RME Fireface UFX II USB 2.0 Digital I/O System User Guide

: June 17, 2024
: RME

Table of Contents

RME Fireface UFX II USB 2.0 Digital I/O System
Product Information
Product Usage Instructions
Inputs and Outputs
Frequently Asked Questions (FAQ)
Important Safety Instructions
Introduction
Operation and Usage
References
Read User Manual Online (PDF format)
Download This Manual (PDF format)

RME Fireface UFX II USB 2.0 Digital I/O System

RME-Fireface-UFX-II-USB-2.0-Digital-O-System

Product Information

Specifications

Model: Fireface UFX II
Audio Resolution: 24 Bit / 192 kHz
Features: TotalMix FXTM, SteadyClock FSTM, SyncCheckTM
Channels: 12 Analog, 16 ADAT, 2 AES
Digital Audio: 24 Bit / 192 kHz
Matrix Router: 60 x 30
MIDI I/O: 2 ports
Operation: Stand-Alone and Class Compliant
Remote Control: MIDI
Compatibility: USB 2.0 Digital I/O System

Product Usage Instructions

Safety Instructions

To ensure safe operation and compliance with standards:

Use with a CE approved Class B computer.
Use shielded connecting cables.
Ensure proper grounding of the computer and all connected cables.
Avoid unauthorized servicing to maintain warranty.
Read the manual thoroughly for correct usage.

Installation and Operation – Windows

For Windows users:

Install hardware drivers following the provided instructions.
Perform firmware updates if necessary.

Installation and Operation – Mac OS X

For Mac OS X users:

Install hardware drivers as outlined.
Configure settings including clock modes and synchronization.

Inputs and Outputs

Detailed information on various connections:

Analog Inputs: Line Rear, Microphone / Line / Inst Front
Analog Outputs: Line, Headphones / Line Out, DC-coupled Outputs (CV/Gate)
Digital Connections: ADAT, AES, MIDI

Frequently Asked Questions (FAQ)

Q: What should I do if MIDI doesn’t work on Mac OS X?
A: Ensure correct driver installation and check for any system-level MIDI settings that may affect functionality.

Q: How can I repair disk permissions on Mac OS X?
A: Use the Disk Utility tool to repair disk permissions as needed to ensure proper operation.

Q: What are the supported sample rates on Mac OS X?
A: Refer to the product documentation for a list of supported sample rates compatible with the device.

User’s Guide

Fireface UFX II

The most powerful USB audio interface ever!

24 Bit / 192 kHz

TotalMix FXTM

SteadyClock FSTM

SyncCheckTM

USB 2.0 Digital I/O System 12 + 16 + 2 Channels Analog / ADAT / AES Interface
24 Bit / 192 kHz Digital Audio 60 x 30 Matrix Router 2 x MIDI I/O
Full Stand-Alone Operation Class Compliant Operation
MIDI Remote Control

Important Safety Instructions

ATTENTION! Do not open chassis risk of electric shock The unit has non- isolated live parts inside. No user serviceable parts inside. Refer service to qualified service personnel.
Mains · The device must be earthed never use it without proper grounding · Do not use defective power cords · Operation of the device is limited to the manual · Use same type of fuse only
To reduce the risk of fire or electric shock do not expose this device to rain or moisture. Prevent moisture and water from entering the device. Never leave a pot with liquid on top of the device. Do not use this product near water, i. e. swimming pool, bathtub or wet basement. Danger of condensation inside don’t turn on before the device has reached room temperature.
Installation Surface may become hot during operation ensure sufficient ventilation. Avoid direct sun light and do not place it near other sources of heat, like radiators or stoves. When mounting in a rack, leave some space between this device and others for ventilation.
To comply with the European CE standard, the Fireface UFX II must be used in a CE approved Class B computer. All connecting cables must be shielded. The computer and all cables connected to the Fireface UFX II must be properly grounded. Operation with non-certified computers and cables may cause interference to other devices as well as the Fireface UFX II.
Unauthorized servicing/repair voids warranty. Only use accessories specified by the manufacturer.
Read the manual completely. It includes all information necessary to use and operate this device.

User’s Guide Fireface UFX II © RME

User’s Guide
Fireface UFX II

General

User’s Guide Fireface UFX II © RME

Introduction

Thank you for choosing the Fireface UFX II. This unique audio system is capable of transferring analog and digital audio data directly to Windows and Mac computers. The latest Plug and Play technology guarantees a simple installation, even for the inexperienced user. Numerous unique features like a well thought-out Settings dialog and an integrated routing solution realize a quick, comfortable and efficient operation of the Fireface UFX II.
The package contains drivers for Windows 7 / 8 / 10 / 11, macOS Intel and Mx.
2. Package Contents
Please check your Fireface UFX II package contains each of the following:
Fireface UFX II Cable USB 2.0, 1.8 m (6 ft) Power cord Manual
3. System Requirements
Windows 7 or up, Intel Mac OS X (10.6 or up) 1 x USB 2.0 or USB 3.0 port Computer with at least Intel Core i5 CPU
4. Brief Description and Characteristics
All settings can be changed in real-time Buffer sizes/latencies from 32 up to 8192 samples selectable 8 channels 96 kHz/24 bit Record/Playback via ADAT optical (S/MUX) 4 channels 192 kHz/24 bit Record/Playback via ADAT optical (S/MUX4) Clock modes slave and master Automatic and intelligent master/slave clock control Unsurpassed Bitclock PLL (audio synchronization) in ADAT mode SteadyClock: Jitter-immune, super-stable digital clock DDS technology for free setting of the sample rate SyncAlign guarantees sample aligned and never swapping channels SyncCheck tests and reports the synchronization status of input signals TotalMix for latency-free submixes and perfect ASIO Direct Monitoring TotalMix: 1800 channel mixer with 46 bit internal resolution TotalMix FX: 3-band EQ, Low Cut, Reverb, Echo, Compressor, Expander, Auto Level TotalMix FX Room EQ: 9-band PEQ with Delay and Volume Calibration 2 x MIDI I/O, 32 channels high-speed Low-Jitter MIDI 2 x Hi-power low impedance headphone output DIGICheck DSP: Level meter in hardware, peak- and RMS calculation

User’s Guide Fireface UFX II © RME

5. First Usage Quick Start
5.1 Connectors Controls Display
The front of the Fireface UFX II features four combined instrument / microphone inputs, two stereo headphone outputs, three rotary encoders with push functionality, a graphical colour display, one MIDI input and output, a USB connector for DURec, and several status LEDs.
The Neutrik combo sockets of the four Mic/Line inputs provide XLR and 6.3 mm / 1/4″ TRS connection. They have LEDs for Signal (SIG), phantom power (48V) and activated TRS input. The latter is high impedance (1 MOhm) and also serves as instrument input.
The analog outputs 9 to 12 feed the headphones outputs Phones 1 and Phones 2. These low impedance outputs of highest quality are able to drive headphones at higher levels undistorted, no matter if low or high impedance headphones are used.
MIDI 2 I/O. Two 5-pin DIN connectors provide the second MIDI input and output.
Memory. Connector for USB stick or USB hard drive. Offers direct recording to / playback from the external memory device.
State LEDs Sync. WC, AES, ADAT1, ADAT2, CC. Indicate a valid input signal separately for each digital input. Additionally, RME’s exclusive SyncCheck indicates if one of these inputs is locked, but not synchronous to the others, in which case the LED will flash. See also chapter 8.7 / 14.2, Clock Modes – Synchronization. The LED CC indicates Class Compliant operation.
HOST lights up when the connection to the computer is successful. The LED will not turn on when connection has not been initialised or is interrupted (error, cable not connected e
The state LEDs MIDI indicate separately for input and output if MIDI data is received or transmitted. tc.).
When the Global Level Meter screen is shown, the rotary encoder Volume sets the monitoring volume of Main Out directly at the device. Pushing the button will change between Global Meter screen and the last used menu entry.
When the Global Level Meter screen is shown, volume of Phones 1 and Phones 2 is set by encoders 1 and 2 directly.
The four keys, the two encoders 1 and 2, the high-resolution and clear colour display, and a well thoughtout menu structure enable the user to quickly change and configure the device’s settings completely without a computer. Help notes and clear markers in the display guide the user through all functions.

User’s Guide Fireface UFX II © RME

The rear panel of the Fireface UFX II features eight more analog inputs and outputs, the power socket, and all digital inputs and outputs:
Balanced Line Level Inputs. 8 balanced analog inputs via 6.3 mm stereo TRS connectors.
Balanced Line Level Outputs. 8 balanced analog outputs, six via 6.3 mm stereo TRS, two via XLR.
AES/EBU I/O. XLR. The Fireface UFX II accepts the commonly used digital audio formats, SPDIF as well as AES/EBU.
Word Clock I/O. BNC. Can be set to be terminated with 75 Ohms internally via Settings dialog, Input Options
ADAT1 I/O. TOSLINK. Standard ADAT optical port, 8 channels. Can also be used as optical SPDIF input and output, if set up accordingly in the Settings dialog.
ADAT2 I/O. TOSLINK. Standard ADAT optical port, 8 channels. Can also be used as optical SPDIF input and output, if set up accordingly in the Settings dialog.
Remote. Connector for the optional Advanced Remote Control USB (ARC USB) when the UFX II is used in stand-alone and Class Compliant mode. This port can also be used alternatively to the connection of the ARC USB to the computer.
USB 2.0. USB socket for connection to the computer. Compatible to USB 3.0.
MIDI I/O 1. Two 5-pin DIN connectors provide the first MIDI input and output.
Hook. Secure any loose cable by feeding it through the hook first.
IEC receptacle for mains power connection. The internal hi-performance switch mode power supply operates in the range of 100V to 240V AC at highest power efficiency. It is short-circuit-proof, has an integrated line filter, is fully regulated against voltage fluctuations, suppresses mains interference, and offers hum-free operation.

