192kHz is SMUX4) I / O
Or a total of 30 I / O @ 48kHz, 22E / S @ 96KHz and 18E / S @ 192kHz
DSP with compressor / expander, EQ 3-band + low cut filter for all the channels + 2 FX sends (reverb and echo) with possible return on all outputs. Loopback function to return directly to an input output (consumes one entry) without a patch or external cables.
LCD Control Panel (Setting possible in standalone memory + 8).
I am using bit DSP but it can be useful because I do not compress at tracking and in some cases, it is useful for the voice compressor for the comfortable listening of the musicians (mostly singers) and add some rvb .
Used in Snow Leopard (OS X.6) book with a Mac Pro @ 2.4GHz and 4GB of RAM.
Leopard (OSX.5.8) minimum is required to use the UFX.
I bought this model because it was the latest model released by GCR and I intend to keep for several years (thus upgrading capability with up to 30 I / O).
UTILIZATION
- No worries met either USB or Firwire (except over-consumption CPU FW on Leopard, which was settled by the support RME in 1 week). I even had trouble making a choice between one or the other (as used in FW may have a USB port on my Mac).
- Used primarily with PT9 (and a little Logic Express 9), no compatibility issues, although the buffer to 32 samples may not be recognized with PT9. It is really stable with a buffer of 128 samples and really comfortable to 512 samples.
Logic includes the feature that disables the monitoring software and can use the TotalMix FX instead. What does not (yet) PT9 (the total mix works but / / listening to PT9). Not a problem when working alone (it requires a small gym) but a little trickier with musicians.
- Drivers and firmware updated regularly. Product Support RME and effective listening and response.
- For DA converters, the sound is still finer, bass less flat than the slobbering Digi002.
- For the AD converters, I expected something "colder" and more "right". In fact, it's pretty "physiological" (but no loudness effect either) and therefore more musical. It may lack a bit of "body" in the lower midrange but I have not yet compared with other converters (RME ADI series or FF) or higher-end (Apogee, Lavry, etc.).
The background noise is very low (-110 dBFS) and easily measurable with peakmeter and / or the measurement tools that RME offers.
- For the preamp, I was very pleasantly surprised by the quality of onboard preamp into sound card. They are far from being ridiculous and are a real alternative in the face of external preamps (depending on the type of sound recording and microphone used). Similarly for AD converters (lack of "body") but it can be an advantage. Compared to Solo110 eg, the sound is less clear, punchy and raw (the 110 is quite distinctive and flattening at the bottom just med) but cons cleaner and finer.
Excellent on acoustic rhythm guitars and DI (electric guitar) or with a bass DI that this would be too aggressive and medium / colored. These 4 entries are also very good entries in lines (2 dB + eligibility compared to other entries 21dBu or 19dBu instead). They are also a plus for live recording (micro air / surround, stereo pairs, groups, etc.)
Again very low background noise, max gain of 65dB but generally static with microphones or DI, I ride the gain to about 35-40dB (50dB with M88TG).
- For the DSP effects:
Compressors are very transparent (if properly adjusted of course). They both compressor and expander (used as a gate).
The EQs are basic but are fine enough to be usable (no effect to aliasing in the treble). Necessarily easy to use by considering the size settings but widely usable.
The reverb and echo effects excited me less. Suffice, to send in the headphone for musicians (their role) or just help them live, but that's all.
We can save the track pre and post DSP but this setting is global for all tracks. The low-cut filter and phase inverter are included with the DSP effects (which is not always practical if you need to clean the rumble or eliminate the effect of proximity to decision).
- Total FX mix is pretty damn good (as we understand the principle of premix) and allows a many (too many?) Possibilities. Each physical output can receive its own premix between direct inputs and software outputs.
So be careful not to listen twice to the same track under penalty of phasing effect see feedback.
Some outputs can be dedicated to listening as well as primary and secondary plays with headphones can cue any exit to the main outputs.
It can also control the TotalMix with a control surface (or generic MIDI MCU). This overcomes an external monitoring system (the 5.1 is not yet supported).
Today I can hardly do without analog patch (I also use the UFX digital patch which is rare and expensive external), console mix (premix headphones) and control system monitoring.
GETTING STARTED
No worries for installation. We must download the latest drivers on RME's site (updated frequently) and pay attention to the good match drivers / Firmwater.
Only drawback, you must use the USB to update the firmware and therefore must install both FW and USB drivers even if you only use the FW.
The manual comes with the interface (which is rare and practical) but in English and German only, and quickly became obsolete with updates.
OVERALL OPINION
Overall very satisfied.
Positive point: the general quality of the product (preamps), its many configurations, the product support.
Negative points: the price a bit high (1600-1700 euro would have been fair but it came out just last 2 months) especially since some functions will not serve everyone. The FF800 is a good alternative if you do not need to work with DSP or many inputs in high resolution (192kHz).
In this budget, I probably make this choice again, though at metric halo there are also good interfaces (but the 2882 starts to be a bit old). I acquired the UFX just before PT9 was announced and wanted to use it as a converter. ULN8 and was off-budget (and not ADAT). With PT9 and Vienna Ensemble Pro, the ADAT is less important. But the upgrade to the higher end line (MH ULN8 or Lynx Aurora) is not justified in my case (home studio).
- 12 analog inputs (4 line / preamp / DI / 48V phantom power), 12 analog outputs (including 2 stereo headphone outputs and XLR main output with adjustable front listening)
- 1 AES / EBU (XLR or optical port via ADAT2) + 1 AES output.