User’s Guide Fireface UFX II © RME

5.2 Quick Start
After the driver installation (chapter 6 / 13) connect the TRS jacks or the XLR inputs with the analog signal source. The input sensitivity of the rear inputs can be changed in TotalMix (Input Channel Settings, LoGain / +4 dBu and Gain), assuring the highest signal to noise ratio will be achieved. Also try to achieve an optimum input level by adjusting the source itself. Raise the source’s output level until the peak level meters in TotalMix reach about 3 dB.
The signal level of the front inputs can also be optimized directly at the Fireface. The key MIC/GAIN gives direct access to this setting, which is then controlled by the encoders 1 and 2. A two-colour LED beside the sockets signals overload by a colour change from green to red.
The digital outputs of the Fireface UFX II provide AES/EBU (SPDIF compatible) and ADAT optical signals at the corresponding ports.
On the analog playback side (the DA side), a coarse adjustment of the analog output level at the rear jacks is again available in TotalMix (Output Channel Settings, Level), or the Channel Settings directly at the device. The big Volume encoder controls the Main Out volume (default: Analog 1/2).
The output signal of channels 9/10 and 11/12, Phones 1 and 2, can be controlled directly from front by the small encoders 1 and 2.
The Fireface UFX II can store and load its current state in 6 different memory slots, called Setups. With this, the Fireface UFX II can be used stand-alone after setting it up accordingly, replacing lots of dedicated devices (see chapter 24).
In online mode some settings are greyed out, as these should be changed only at the computer, in the Settings dialog or in TotalMix FX. These include the choice of sample rate and the mix settings.
5.3 Menu and Navigation
The Fireface UFX II has a simple and clear menu structure, for fast and efficient operation directly at the device. In most cases, however, all settings will be done via the Settings dialog and TotalMix FX of the host computer. The operation on the device is typically limited to a direct adjustment of the monitoring volume (loudspeaker and headphones), the microphone gain, and DURec (Direct USB Recording). In stand-alone mode, all settings are available directly on the device.
Navigation through the menus of the display and control of the settings is done via four quick select buttons and three rotary encoder with push function. The quick select buttons MIC/GAIN, REC/PLAY, CHAN/MIX and SETUP/REV are described in chapter 23.2.
Default in the display is a Global Level Meter screen of all current signal levels.

User’s Guide Fireface UFX II © RME

5.4 Overview Menu Structure

User’s Guide Fireface UFX II © RME

5.5 Special Options
In the menu SETUP/REV – Options – Hardware/Diagnosis there are some additional setting options which are not described elsewhere in this manual.
Lock Keys. OFF, KEYS, ALL. Allows to disable only the four front buttons or also the three encoders. Press SETUP/REV key for 2 seconds to unlock.
Remap Keys. OFF, ON. Allows 33 different functions/actions to be assigned to the four quick select buttons on the device for oflline/stand-alone operation. In online mode with TotalMix FX, as many as 52 different functions/actions are available.
The configuration for offline/stand-alone operation is done in the following four entries:
MIC/GAIN, REC/PLAY, CHAN/MIX, SETUP/REV. Available functions/actions: Default, Setup 1-6, DIM, Recall, Mute Enable, Main Mono, Main Mute, Main Out Low Cut, Main Out EQ, Main Out Dynamics, Main Out AutoLevel, Phones 9/10 Mute, Phones 9/10 Low Cut, Phones 9/10 EQ, Phones 9/10 Dynamics, Phones 9/10 AutoLevel, Phones 11/12 Mute, Phones 11/12 Low Cut, Phones 11/12 EQ, Phones 11/12 Dynamics, Phones 11/12 AutoLevel, Reverb enable, Echo enable, Record, Play/Pause Stop, Previous, Next ( DURec functions).
The original function of the key on the device, calling up the menu, is still possible by pressing the key on the device for a longer time (1 s).
Online mode: If TotalMix is selected in these entries, the buttons are used to call up the action assigned in TotalMix FX. The configuration is carried out directly in TotalMix FX, in the ARC & Key Commands dialog. The buttons are labelled A (MIC/GAIN), B (REC/PLAY), C (CHAN/MIX) and D (SETUP/REV) here.
Remap Keys is not only useful for stand-alone operation and direct access to some hardware functions, but can also be used to open/close the TotalMix window (selection in the device: TotalMix. Selection in TotalMix FX: Toggle TotalMix Windows).
Note: Some offline functions also control the display in TotalMix FX automatically, for example Mute and Dim.
Options of the ARC USB (Advanced Remote Control) are described in chapter 23.5.

User’s Guide Fireface UFX II © RME

User’s Guide
Fireface UFX II

Installation and Operation Windows

User’s Guide Fireface UFX II © RME

6. Hardware, Driver and Firmware Installation
6.1 Hardware and Driver Installation
To simplify installation it is recommended to first install the drivers before the unit is connected to the computer. But it will also work the other way round.
RME is constantly improving the drivers. Please download the latest drivers from the RME website via http://rme.to/downloads. Unzip the downloaded file and start the driver installation with rmeinstaller.exe.
Start rmeinstaller.exe and follow the instructions of the installer. After installation connect computer and UFX II using a USB 2 cable. Windows detects the new hardware as Fireface UFX II and installs the drivers automatically.
After a reboot, the icons of TotalMix FX and Settings dialog appear in the notification area. If not a click on the chevron leads to the settings that control the icon display.
Driver Updates do not require to remove the existing drivers. Simply install the new driver over the existing one.
6.2 De-Installing the Drivers
A de-installation of the driver files is not necessary and not supported by Windows anyway. Thanks to full Plug & Play support, the driver files will not be loaded after the hardware has been removed. If desired these files can then be deleted manually.
Windows Plug & Play methods do not cover the additional autorun entries of TotalMix, the Settings dialog, and the registration of the ASIO driver. Those entries can be removed from the registry through a software de-installation request, found in Control Panel, Add or remove programs. Click on the entry ‘RME MADIface’.
6.3 Firmware Update
The Flash Update Tool updates the firmware of the Fireface UFX II to the latest version. It requires an already installed driver.
Start the program fut.exe. The tool displays the current revision of the Fireface firmware, and whether it needs an update or not. If so, then simply press the ‘Update’ button. A progress bar will indicate when the flash process is finished (Verify Ok).
After the update the unit needs to be reset. This is done by powering down the unit for a few seconds. A reboot of the computer is not necessary.
When the update unexpectedly fails (status: failure), the unit’s Safety BIOS will be used from the next boot on, the unit stays fully functional. The flash process should then be tried again.

User’s Guide Fireface UFX II © RME

7. Configuring the Fireface
7.1 Settings dialog Main Tab
Configuration of the Fireface UFX II is done via its own settings dialog. The panel Settings can be opened by clicking on the fire or hammer symbol in the Task Bar’s system tray.
The mixer of the Fireface UFX II, TotalMix FX, can be opened by clicking on the DSP FX symbol in the Task Bar’s system tray
The hardware of the Fireface UFX II offers a number of helpful practical functions and options to suit many different requirements. The ‘Settings’ dialog includes options for:
Latency Operation of the DSP Configuration of the digital I/Os Current sample rate Synchronization behaviour State of input and output
Any changes made in the Settings dialog are applied immediately – confirmation (e.g. by clicking on OK or exiting the dialog) is not required.
However, settings should not be changed during playback or record if it can be avoided, as this can cause unwanted noises. Also, please note that even in ‘Stop’ mode, several programs keep the recording and playback devices open, which means that any new settings might not be applied immediately.
The tab About includes information about the current driver and firmware version of the Fireface UFX II. About offers four more options:
Lock Registry Default: off. Checking this option brings up a dialog to enter a password. Changes in the Settings dialog are then no longer written to the registry. As the settings are always loaded from the registry when starting the computer, this method provides an easy way to define an initial state of the Fireface UFX II.
Enable MMCSS for ASIO activates support with higher priority for the ASIO driver. Note: At this time, activating this option seems to be useful only with the latest Cubase/Nuendo at higher load. With other software this option can decrease performance. The change becomes active after an ASIO reset. Therefore it is easy to quickly check which setting works better.

User’s Guide Fireface UFX II © RME

Limit ASIO to 32 channels, is not valid for the UFX II.
Sort ASIO Devices Changes the order only of the ASIO channels when using more than one interface.
Buffer Size The setting Buffer Size determines the latency between incoming and outgoing ASIO and WDM data, as well as affecting system stability (see chapter 9.1).
USB Diagnosis indicates USB transmission errors. The display will be reset on any start of a playback/record. More information can be found in chapter 40.3.
Input Options Word Clock In Termination Checking this option terminates the word clock input internally with 75 Ohms.
AES Input Default: XLR. If Optical 2 is selected, an SPDIF signal present at the ADAT 2 input is switched to the AES input channel, see also block diagram in chapter 41.1. The input signal of the AES XLR socket is then no longer available.
EQ+D for Record Switches EQ and Dynamics of all input channels into the recording path. In case Loopback has been activated the EQ and Dynamics of the Output channel are within the recording path. See also chapter 27.6.
TMS activates the transmission of Channel Status data and Track Marker information on AES and SPDIF inputs. In case these information are not required the feature should be turned off.
Output Options AES Format The AES output signal can have the Channel Status Professional or Consumer (SPDIF). This setting is also valid when ADAT2 has been set as AES/SPDIF output. For further details please refer to chapter 21.2.
Optical 1 Out This optical TOSLINK output can operate as ADAT or SPDIF output. ADAT includes channels 15-22, SPDIF channels 15/16. In SPDIF mode the output channels 17-22 can only be used for Loopback purposes.
Optical 2 Out This optical TOSLINK output can operate as ADAT or SPDIF output. ADAT includes channels 23-30, SPDIF channels 23/24. In SPDIF mode the output channels 25-30 can only be used for Loopback purposes. Selecting AES the output signal of the AES channel (XLR) is also send out as optical SPDIF.
WDM Devices Allows to freely set which I/Os are available as WDM devices, if these are stereo or multi-channel devices (up to 8 channels), and if one or multiple of the currently active WDM devices should have the Speaker property. More details are found in chapter 7.2.

User’s Guide Fireface UFX II © RME

Clock Mode Word Clock Single Speed 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.
Sample Rate Sets the currently used sample rate. Offers a central and comfortable way of configuring the sample rate of all WDM devices to the same value, as since Vista the audio software is no longer allowed to set the sample rate. However, an ASIO program can still set the sample rate by itself.
During record/playback the selection is greyed out, so no change is possible.
Clock Source The unit can be configured to use its own clock (Internal = Master), or one of the input signals (Word, AES, ADAT1, ADAT2). If the selected source isn’t available (Input Status No Lock), the unit will change to the next available one (AutoSync). If none is available then the internal clock is used. The current clock source is displayed to the right.
Input Status Indicates for each input (Word, AES, ADAT1, ADAT2) whether there is a valid signal (Lock, No Lock), or if there is a valid and synchronous signal (Sync). The third column shows the sample frequency detected by the hardware (coarse recognition, 32 kHz, 44.1 kHz, 48 kHz etc.).

User’s Guide Fireface UFX II © RME

7.2 Option WDM Devices
The area WDM Devices gives configuration access, a status display showing the number of currently enabled WDM devices, and a listbox to choose Stereo or Multi-Channel devices.
The number represents both record and playback devices, so 1′ means one input and one output device. The screenshot to the right shows the stereo WDM devices available with the UFX II, and that only Analog 1/2 has been activated. Any number can be activated. Also only higher numbered devices might be active. For example using the ADAT output 7/8 for system based audio does not require to activate all ADAT devices in front. Only ADAT 7/8 will show up in the Windows Sound control panel. The checkbox All to the right allows for a quick check/uncheck of all devices. Activating all 15 stereo devices at once may cause temporary freezing ornot responding’ effects. Therefore activate only the ones which are really needed.
The screenshot to the left shows the multichannel WDM devices available with the UFX II after selecting `Multi-Channel’ in the WDM Devices listbox and hitting WDM Configure. In this example the devices Analog 1 to 8 and ADAT 1 to 8 are active.
Using a multi-channel WDM device allows for the use of multi-channel playback with specialized software as well as Surround sound from DVD or Blu-Ray player software.
Again the checkbox All to the right allows for a quick check/uncheck of all devices.
Changing to the tab Speaker presents a list of all currently activated WDM devices. Any of these can now get the Speaker property.

Please note that defining more than one device as Speaker usually makes no sense, and the speakers also don’t get numbered or renamed in Windows, so it is impossible to find out which one is which.
With the UFX II stereo devices (Analog, AES, SPDIF) are limited to 2 channels even when used as multichannel devices. Only ADAT can be addressed as 2-channel, 4-channel, 6-channel or 8channel device after multichannel assignment.
After leaving the dialog with OK the WDM devices are reloaded so Windows sees their new properties.

User’s Guide Fireface UFX II © RME

Operation and Usage

Playback
In the audio application being used, Fireface UFX II must be selected as output device. This can often be found in the Options, Preferences or Settings menus under Playback Device, Audio Devices, Audio etc.
! WDM playback devices are not available if the number of WDM devices is set to 0 in the Settings dialog.
We recommend switching all system sounds off (via >Control Panel /Sounds<). Although the Fireface UFX II comes with extensive support for system audio, setting it to be the Default Device for playback could cause problems when working with ASIO.
Increasing the number and/or size of audio buffers may prevent the audio signal from breaking up, but also increases latency i.e. output is delayed. For synchronized playback of audio and MIDI (or similar), be sure to activate the checkbox `Get position from audio driver’.
Note: Since Vista the audio application can no longer control the sample rate under WDM. Therefore the driver of the Fireface UFX II includes a way to set the sample rate globally for all WDM devices within the Settings dialog, see chapter 7.1.
8.2 DVD-Playback (AC-3/DTS)
Popular DVD software players can send their audio data stream to any AC-3/DTS capable receiver via the Fireface UFX II SPDIF output.
! The sample rate must be set to 48 kHz in the UFX II Settings dialog, or the software will only playback the down-mixed analog signal via SPDIF.
In some cases an UFX II output device has to be selected in >Control Panel / Sound / Playback< and be set as Default for the software to recognize it.
The DVD software’s audio properties now show the options ‘SPDIF Out’ or similar. When selecting it, the software will transfer the non-decoded digital multichannel data stream to the Fireface.
Note: This ‘SPDIF’ signal sounds like chopped noise at highest level. Try to avoid mixing and routing the signal to your loudspeakers, as they might get damaged.
Multichannel DVD software player can also operate as software decoder, sending a DVD’s multichannel data stream directly to the analog outputs of the Fireface UFX II. For this to work select the WDM playback device ‘Loudspeaker’ of the Fireface UFX II in >Control Panel/ Sound/ Playback < as Default.
The playback software’s audio properties now list several multichannel modes. If one of these is selected, the software sends the decoded analog multichannel data to the Fireface UFX II. TotalMix can then be used to play back via any desired output channels.
The typical channel assignment for surround playback is: 1 Left 2 Right 3 Center 4 – LFE (Low Frequency Effects) 5 – SL (Surround Left) 6 – SR (Surround Right)
Note 1: Selecting the Fireface to be used as system playback device is against our recommendation, as professional interfaces should not be disturbed by system events. Make sure to reassign the selection after usage or to disable any system sounds (tab Sounds, scheme ‘No audio’).

User’s Guide Fireface UFX II © RME

Note 2: The DVD player will be synced backwards from the Fireface. This means when using AutoSync and/or word clock, the playback speed and pitch follows the incoming clock signal.

8.3 Channel Count under WDM

The Fireface ADAT optical ports allow to record 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.

WDM Stereo device Fireface Analog (1+2) Fireface Analog (3+4) Fireface Analog (5+6) Fireface Analog (7+8) Fireface Analog (9+10) Fireface Analog (11+12) Fireface AES Fireface ADAT 1 (1+2) Fireface ADAT 1 (3+4) Fireface ADAT 1 (5+6) Fireface ADAT 1 (7+8) Fireface ADAT 2 (1+2) Fireface ADAT 2 (3+4) Fireface ADAT 2 (5+6) Fireface ADAT 2 (7+8)

Double Speed Fireface Analog (1+2) Fireface Analog (3+4) Fireface Analog (5+6) Fireface Analog (7+8) Fireface Analog (9+10) Fireface Analog (11+12) Fireface AES Fireface ADAT 1 (1+2) Fireface ADAT 1 (3+4) Fireface ADAT 1 (5+6) Fireface ADAT 1 (7+8) Fireface ADAT 2 (1+2) Fireface ADAT 2 (3+4) Fireface ADAT 2 (5+6) Fireface ADAT 2 (7+8)

Quad Speed Fireface Analog (1+2) Fireface Analog (3+4) Fireface Analog (5+6) Fireface Analog (7+8) Fireface Analog (9+10) Fireface Analog (11+12) Fireface AES Fireface ADAT 1 (1+2) Fireface ADAT 1 (3+4) Fireface ADAT 1 (5+6) Fireface ADAT 1 (7+8) Fireface ADAT 2 (1+2) Fireface ADAT 2 (3+4) Fireface ADAT 2 (5+6) Fireface ADAT 2 (7+8)

8.4 Multi-client Operation
RME audio interfaces support multi-client operation. Several programs can be used at the same time. The formats ASIO and WDM can even be used on the same playback channels simultaneously. But as WDM uses a real-time sample rate conversion (ASIO does not), all active ASIO software has to use the same sample rate.
However, a better overview is maintained by using the channels exclusively. This is no limitation at all, because TotalMix allows for any output routing, and therefore a playback of multiple software on the same hardware outputs.
Inputs can be used from an unlimited number of WDM and ASIO software at the same time, as the driver simply sends the data to all applications simultaneously.
RME’s sophisticated tool DIGICheck is an exception to this rule. It operates like an ASIO host, using a special technique to access playback channels directly. Therefore DIGICheck is able to analyse and display playback data from any software, no matter which format it uses.

User’s Guide Fireface UFX II © RME

8.5 Analog Recording
For recordings via the analog inputs the corresponding record device has to be chosen (Fireface UFX II Analog (x+x)).
The input sensitivity of the rear inputs can be changed in two steps and with adjustable gain in TotalMix (Input Channel Settings, Level), assuring the highest signal to noise ratio will be achieved. A further optimization can be achieved by adjusting the source itself. Raise the source’s output level until the peak level meters in TotalMix reach about 3 dB.
The level of the front-side analog inputs can be optimized via TotalMix (Input Channel Settings, Gain), or directly at the Fireface UFX II by the key Mic/Gain and the encoders 1/2. A double coloured signal and clip LED provides useful information about the current level state.
Further information is found in chapter 19.
It often makes sense to monitor the input signal or send it directly to the output. This can be done at zero latency using TotalMix FX (see chapter 25).
An automated control of real-time monitoring can be achieved by Steinberg’s ASIO protocol with RME’s ASIO drivers and all ASIO 2.0 compatible programs. When ‘ASIO Direct Monitoring’ has been switched on, the input signal is routed in real-time to the output whenever a recording is started (punch-in).
8.6 Digital Recording
Unlike analog soundcards which produce empty wave files (or noise) when no input signal is present, digital interfaces always need a valid input signal to start recording.
Taking this into account, RME added a comprehensive I/O signal status display to the Fireface UFX II, showing sample frequency, lock and sync status for every input, and several status LEDs directly at the unit.
The sample frequency shown in the fields Clock Mode and Input Status is useful as a quick display of the current configuration of the unit and the connected external equipment. If no sample frequency is recognized, it will read `No Lock’.
This way, configuring any suitable audio application for digital recording is simple. After selecting the correct input, Fireface UFX II displays the current sample frequency. This parameter can then be changed in the application’s audio attributes (or similar) dialog.

User’s Guide Fireface UFX II © RME

8.7 Clock Modes – Synchronization
In the digital world, all devices must be either Master (clock source) or Slave (clock receiver). Whenever several devices are linked within a system, 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 ‘Master’, all other devices must be set to Slave’. The Fireface UFX II utilizes a very user-friendly, intelligent clock control, called AutoSync. In AutoSync mode, the system constantly scans the digital input for a valid signal. If any valid signal is found, the Fireface switches from the internal quartz (Clock Source Current Internal) to a clock extracted from the input signal (Clock Source Current ADAT, AES or Word). The difference to a usual slave mode is that whenever the clock reference fails, the system will automatically use its internal clock and operate in clock mode Master. AutoSync guarantees that record and record-while-play will always work correctly. In certain cases however, AutoSync may cause feedback in the digital carrier, so synchronization breaks down. To remedy this, switch the Fireface clock mode toInternal’.
RME’s exclusive SyncCheck technology enables an easy to use check and display of the current clock status. SyncCheck indicates whether there is a valid signal (Lock, No Lock) for each input (Word Clock, ADAT, AES), or if there is a valid and synchronous signal (Sync). See chapter 40.1.
Via Clock Source a preferred input can be defined. As long as the Fireface sees a valid signal there, this input will be designated as the sync source, otherwise the other inputs will be scanned in turn. If none of the inputs are receiving a valid signal, the Fireface automatically switches clock mode to `Internal’.
Under WDM the Fireface will (has to) set the sample rate. Therefore the error shown to the right can occur. An AES, SPDIF or ADAT signal with a sample rate of 48 kHz is used as sync source, but Windows audio had been set to 44100 Hz before. The red coloured text label signals the error condition, and prompts the user to set 48000 Hz manually as sample rate.
Under ASIO the audio software sets the sample rate, so that such an error will usually not happen but it can too. In slave mode the external sample rate has priority. Feeding 44.1 kHz will prevent the ASIO software to set 48 kHz obviously, as the only way to do so would be to enter a different clock mode (Master/Internal).
In practice, SyncCheck provides the user with an easy way of checking whether all digital devices connected to the system are properly configured. With SyncCheck, finally anyone can master this common source of error, previously one of the most complex issues in the digital studio world.