- 2 double ADAT ports (compatible SMUX2 and 96kHz and 192kHz is SMUX4) I / O
Or a total of 30 I / O @ 48kHz, 22E / S @ 96KHz and 18E / S @ 192kHz
DSP with compressor / expander, EQ 3-band + low cut filter for all the channels + 2 FX sends (reverb and echo) with possible return on all outputs. Loopback function to return directly to an input output (consumes one entry) without a patch or external cables.
LCD Control Panel (Setting possible in standalone memory + 8).
I am using bit DSP but it can be useful because I do not compress at tracking and in some cases, it is useful for the voice compressor for the comfortable listening of the musicians (mostly singers) and add some rvb .
Used in Snow Leopard (OS X.6) book with a Mac Pro @ 2.4GHz and 4GB of RAM.
Leopard (OSX.5.8) minimum is required to use the UFX.
I bought this model because it was the latest model released by GCR and I intend to keep for several years (thus upgrading capability with up to 30 I / O).
UTILIZATION
- No worries met either USB or Firwire (except over-consumption CPU FW on Leopard, which was settled by the support RME in 1 week). I even had trouble making a choice between one or the other (as used in FW may have a USB port on my Mac).
- Used primarily with PT9 (and a little Logic Express 9), no compatibility issues, although the buffer to 32 samples may not be recognized with PT9. It is really stable with a buffer of 128 samples and really comfortable to 512 samples.
Logic includes the feature that disables the monitoring software and can use the TotalMix FX instead. What does not (yet) PT9 (the total mix works but / / listening to PT9). Not a problem when working alone (it requires a small gym) but a little trickier with musicians.
- Drivers and firmware updated regularly. Product Support RME and effective listening and response.
- For DA converters, the sound is still finer, bass less flat than the slobbering Digi002.
- For the AD converters, I expected something "colder" and more "right". In fact, it's pretty "physiological" (but no loudness effect either) and therefore more musical. It may lack a bit of "body" in the lower midrange but I have not yet compared with other converters (RME ADI series or FF) or higher-end (Apogee, Lavry, etc.).
The background noise is very low (-110 dBFS) and easily measurable with peakmeter and / or the measurement tools that RME offers.
- For the preamp, I was very pleasantly surprised by the quality of onboard preamp into sound card. They are far from being ridiculous and are a real alternative in the face of external preamps (depending on the type of sound recording and microphone used). Similarly for AD converters (lack of "body") but it can be an advantage. Compared to Solo110 eg, the sound is less clear, punchy and raw (the 110 is quite distinctive and flattening at the bottom just med) but cons cleaner and finer.
Excellent on acoustic rhythm guitars and DI (electric guitar) or with a bass DI that this would be too aggressive and medium / colored. These 4 entries are also very good entries in lines (2 dB + eligibility compared to other entries 21dBu or 19dBu instead). They are also a plus for live recording (micro air / surround, stereo pairs, groups, etc.)
Again very low background noise, max gain of 65dB but generally static with microphones or DI, I ride the gain to about 35-40dB (50dB with M88TG).
- For the DSP effects:
Compressors are very transparent (if properly adjusted of course). They both compressor and expander (used as a gate).
The EQs are basic but are fine enough to be usable (no effect to aliasing in the treble). Necessarily easy to use by considering the size settings but widely usable.
The reverb and echo effects excited me less. Suffice, to send in the headphone for musicians (their role) or just help them live, but that's all.
We can save the track pre and post DSP but this setting is global for all tracks. The low-cut filter and phase inverter are included with the DSP effects (which is not always practical if you need to clean the rumble or eliminate the effect of proximity to decision).
- Total FX mix is pretty damn good (as we understand the principle of premix) and allows a many (too many?) Possibilities. Each physical output can receive its own premix between direct inputs and software outputs.
So be careful not to listen twice to the same track under penalty of phasing effect see feedback.
Some outputs can be dedicated to listening as well as primary and secondary plays with headphones can cue any exit to the main outputs.
It can also control the TotalMix with a control surface (or generic MIDI MCU). This overcomes an external monitoring system (the 5.1 is not yet supported).
Today I can hardly do without analog patch (I also use the UFX digital patch which is rare and expensive external), console mix (premix headphones) and control system monitoring.
GETTING STARTED
No worries for installation. We must download the latest drivers on RME's site (updated frequently) and pay attention to the good match drivers / Firmwater.
Only drawback, you must use the USB to update the firmware and therefore must install both FW and USB drivers even if you only use the FW.
The manual comes with the interface (which is rare and practical) but in English and German only, and quickly became obsolete with updates.
OVERALL OPINION
Overall very satisfied.
Positive point: the general quality of the product (preamps), its many configurations, the product support.
Negative points: the price a bit high (1600-1700 euro would have been fair but it came out just last 2 months) especially since some functions will not serve everyone. The FF800 is a good alternative if you do not need to work with DSP or many inputs in high resolution (192kHz).
In this budget, I probably make this choice again, though at metric halo there are also good interfaces (but the 2882 starts to be a bit old). I acquired the UFX just before PT9 was announced and wanted to use it as a converter. ULN8 and was off-budget (and not ADAT). With PT9 and Vienna Ensemble Pro, the ADAT is less important. But the upgrade to the higher end line (MH ULN8 or Lynx Aurora) is not justified in my case (home studio).