User’s Guide Fireface UFX II © RME

9. Operation under ASIO 9.1 General
Start the ASIO software and select ASIO MADIface USB as the audio I/O device or the ASIO audio driver. The Fireface UFX II supports ASIO Direct Monitoring (ADM). The Fireface UFX II MIDI I/Os can be used with both MME MIDI and DirectMusic MIDI.

9.2 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 per port is reduced from 8 to 4. At a sample rate of 176.4 and 192 kHz, the ADAT optical input and output operates in S/MUX4 mode, so the number of available channels is limited to 2.

Note: When changing the sample rate range between Single, Double and Quad Speed the number of channels presented from the ASIO driver will change too. This may require a reset of the I/O list in the audio software.

Single Speed Fireface Analog 1 to 12 Fireface AES L / R Fireface ADAT 1 to 16

Double Speed Fireface Analog 1 to 12 Fireface AES L / R Fireface ADAT 1 to 8

Quad Speed Fireface Analog 1 to 12 Fireface AES L / R Fireface ADAT 1 to 4

User’s Guide Fireface UFX II © RME

9.3 Known Problems
If a computer does not provide sufficient CPU-power, and/or sufficient USB or PCI bus transfer rates, and/or sufficient PCIe-bus transfer rates, then drop outs, crackling and noise will appear. Raising the buffer size in the Settings dialog of the Fireface UFX II helps in most cases. It is also recommended to deactivate all PlugIns to verify that these are not the reason for such effects. Further information is found in chapter 40.3.
Another common source of trouble is incorrect synchronization. ASIO does not support asynchronous operation, which means that the input and output signals not only have to use the same sample frequency, but also have to be in sync. All devices connected to the Fireface UFX II must be properly configured for full duplex operation. As long as SyncCheck (in the Settings dialog) only displays Lock instead of Sync, the devices have not been set up properly.
The same applies when using more than one Fireface UFX II – they all have to be in sync. Else a periodically repeated noise will be heard.
RME devices support ASIO Direct Monitoring (ADM). Please note that not all programs support ADM completely or error-free. The most often reported problem is the wrong behaviour of panorama in a stereo channel. Also try to avoid setting the TotalMix FX hardware outputs (third row) to mono mode. This will most likely break ADM compatibility.
In case of a drift between audio and MIDI, or in case of a fixed deviation (MIDI notes placed close before or behind the correct position), the settings in Cubase/Nuendo have to be changed. At the time of print the option ‘Use System Timestamp’ should be activated. The Fireface UFX II supports both MME MIDI and DirectMusic MIDI. It depends on the used application which one will work better.
10. Using more than one Fireface UFX II
The driver supports up to three Fireface UFX II or a combination of up to three supported interfaces. 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).
If one of the Firefaces is set to clock mode Master, all others have to be set to clock mode AutoSync, and have to be synced from the master, for example by feeding word clock. The clock modes of all units have to be set up correctly in the Fireface Settings dialog.
If all units are fed with a synchronous clock, i.e. all units show Sync in their Settings dialog, all channels can be used at once. This is especially easy to handle under ASIO, as the ASIO driver presents all units as one.
Please be aware that operating more than one Fireface UFX II may cause resource problems on the computer side.
Note: TotalMix is part of the hardware of each Fireface. Up to three mixers are available, but these are separated and can’t interchange data. Therefore a global mixer for all units is not possible.

User’s Guide Fireface UFX II © RME

11. DIGICheck Windows
The DIGICheck software is a unique utility developed for testing, measuring and analysing digital audio streams. Although this Windows software is fairly self-explanatory, it still includes a comprehensive online help. DIGICheck 5.96 operates as multi-client ASIO host, therefore can be used in parallel to any software, be it WDM or ASIO, with both inputs and outputs (!). The following is a short summary of the currently available functions:
Level Meter. High precision 24-bit resolution, 2/8/30 channels. Application examples: Peak level measurement, RMS level measurement, over-detection, phase correlation measurement, dynamic range and signal-to-noise ratios, RMS to peak difference (loudness), long term peak measurement, input check. Oversampling mode for levels higher than 0 dBFS. Vertical and horizontal mode. Slow RMS and RLB weighting filter. Supports visualization according to the K-System.
Hardware Level Meter for Input, Playback and Output. Reference Level Meter freely configurable, causing near zero CPU load, because calculated from the Fireface hardware.
Spectral Analyser. World wide unique 10-, 20- or 30-band display in analog bandpass-filter technology. 192 kHz-capable!
Vector Audio Scope. World wide unique Goniometer showing the typical afterglow of a oscilloscope-tube. Includes Correlation meter and level meter.
Totalyser. Spectral Analyser, Level Meter and Vector Audio Scope in a single window. Surround Audio Scope. Professional Surround Level Meter with extended correlation analy-
sis, ITU weighting and ITU summing meter. ITU1770/EBU R128 Meter. For standardized loudness measurements. Bit Statistics & Noise. Shows the true resolution of audio signals as well as errors and DC
offset. Includes Signal to Noise measurement in dB and dBA, plus DC measurement. Channel Status Display. Detailed analysis and display of SPDIF and AES/EBU Channel Sta-
tus data. Global Record. Long-term recording of all channels at lowest system load. Completely multi-client. Open as many measurement windows as you like, on any channels
and inputs or outputs!
A newer version for more up-to-date hardware, called DigiCheck NG, is also available.
DIGICheck is free but works only with RME interfaces. It is constantly improved and updated. The latest version is always available on our website www.rme-audio.com, section Downloads / Software.

User’s Guide Fireface UFX II © RME

12. Hotline Troubleshooting
The newest information can always be found on our website www.rme-audio.com, section FAQ, Latest Additions.
The second port ADAT channels don’t seem to work
The optical output ADAT2 has been switched to AES/SPDIF. As can be seen in the block diagram, all channels and their assignments still exist, but the optical transmitter has been disconnected from ADAT2 and is now fed from the AES output (channels 13/14). The ADAT2 playback devices are still usable by routing and mixing them in TotalMix to other outputs.
Playback works, but record doesn’t
Check that there is a valid signal at the input. If so, the current sample frequency is displayed in the Settings dialog.
Check whether the Fireface UFX II has been selected as recording device in the audio application.
Check whether the sample frequency set in the audio application (Recording properties’ or similar) matches the input signal. Check that cables/devices have not been connected in a closed loop. If so, set the system’s clock mode to Master. Crackle during record or playback Increase the number and size of buffers in theSettings’ dialog or in the application. Try different cables (coaxial or optical) to rule out any defects here. Check that cables/devices have not been connected in a closed loop. If so, set the system’s
clock mode to `Master’. Check the Settings dialog for displayed Errors.
Driver installation and Settings dialog/TotalMix work, but a playback or record is not possible
While recognition and control of the device are low bandwidth applications, playback/record needs the full transmission performance. Therefore, defective USB cables with limited transmission bandwidth can cause such an error scheme.

User’s Guide Fireface UFX II © RME

User’s Guide
Fireface UFX II

Installation and Operation Mac OS X

User’s Guide Fireface UFX II © RME

13. Hardware, Driver and Firmware Installation
13.1 Hardware and Driver Installation
After the Fireface has been connected to the computer and switched on install the drivers matching your current macOS.
RME is constantly improving the drivers. Please download the latest drivers from the RME website at http://rme.to/downloads. Unzip the downloaded file and start the driver installation by doubleclicking Fireface USB.pkg.
During driver installation the programs Totalmix (TotalMix FX) and Fireface USB Settings are copied to the Applications folder. They will automatically start into the dock if a Fireface UFX II is connected. After installation reboot the computer.
Driver Updates do not require to remove the existing drivers. Simply install the new driver over the existing one.
13.2 De-installing the Drivers
In case of problems the driver files can be deleted manually by dragging them to the trash bin:
/Applications/Fireface USB Settings /Applications/Totalmix /System/Library/Extensions/FirefaceUSB.kext /Users/username/Library/Preferences/de.rme-audio.TotalmixFX.plist /Users/username/Library/Preferences/de.rme-audio.Fireface_USB_Settings.plist /Library/LaunchAgents/de.rme-audio.firefaceUSBAgent.plist
Under the latest Mac OS the User/Library folder is not visible in the Finder. To unhide it start Finder, click on the menu item Go. Hold down the option (alt) key, then click on Library.
With the latest DriverKit drivers, the whole driver is the RME Settings app found in Applications. Deleting this app also removes the driver from the system.
13.3 Firmware Update
The Flash Update Tool updates the firmware of the Fireface UFX II to the latest version. It requires an already installed Thunderbolt or USB driver.
Start the program Fireface USB Flash. The Flash Update Tool displays the current revision of the UFX II firmware, and whether it needs an update or not. If so, simply press the ‘Update’ button. A progress bar will indicate when the flash process is finished (Verify Ok).
After the update the Fireface UFX II needs to be reset. This is done by powering down the Fireface for a few seconds. A reboot of the computer is not necessary.

User’s Guide Fireface UFX II © RME

When the update fails (status: failure), the unit’s second BIOS will be used from the next cold boot on (Secure BIOS Technology). Therefore the unit stays fully functional. The flash process should then be tried again on a different computer.
14. Configuring the Fireface UFX II
14.1 Settings Dialog
Configuring the Fireface is done via its own settings dialog. Start the program Fireface USB Settings. The mixer of the Fireface UFX II (TotalMix FX) can be configured by starting the program Totalmix.
The Fireface’s hardware offers a number of helpful, practical functions and options to suit many different requirements. The following is available in the ‘Settings’ dialog:
Operation of the DSP Configuration of digital I/Os Current sample rate Synchronization behaviour State of input and output
Any changes performed in the Settings dialog are applied immediately – confirmation (e.g. by exiting the dialog) is not required.
However, settings should not be changed during playback or record if it can be avoided, as this can cause unwanted noises.
Use the drop down menu Properties For to select the unit to be configured.
On the right of it the current firmware and driver version of the Fireface UFX II is shown.
Options DSP Record EQ+D Switches EQ and Dynamics of all input channels into the recording path. In case Loopback has been activated the EQ and Dynamics of the Output channel are within the recording path. See also chapter 27.6.
AES Input Source Default: XLR. If Optical 2 is selected, an SPDIF signal present at the ADAT 2 input is switched to the AES input channel, see also block diagram in chapter 41.1. The input signal of the AES XLR socket is then no longer available.
AES Output Format The AES output signal can have the Channel Status Professional or Consumer (SPDIF). This setting is also valid when ADAT2 has been set as AES/SPDIF output. For further details please refer to chapter 21.2.

User’s Guide Fireface UFX II © RME

Optical 1 Output This optical TOSLINK output can operate as ADAT or SPDIF output. ADAT includes channels 15-22, SPDIF channels 15/16. In SPDIF mode the output channels 17-22 can only be used for Loopback purposes.
Optical 2 Output This optical TOSLINK output can operate as ADAT or SPDIF output. ADAT includes channels 23-30, SPDIF channels 23/24. In SPDIF mode the output channels 25-30 can only be used for Loopback purposes. Selecting AES the output signal of the AES channel (XLR) is also send out as optical SPDIF.
Clock Mode Sample Rate Used to set the current sample rate. This is the same setting as in the Audio MIDI Setup, just added here for your convenience.
Clock Source The unit can be configured to use its own clock (Internal = Master), or one of the input signals (Word, AES, ADAT1, ADAT2). If the selected source isn’t available (Input Status No Lock), the unit will change to the next available one (AutoSync). If none is available then the internal clock is used. The Current Clock source is displayed below.
Word Clock – Termination Checking this option terminates the word clock input internally with 75 Ohms.
Word Clock I/O Single Speed 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.
The word clock input usually adapts to the current sample rate range. For example a 48 kHz word signal can be used to sync the internal clock of 96 and 192 kHz. When the option Single Speed is active the interface’s sample rate follows the external sample rate even over Single, Double and Quad Speed. A word signal of 192 kHz will cause the UFX II to use 192 kHz internally. This feature is also called Follow Clock.

Input Status Indicates for inputs Word, AES, ADAT1 and ADAT2 whether a valid signal (Lock, No Lock) or a valid and synchronous signal (Sync) is present. The third column shows the sample frequency detected by the hardware (coarse recognition, 32 kHz, 44.1 kHz, 48 kHz etc.).
Short Safety Offset Allows the audio subsystem to be adapted to the computer performance. Short reduces the latency due to a smaller safety offset, but can lead to clicks or dropouts. The kernel extension driver also has the Large option for maximum security against such effects.

User’s Guide Fireface UFX II © RME

14.2 Clock Modes – Synchronization
In the digital world, all devices must be either Master (clock source) or Slave (clock receiver). Whenever several devices are linked in a system, 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 ‘Master’, all other devices must be set to Slave’. The Fireface UFX II utilizes a very user-friendly, intelligent clock control, called AutoSync. In AutoSync mode, the system constantly scans the digital input for a valid signal. If any valid signal is found, the Fireface switches from the internal quartz (Clock Mode Current Internal) to a clock extracted from the input signal (Clock Mode Current ADAT, AES or Word). The difference to a usual slave mode is that whenever the clock reference fails, the system will automatically use its internal clock and operate in clock mode Master. AutoSync guarantees that record and record-while-play will always work correctly. In certain cases however, AutoSync may cause feedback in the digital carrier, so synchronization breaks down. To solve this problem switch the Fireface clock mode toInternal’.
RME’s exclusive SyncCheck technology enables an easy to use check and display of the current clock status. SyncCheck indicates whether there is a valid signal (Lock, No Lock) for each input (Word Clock, ADAT, AES), or if there is a valid and synchronous signal (Sync). In the field Clock Mode the clock reference is shown. See chapter 40.1.
Via Clock Source a preferred input can be defined. As long as the Fireface sees a valid signal there, this input will be designated as the sync source, otherwise the other inputs will be scanned in turn. If none of the inputs are receiving a valid signal, the Fireface automatically switches clock mode to `Internal’.
In some situations changing the clock mode can not be avoided. Example: An ADAT recorder is connected to the ADAT input (ADAT immediately becomes the AutoSync source) and a CD player is connected to the AES input. Try recording a few samples from the CD and you will be disappointed – few CD players can be synchronized. The samples will inevitably be corrupted, because the signal from the CD player is read with the clock from the ADAT. In this case the Clock Source should be temporarily set to AES.
In practice, SyncCheck provides the user with an easy way of checking whether all digital devices connected to the system are properly configured. With SyncCheck, finally anyone can master this common source of error, previously one of the most complex issues in the digital studio world.

User’s Guide Fireface UFX II © RME

15. Mac OS X FAQ
15.1 MIDI doesn’t work
In some cases the applications do not show the MIDI port. The reason for this is usually visible within the Audio MIDI Setup. It displays no RME MIDI device, or the device is greyed out and therefore inactive. Mostly, removing the greyed out device and searching for MIDI devices again will solve the problem.
The Fireface’ MIDI is class compliant. Therefore it comes without a driver. OS X recognizes it as MIDI device and will be using it with the driver included in the operating system.

15.2 Repairing Disk Permissions
Repairing permission can solve problems with the installation process – plus many others. To do this, launch Disk Utility located in Utilities. Select your system drive in the drive/volume list to the left. The First Aid tab to the right now allows you to check and repair disk permissions.

15.3 Supported Sample Rates
RME’s Mac OS X driver supports all sampling frequencies provided by the hardware. This includes 32 kHz and 64 kHz, and even 128 kHz, 176.4 kHz and 192 kHz.
But not any software will support all the hardware’s sample rates. The hardware’s capabilities can easily be verified in the Audio MIDI Setup. Select Audio devices under Properties of: and choose the Fireface. A click on Format will list the supported sample frequencies.

15.4 Channel Count under Core Audio

It is not possible to change the number of Core Audio channels without a reboot of the computer. Therefore whenever the Fireface changes into Double Speed (88.2/96 kHz) or Quad Speed mode (176.4/192 kHz) all channels stay present, but become partly inactive.

Single Speed Fireface Analog 1 to 12 Fireface AES L / R Fireface ADAT 1 to 16

Double Speed Fireface Analog 1 to 12 Fireface AES L / R Fireface ADAT 1 to 8

Quad Speed Fireface Analog 1 to 12 Fireface AES L / R Fireface ADAT 1 to 4

User’s Guide Fireface UFX II © RME

15.5 Various Information
The driver of the Fireface UFX II requires at least Mac OS 10.6.
Programs that don’t support card or channel selection will use the device chosen as Input and Output in the System Preferences Sound panel.
Via Launchpad Other Audio MIDI Setup the Fireface can be configured for the system wide usage in more detail.
Programs that don’t support channel selection will always use channels 1/2, the first stereo pair. To access other inputs, use the following workaround with TotalMix: route the desired input signal to output channels 1/2. In the channel settings of outputs 1/2 activate Loopback. Result: the desired input signal is now available at input channel 1/2, without further delay/latency.
Use Configure Speakers to freely configure the stereo or multichannel playback to any available channels.
16. 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 UFX II. All units have to be in sync, i.e. have to receive valid sync information either via word clock or by feeding synchronized signals.
If one of the Firefaces is set to clock mode Master, all others have to be set to clock mode Slave, and have to be synced from the master, for example by feeding word clock. The clock modes of all units have to be set up correctly in the Fireface Settings dialog.
If all units are fed with a synchronous clock, i.e. all units show Sync in their Settings dialog, all channels can be used at once.
Note: TotalMix is part of the Fireface hardware. Up to three mixers are available, but these are separated and can’t interchange data. Therefore a global mixer for all units is not possible.
Please be aware that operating more than one Fireface UFX II may cause resource problems on the computer side.

User’s Guide Fireface UFX II © RME

17. DIGICheck NG Mac
The DIGICheck software is a unique utility developed for testing, measuring and analysing digital audio streams. Although the software is fairly self- explanatory, it still includes a comprehensive online help. DIGICheck NG 0.90 operates in parallel to any software, showing all input and playback data. The following is a short summary of the currently available functions:
Level Meter. High precision 24-bit resolution, 2/8/30 channels. Application examples: Peak level measurement, RMS level measurement, over-detection, phase correlation measurement, dynamic range and signal-to-noise ratios, RMS to peak difference (loudness), long term peak measurement, input check. Oversampling mode for levels higher than 0 dBFS. Vertical and horizontal mode. Slow RMS and RLB weighting filter. Supports visualization according to the K-System.
Hardware Level Meter for Input, Playback and Output. Reference Level Meter freely configurable, causing near zero CPU load, because calculated from the Fireface hardware.
Spectral Analyser. World wide unique 10-, 20- or 30-band display in analog bandpass filter technology. 192 kHz-capable!
Vector Audio Scope. World wide unique Goniometer showing the typical afterglow of a oscilloscope-tube. Includes Correlation meter and level meter.
Totalyser. Spectral Analyser, Level Meter and Vector Audio Scope in a single window. Surround Audio Scope. Professional Surround Level Meter with extended correlation analy-
sis, ITU weighting and ITU summing meter. ITU1770/EBU R128 Meter. For standardized loudness measurements. Bit Statistics & Noise. Shows the true resolution of audio signals as well as errors and DC
offset. Includes Signal to Noise measurement in dB and dBA, plus DC measurement. Completely multi-client. Open as many measurement windows as you like, on any channels
and inputs or outputs!
DIGICheck is constantly updated. The latest version is always available on our website www.rmeaudio.com, section Downloads / Software.

User’s Guide Fireface UFX II © RME

18. Hotline Troubleshooting
The newest information can always be found on our website www.rme-audio.com, section FAQ, latest Additions.
The unit and drivers have been installed correctly, but playback does not work:
Has Fireface been selected as current playback device in the audio application?
The 8 ADAT channels don’t seem to work
The optical output ADAT2 has been switched to AES/SPDIF. As can be seen in the block diagram, all channels and their assignments still exist, but the optical transmitter has been disconnected from ADAT2 and is now fed from the AES output (channels 13/14). The ADAT2 playback devices are still usable by routing and mixing them in TotalMix to other outputs.
Playback works, but record doesn’t:
Check that there is a valid signal at the input. If so, the current sample frequency is displayed in the Settings dialog.
Check whether the Fireface UFX II has been selected as recording device in the audio application.
Check whether the sample frequency set in the audio application (Recording properties’ or similar) matches the input signal. Check that cables/devices have not been connected in a closed loop. If so, set the system’s clock mode toMaster’.
Crackle during record or playback:
Increase the number and size of buffers in the application. Try different cables (coaxial or optical) to rule out any defects here. Check that cables/devices have not been connected in a closed loop. If so, set the system’s
clock mode to `Master’. Check the Settings dialog for displayed Errors.
Possible causes for a Fireface not working
The USB cable is not, or not correctly inserted into the socket
Driver installation and Settings dialog/TotalMix work, but a playback or record is not possible
While recognition and control of the device are low bandwidth applications, playback/record needs the full transmission performance. Therefore, defective USB cables with limited transmission bandwidth can cause such an error scheme.

User’s Guide Fireface UFX II © RME

User’s Guide
Fireface UFX II

Inputs and Outputs

User’s Guide Fireface UFX II © RME

19. Analog Inputs

19.1 Line Rear

The Fireface has eight 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.

One of the main issues when working with an AD-converter is to maintain the full dynamic range within the best operating level. Therefore the Fireface UFX II internally uses hi-quality electronic switches, which allow for a perfect adaptation of all rear inputs individually to the most often used studio levels. The Fireface UFX II offers the following level references:

Reference Lo Gain +4 dBu

0 dBFS @ +19 dBu +13 dBu

Headroom 15 dB 9 dB

The above levels are also found in all other RME devices. Therefore they are fully compatible to each other. A reference level of -10 dBV can be set by using +4 dBu and adding 9 dB of gain with the Gain knob in the TotalMix FX channel settings.

19.2 Microphone / Line / Inst Front
The four balanced microphone inputs of the Fireface UFX II offer a digitally controlled gain of 0 to 75 dB via XLR/TRS combo jacks. The gain range is 75 dB for XLR, adjustable in 1 dB-steps from 8 to 75 dB, and 0 dB as additional step. The soft switching, hi-current Phantom power (48 Volt), switchable per channel, provides a professional handling of condensor mics. Up to a level of +18 dBu, the front XLR input can also be used as Line input.
The unbalanced TRS Line inputs (R is connected to ground), which can be used alternatively, add even greater flexibility to the Fireface UFX II. With 1 MOhm input impedance (Hi-Z), TS jack and adjustable input gain from +8 dB to +50 dB, the front-side inputs can be used perfectly with keyboards, sampler, CD player, guitars and many more. They handle levels from -21 dBu up to +21 dBu, turning them into full level Line inputs. Thus the unit can also be used as Line gain amplifier.
The TRS jacks are free of phantom power.
A two colour LED display a present signal (green, from 60 dBFS) and warns against overload (0 dBFS).
Channels 9 to 12 feature an automatic overload protection. AutoSet tries to keep a headroom of 6 dB. Levels higher than -6 dBFS will permanently reduce the gain. To check set the channels to a high gain and apply an input signal. The button will quickly rotate back to a gain that is appropriate. While AutoSet in the UFX II is not exactly the same as in the RME Micstasy (with extreme overloads distortion will occur for the fraction of a second before the level is set correctly), it works quite well in real-world applications and prevents distorted recordings reliably.
Using stereo channels AutoSet operates ganged. AutoSet can be activated in TM FX or directly at the unit in the channel settings. A push on Encoder 1/2 toggles AS on/off.
As soon as AutoSet reduces the gain the label AS, shown in the front display, changes its colour from black to dark blue.

User’s Guide Fireface UFX II © RME

20. Analog Outputs

20.1 Line

The short circuit protected, low impedance line outputs of channels 3 to 8 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.

To maintain an optimum level for devices connected to the analog outputs, the Fireface UFX II internally uses hi-quality electronic switches, which allow for a perfect adaptation of all outputs individually to the three most often used studio levels.

As with the analog inputs, the analog output levels are defined to maintain a problem-free operation with most other devices. The headroom of the Fireface UFX II lies between 9 and 15 dB, according to the chosen reference level:

Reference Hi Gain +4 dBu -10 dBV

0 dBFS @ +19 dBu +13 dBu +2 dBV

Headroom 15 dB 9 dB 12 dB

The above levels are also found in all other RME devices. Therefore they are fully compatible to each other.

The outputs 1 and 2 use XLR sockets. They additionally offer an output level of +24 dBu, making these outputs compatible to SMPTE (+24 dBu @ 0 dBFS, +4 dBu with 20 dB headroom):

Reference +24 dBu

0 dBFS @ +24 dBu

Headroom 20 dB

! The electronic driver circuit of the XLR outputs does not operate servo- balanced! When connecting unbalanced equipment, make sure pin 3 of the XLR output is not connected. A connection to ground will cause higher THD (distortion)!

20.2 Headphones / Line Out
Channels 9 to 12 of the Fireface are available on the front as 1/4″ TRS jacks. These channels use the same converters as the other Line outputs, therefore offer the same technical data (118 dBA SNR).
Two hardware-based reference levels are available (set in TotalMix Output Channel Settings, Level, High or Low). High equals the setting Hi Gain of the other channels, Low equals -10 dBV (see table above) with +4 dBu at digital full scale. They can thus also be used as high-quality, yet unbalanced line outputs.
These outputs are special low impedance types (2 Ohms), ready to be used with headphones.
Setting the output level, i.e. the monitoring volume, is done besides the pre-setting High/Low via TotalMix (Hardware Output, PH 9/10 and PH 11/12) or directly at the unit via the three encoders. Changing the monitoring volume is therefore very easy and quickly done.
In case the Phones outputs should operate as line outputs, an adapter TRS plug to RCA phono plugs, or TRS plug to TS plugs is required.
The pin assignment follows international standards. The left channel is connected to the tip, the right channel to the ring of the TRS jack/plug. See chapter 41.2.

20.3 DC-coupled Outputs (CV/Gate)
All twelve analog outputs of the UFX II are DC-coupled. AC coupling via capacitor is common, both directly after the DAC chip and directly at the output socket. This prevents a fixed DC component at the output, which could cause negative effects such as popping noise or malfunctions in other devices that are also DC-coupled. However, it also serves as protection against dangerous DC from the outside.
DC coupling has the obvious advantage of allowing the output to operate level- linearly down to 0 Hz. Even at extremely low bass (16 Hz) phase shifts are avoided. DC-coupled inputs are rare, especially for power amplifiers, so a possible DC offset of a playback normally does not cause serious issues.
In order to realize the outputs stable and reliable (robust) as DC-coupled, the circuitry was designed for low DC-offsets and sufficient overvoltage protection. That this works has been proven for years, not only by RME’s ADI series.
To be able to generate DC is quite useful in measurement technology, also in connection with audio. However, DC coupling is especially desirable in combination with analog, electronic sound generators (synthesizers). These have an input that can control the pitch as well as other functions via a DC voltage. Control Voltage, short CV, often also CV/Gate (gate determines tone on or off), CV Filter etc. is mostly based on the voltage range 0 to +5 Volt. If an audio interface can output such DC voltages then synthesizers can be controlled via suitable software and the analog outputs of the audio interface.
The DA converters and analog output stages used in the UFX III have a very low DC drift and generate the DC voltages very reliably and reproducibly, so they are very well suited for this application. However, using balanced outputs 1/2 (XLR) is not recommended for these purposes.
Polarity – Phase
Since the outputs (of course) have a correct polarity, and TotalMix fully supports DC (via fader and level meter), a positive voltage appears at the analog output when a digital positive DC is played. The amount of voltage can be measured accurately and directly with any cheap multimeter.
! Negative output voltages should be avoided, because they could theoretically lead to defects in the CV input. Even if the software used generates only positive signals, a simple phase inversion in TotalMix can invert the signal so that a negative voltage is send out.
Voltage Ranges
Line Out 3-8, unbalanced (mono jack), unloaded:
+19 dBu: +9.5 V, +13 dBu: +4.75 V, +4 dBu: +1.7 V
Phones 9-12, unbalanced, unloaded:
High (+19 dBu): +9.5 V, Low (+4 dBu): +1.7 V
Note: The level meters in TotalMix show DC 3 dB higher due to its factory default setting. This can be changed by disabling the Settings – Level Meters – RMS +3 dB option in TotalMix FX.

21. Digital Connections
21.1 ADAT
The ADAT optical inputs of the Fireface UFX II are 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.
ADAT1 In Interface for the first or only device sending an ADAT signal to the Fireface UFX II. Carries the channels 1 to 8. When receiving a Double Speed signal, this input carries the channels 1 to 4, at Quad Speed the channels 1 and 2.
ADAT2 In Interface for the second device sending an ADAT signal to the Fireface UFX II. Carries the channels 9 to 16. When receiving a Double Speed signal, this input carries the channels 5 to 8, at Quad Speed the channels 3 and 4. Can also be used as SPDIF optical input.
ADAT1 Out Interface for the first or only device receiving an ADAT signal from the Fireface UFX II. Transmits channels 1 to 8. When sending a Double Speed signal, this port carries channels 1 to 4, at Quad Speed the channels 1 and 2. Can also be used as SPDIF optical output.
ADAT2 Out Interface for the second device receiving an ADAT signal from the Fireface UFX II. Transmits channels 9 to 16. When sending a Double Speed signal, this port carries channels 5 to 8, at Quad Speed the channels 3 and 4. Can also be used as SPDIF optical output.
21.2 AES
The Fireface UFX II provides one XLR AES/EBU input and output each. Connection is accomplished using balanced cables with XLR plugs. Input and Output are transformer-balanced and ground-free. The incoming channel status is ignored.
AES/EBU (and SPDIF) can contain Emphasis information. Audio signals with Emphasis have a high frequency boost, requiring high frequency attenuation on playback.
! An Emphasis indication gets lost as there exists no standardized interface on computers to handle this information!
Input Thanks to a highly sensitive input stage SPDIF coaxial can be fed too by using a simple cable adapter phono/XLR. To achieve this, pins 2 and 3 of a male XLR plug are connected individually to the two pins of a phono plug. The cable shielding is only connected to pin 1 of the XLR – not to the phono plug.

Output Using the cable adapter XLR/phono described above, devices with coaxial SPDIF interface can be connected to the AES output of the Fireface UFX II as well. Note that most consumer equipment with phono (SPDIF) inputs will only accept signals having a Channel Status `Consumer’ format. The Consumer status is activated in the Settings dialog of the Fireface UFX II. In Consumer mode the output voltage is reduced as well, as SPDIF calls for a lower voltage than AES/EBU.
The output signal coding of the Fireface UFX II has been implemented according to AES3-1992 Amendment 4:
32 / 44.1 / 48 kHz, 64 / 88.2 / 96 kHz, 176.4 / 192 kHz depending on the current sample rate Audio use No Copyright, Copy permitted Format Professional or Consumer Category General, Generation not indicated 2-Channel, No Emphasis Aux Bits Audio use, 24 Bit Origin: RME
21.3 MIDI
Fireface UFX II offers two MIDI I/O via four 5-pin DIN sockets. The MIDI ports are added to the system by the driver. Using MIDI capable software, these ports can be accessed under the name UFX II MIDI Port.
The MIDI ports support multi-client operation. A MIDI input signal can be received from several programs at the same time. Even the MIDI output can be used by multiple programs simultaneously. However, due to the limited bandwidth of MIDI, this kind of application will often show various problems.
Note: The MIDI input LEDs display any kind of MIDI activity, including MIDI Clock, MTC and Active Sensing. The latter is sent by most keyboards every 0.3 seconds.

22. Word Clock
22.1 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 chapter 40.8).
Input The Fireface’s word clock input is active when Clock Source in the Settings dialog has been switched to Word, and a valid word clock signal is present. The signal at the BNC input can be Single, Double or Quad Speed, the Fireface UFX II automatically adapts to it. As soon as a valid signal is detected, the WC LED is lit, and the Settings dialog shows either Lock or Sync (see chapter 40.1).
Thanks to RME’s Signal Adaptation Circuit, the word clock input still works correctly even with heavily mis-shaped, dc-prone, too small or overshoot-prone signals. Thanks to automatic signal centering, 300 mV (0.3V) input level is sufficient in principle. An additional hysteresis reduces sensitivity to 1.0 V, so that over- and undershoots and high frequency disturbances don’t cause a wrong trigger.
The Fireface UFX II word clock input can be not terminated or internally terminated (75 Ohms). The state is comfortably selected within the Settings dialog. To terminate the input check the option Word Clock In Term. under Input Options.
Output The word clock output of the Fireface is constantly active, providing the current sample frequency as word clock signal. As a result, in Master mode the provided word clock is defined by the currently used software. In Slave mode the provided frequency is identical to the one present at the currently chosen clock input. When the current clock signal fails, the Fireface UFX II switches to Master mode and adjusts itself to the next, best matching frequency (44.1 kHz, 48 kHz etc.).
Selecting Single Speed in the Settings dialog 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.
The received word clock signal can be distributed to other devices by using the word clock output. With this the usual T-adapter can be avoided, and the Fireface UFX II operates as Signal Refresher. This kind of operation is highly recommended, because
input and output are phase-locked and in phase (0°) to each other SteadyClock removes nearly all jitter from the input signal the exceptional input (1 Vpp sensitivity instead of the usual 2.5 Vpp, dc cut, Signal Adaptation
Circuit) plus SteadyClock guarantee a secure function even with highly critical word clock signals
Thanks to a low impedance, short circuit proof output, the Fireface delivers 4 Vpp to 75 Ohms. For wrong termination with 2 x 75 Ohms (37.5 Ohms), there are still 3.3 Vpp at the output.

22.2 Technical Description and Usage
In the analog domain one can connect any device to another device, a 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. But when using more than one device simultaneously problems are likely to happen. For example any self-clocking will not work in a loop cabling, when there is no ‘master’ (main clock) inside the loop. Additionally the clock of all participating devices has to be synchronous. This is often impossible with devices limited to playback, for example CD players, as these have no SPDIF input, thus can’t use the self clocking technique as clock reference.
In a digital studio synchronisation is maintained by connecting all devices to a central sync source. For example the mixing desk works as master and sends a reference signal, the word clock, to all other devices. Of course this will only work as long as all other devices are equipped with a word clock or sync input, thus being able to work as slave (some professional CD players indeed have a word clock input). Then all devices get the same clock and will work in every possible combination with each other.
! A digital system can only have one master! If the Fireface’s clock mode is set to ‘Master’, all other devices must be set to `Slave’.
But word clock is not only the ‘great problem solver’, it also has some disadvantages. The word clock is based on a fraction of the really needed clock. For example SPDIF: 44.1 kHz word clock (a simple square wave signal) has to be multiplied by 256 inside the device using a special PLL (to about 11.2 MHz). This signal then replaces the one from the quartz crystal. Big disadvantage: because of the high multiplication factor the reconstructed clock will have great deviations called jitter. The jitter of a word clock is typically 15 times higher as when using a quartz based clock.
The actual end of these problems is offered by the SteadyClock technology of the Fireface UFX II. Combining the advantages of modern and fastest digital technology with analog filter techniques, re-gaining a low jitter clock signal of 22 MHz from a slow word clock of 44.1 kHz is no problem anymore. Additionally, jitter on the input signal is highly rejected, so that even in real world usage the re-gained clock signal is of highest quality.

22.3 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. The 75 Ohms components used for word clock are part of video technology (RG59).
Ideally, the word clock signal is a 5 Volt square wave with the frequency of the sample rate, of which the harmonics go up to far above 500 kHz. To avoid voltage loss and reflections, both the cable itself and the terminating resistor at the end of the chain should have an impedance of 75 Ohm. If the voltage is too low, synchronization will fail. High frequency reflection effects can cause both jitter and sync failure.
Unfortunately there are still devices on the market which provide a word clock output that can only be called unsatisfactory. If the output breaks down to 3 Volts when terminating with 75 Ohms, you have to take into account that a device, of which the input only works from 2.8 Volts and above, does not function correctly already after 3 meter cable length. So it is not astonishing that because of the higher voltage, word clock networks are in some cases more stable and reliable if cables are not terminated at all. In some cases the 75 Ohms are built into the device and cannot be switched off. In this case the network load is often 2 x 75 Ohms, and the user is forced to buy a special word clock distributor (such a device is generally recommended for bigger studios).
Therefore it seems of advantage to design outputs of word clock as low impedance types, but all word clock inputs as high impedance types, in order to not weaken the signal on the chain.
The Fireface’s word clock input can be high-impedance or terminated internally, ensuring maximum flexibility. If termination is necessary (e.g. because the Fireface is the last device in the chain), check the option Word Clock In Term. under Input Options (see chapter 7.1 / 14.1).
In case the UFX II resides within a chain of devices receiving word clock, plug a T-adapter into its BNC input jack, and the cable supplying the word clock signal to one end of the adapter. Connect the free end to the next device in the chain via a further BNC cable. The last device in the chain should be terminated using another T-adapter and a 75 Ohm resistor (available as short BNC plug). Of course devices with internal termination do not need T-adaptor and terminator plug.
Due to the outstanding SteadyClock technology of the Fireface UFX II, it is recommended not
! to pass the input signal via T-adapter, but to use the Fireface’s word clock output instead. Thanks to SteadyClock, the input signal will both be freed from jitter and – in case of loss or drop out be reset to a valid frequency.
22.4 Operation
The green Lock LED on the front (STATE) will light up as soon as a word clock signal is detected. To change to word clock as clock source, activate the Clock Source Word in the field Clock Mode within the Settings dialog. The status display Current changes to Word as soon as a valid signal is present at the BNC jack. This message has the same meaning as the green State LED on the front, but appears on the monitor, i.e. the user can check immediately whether a valid word clock signal is present and is currently being used.

User’s Guide
Fireface UFX II

Stand-Alone Operation

23. Operation and Usage
23.1 General
Using the three rotary encoders and the clear colour display the Fireface UFX II can be configured and set up completely at the device. Additionally internal memory allows for the permanent storage of six different states of the unit. Therefore the Fireface UFX II is able to operate fully standalone, without any connected computer. In stand-alone operation it can transform into totally different devices by the simple click of a button. Furthermore TotalMix FX, and with this the application examples shown below, can also be controlled via MIDI, see chapter 28.6, Stand-Alone MIDI Control.
23.2 Settings at the Unit
The Fireface UFX II has a simple menu structure, depending on the button pressed.
MIC/GAIN. First push brings up the Mic.Instr. Gain 9/10, second push Mic.Instr. Gain 11/12, third push returns to the meter screen.
REC/PLAY. Brings up the Record/Playback (Direct USB Recording) menu, second push returns to the meter screen.
CHAN/MIX. First push brings up the Channel menu, second push the Mix to menu, third push returns to the meter screen. In the Channel menu encoder 1 selects the input and output to be configured, encoder 2 selects the function to be configured. These are Settings, Low Cut, Parametric EQ, Compressor/Expander and Auto Level.
The Mix to menu gives access to the whole submix functionality. Encoder 1 selects the mix destination, encoder 2 the source. A source can be modified in mix level and panorama.
SETUP/REV. Encoder 1 selects Setups, Options and Reverb/Echo. Options has the subpages Clock Options, HW Options/Diagnosis and Control Room Options. Reverb/Echo has the subpages Reverb and Echo. The subpages are selected by encoder 2.
23.3 Store / Load Setups at the Unit
After hitting the key SETUP/REV, turning encoder 1 changes to Setups. First select the preferred memory slot, then the desired process (load or store). The load/store process is completed by pushing encoder 2 for more than one second.
The UFX II has six memory slots for free usage. Three fixed slots offer convenient and quick reset and configuration of the unit:
Factory. Sets the unit into factory default state.
AD/DA A. Configures an ADAT analog to digital and vice versa converter (12 analog I/Os).
23.4 Storing Setups from the Computer
Setups can also be loaded into the unit from the computer. As the Setups are usually generated at the computer the final step of transmission offers a convenient workflow. In TotalMix FX use Options / Store current state into device to select the desired storage place (Setup) within the unit.

23.5 ARC Options
In the menu SETUP/REV – Options – Hardware/Diagnosis there are additional settings for the optional ARC USB (Advanced Remote Control). When connected directly to the UFX III the following options are available:
Standalone ARC Volume. Deactivates all keys. Only the encoder wheel works, with a fixed assignment to Main Volume.
This option is also a safety function in case the ARC USB is connected to the UFX III, but operated online (with computer). When the system goes offline (computer removed, sleep state…) the functions on the keys change, because online mode changed to stand-alone mode. Operating the keys then could activate unintended functionality or changes.
Standalone ARC 1 s op Each key has to be pressed for one second to activate the programmed functionality. This safety function prevents unintentional changes. It can be stored within the Setups, activating this mode automatically when such a Setup is loaded. When loading a Setup where this function had not been active this mode is automatically deactivated at the UFX III.
Standalone ARC normal Normal operation of the ARC USB.
24. Examples
24.1 12-Channel AD/DA-Converter
TotalMix’ super-flexible routing functions make it easy to turn the UFX into a 12-channel AD/DA converter. It’s easy to build the setup. For a clean start perform a Total Reset from the Options menu. Then select the ADAT Output 1/2 in the third row, and pull up the faders of the Analog input 1/2 in the first row. Then select ADAT 3/4, pull up Analog 3/4 and so on until all 12 analog inputs are routed to the corresponding 12 (8+4) ADAT channels. Now do the same for the analog outputs, route all ADAT inputs to these, one after the other. A monitoring of all or selected I/Os can be easily set up for the AES output, or as analog mixdown on one of the phones outputs.
24.2 4-Channel Mic Preamp
Use TotalMix to route the four microphone inputs directly to the analog outputs. This turns the Fireface UFX II into a 4-channel microphone preamp. The AD- and DA-conversion will cause a small delay of the signals of around 0.1 ms (at 192 kHz, see chapter 40.2). But this is nothing to worry about, as it is the same delay that would be caused by changing the microphone’s position by about 3.3 centimeter (1.3 inches).
24.3 Monitor Mixer
TotalMix allows ANY configuration of all I/Os of the Fireface. For example, set up the device as monitor mixer for 12 analog signals, 16 digital via ADAT and 2 via AES. Additionally, TotalMix lets you set up ANY submixes, so all existing outputs can be used for different and independent monitorings of the input signals. The perfect headphone monitor mixer!
24.4 Digital Format Converter
As TotalMix allows for any routing of the input signals, the Fireface UFX II can be used as ADAT to AES converter, ADAT to two ADAT splitter and AES to ADAT converter.

24.5 Analog / Digital Routing Matrix
The Matrix in TotalMix enables you to route and link all inputs and outputs completely freely. All the above functionalities are even available simultaneously, can be mixed and combined in many ways. Simply said: the Fireface UFX II is a perfect analog/digital routing matrix!
24.6 Stand-Alone Recorder/Player
The UFX II can be used for recording as well as playback of audio signals. As all settings are available directly at the unit it is possible to record a live concert completely without a computer. Music that was copied to a USB thumb drive before can be played back any time. Of course both in combination to any of the other examples above!

User’s Guide
Fireface UFX II

TotalMix FX

25. Routing and Monitoring
25.1 Overview
The Fireface UFX II includes a powerful digital real-time mixer, the Fireface UFX II 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. TotalMix FX adds 3-band parametric Equalizer, Low Cut, Echo, Reverb, Compressor, Expander and Auto Level.
Here are some typical applications for TotalMix:
Setting up delay-free submixes (headphone mixes). The Fireface UFX II allows for up to 15 fully independent stereo submixes. On an analog mixing desk, this would equal 30 Aux sends.
Unlimited routing of inputs and outputs (free utilisation, patchbay functionality).
Distributing signals to several outputs simultaneously. TotalMix offers state- of-the-art splitter and distributor functions.
Simultaneous playback of different programs via a single stereo output. The ASIO multi-client driver supports the usage of several programs at the same time. If this happens on different playback channels TotalMix provides the means to mix and monitor these on a single stereo output.
Mixing of the input signal to the playback signal (complete ASIO Direct Monitoring). RME is not only the pioneer of ADM, but also offers the most complete implementation of the ADM functions.
Integration of external devices. Use TotalMix to insert external effects devices, be it in the playback or in the record path. Depending on the current application, the functionality equals insert or effects send and effects return, for example as used during real-time monitoring when adding some reverb to the vocals.
Every single input channel, playback channel and hardware output features a Peak and RMS level meter, calculated in hardware. These level displays are very useful to determine the presence and routing destinations of the audio signals.
For a better understanding of the TotalMix mixer you should know the following:
As shown in the block diagram (next page), the record signal usually stays un- altered. TotalMix does not reside within the record path, and does not change the record level or the audio data to be recorded (exceptions: EQ+D for Record and Loopback mode).
The hardware input signal can be passed on as often as desired, even with different levels. This is a big difference to conventional mixing desks, where the channel fader always controls the level for all routing destinations simultaneously.
The level meters of input and playback channels are connected pre-fader, to be able to visually monitor where a signal is currently present. The level meters of the hardware outputs are connected post-fader, thus displaying the actual output level.

25.2 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 UFX II has 30 input channels, 30 software playback channels, and 30 hardware output channels:

TotalMix can be used in the above view (View Options 2 Rows). However, the default is a vertical alignment in three rows as known from an Inline desk, so that the row Software Playback equals the Tape Return of a real mixing desk:
Top row: Hardware inputs. The level shown is that of the input signal, i.e. fader independent. Via fader and routing menu, any input channel can be routed and mixed to any hardware output (bottom row).
Middle row: Playback channels (playback tracks of the audio software). Via fader and routing menu, any playback channel can be routed and mixed to any hardware output (bottom row).
Bottom row: Hardware outputs. Here, the total level of
the output can be adjusted. This may be the level of connected loudspeakers, or the level of any submix.
Usage in mode Submix View (Default)
Click on the Hardware Output channel in the third row where the audio signal is supposed to show up. This channel turns brighter, means it is selected as current submix. Now move the faders up from all sources these are the input and playback channels, in the first and second row. That’s it. The input (monitoring) and playback (DAW software) audio signals are now available at that very output, which can be verified immediately from the level meters reacting accordingly.
The following chapters explain step by step all functions of the user interface.

25.3 The Channels
A single channel can be switched between mono and stereo mode. The mode is set in the channel settings.
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 Names in the View Options.
Panorama. Routes the input signal freely to the left and right routing destination (lower label, see below). The level reduction in center position is -3 dB.
Mute and Solo. Input channels and playback channels each have a mute and solo button.
Numerical level display. Shows the current RMS or Peak level, updated twice per second. OVR means overload. The setting Peak/RMS is changed in the View Options.
Level meter. The meter shows both peak values (zero attack, 1 sample is enough for a full scale display) by means of a yellow line, and mathematically correct RMS values by means of a green bar. The RMS display has a relatively slow time constant, so that it shows the average loudness quite well. Overs are shown in red at the top of the bar. In the Preferences dialog (F2) the Peak Hold time, the over detection and the RMS reference can be set.
Fader. Determines the gain/level of the signal routed to the current routing destination (lower label). Please note that this fader is not the fader of the channel, but only the fader of the current routing. Compared to a standard mixing desk TotalMix does not have a channel fader, but only Aux Sends, as many as there are hardware outputs. Therefore TotalMix can create as many different Submixes as there are hardware outputs. This concept is understood best in the Submix View, but more on that later.
Below the fader the Gain is shown in a numerical display field, according to the current fader position. The fader can be:
dragged with the left mouse button pressed
moved by the mouse wheel
set to 0 dB and – by a double click. The same happens with a single click plus held down Ctrl key.
adjusted in fine mode by mouse drag and mouse wheel when holding the Shift key down
A Shift-click on a fader adds the fader to the temporary fader group. All faders now marked yellow are ganged, and move simultaneously in a relative way. The temporary fader group is deleted by a click on the F symbol in the upper right of the window.
The arrow symbol at the bottom minimizes the channel width to that of the level meters. Another click maximizes it again. A mouse click with held Ctrl key causes all channels to the right to enlarge and minimize at once.

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. After a click on the T-button one channel’s faders are all synchronized. Instead of changing only a single routing the fader affects all the channel’s active routings. For a better overview the faders currently not visible are indicated by orange triangles beside the fader path. When moving the fader the triangles also move to a new position, equalling the invisible faders’ new settings.
Note that the fader button is automatically set to the highest routing gain of all routings so that best control is offered. The gain (fader knob position) of the currently active routing (the submix selected in the third row) is shown as white triangle.
Background: TotalMix has no fixed channel fader. In case of the Fireface UFX II there are 30 mono Aux sends, shown alternately as single fader within the channel strip. The high number of Aux sends enables multiple and fully independent routings.
In some cases it is necessary to synchronize the gain changes of these routings. An example is the Post fader function, where a change of the singer’s volume shall be performed identical to the volume change of the signal sent to the reverb device, so that the reverb level keeps its relation to the original signal. Another example is the signal of a guitar that is routed to different submixes, means hardware outputs, which gets much too loud during the solo part, and therefore needs to be reduced in volume on all outputs simultaneously. After a click on the Trim button this can be done easily and with a perfect overview.
As all channel’s routings change simultaneously when Trim is active, this mode basically causes the same behaviour as a trim pot within the input channel, affecting the signal already before the mixer. That’s how this function got its name.
In the View Options / Show the function Trim Gains can be globally switched on and off for all channels. The global Trim mode is recommended when using TotalMix FX as live mixing desk.
The Context Menu. With a right click on the input, playback and output channels their context menus provide advanced functionality (these menus are also available in the Matrix, but only directly on the channel labels). The entries are self-explanatory and automatically adjust to where the click is performed. On all of these the first entry opens the Channel Layout dialog. The input channels offer Clear, Copy input, paste the input mix and paste its FX. On a playback channel Copy, Paste and Clear the playback mix are available. On an output channel Copy and Mirror functionality for the current submix and copying of the FX settings is offered.

25.3.1 Settings
A click on the tool symbol opens the channel’s Settings panel with differing elements. For example the option Inst exists only in input channels 9-12, 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 corresponding input. Serves as power supply for high quality condenser mics. This option should stay off with other sources to prevent failure by spikes.
Inst. Switches inputs 9 to 12 individually from XLR to the TRS jack.
Gain (9-12). Sets the gain for the four front inputs. The knob can be adjusted by dragging the mouse or by the mouse wheel. This also works when the mouse has been moved over the two gain displays. Then the gain can be changed separately for left and right channel, even when the channel is in stereo mode.
Gain (1-8). Additionally to the reference level setting, Line inputs 1 to 8 have an adjustable gain option from 0 dB to +12 dB.
Level. Sets the reference level individually for the 8 rear Line inputs. The available settings are +4 dBu and LoGain.
AutoSet. Activates an automatic gain reduction preventing overloads caused by too high gain settings. See chapter 19.2 for details.
Width. Defines the stereo width. 1.00 equals full stereo, 0.00 mono, -1.00 swapped channels.
FX Send. Setting the level of the signal sent to the FX bus which feeds Echo and Reverb. The current setting is also visible with closed channel settings, because knob and small fader are always synchronized. To make this function as useful as possible FX Send is locked to the highest submix, thus imitating the Aux Post Fader function of a standard mixing desk. When moving the big fader both knob and small fader will also move. This way the reverb signal will always have the same relation to the dry signal.
The level of the signal sent to the effects can be controlled by the FX In level meters of the FX window. It becomes visible after a click on FX in the View Options.
MS Proc. Activates M/S processing within the stereo channel. Monaural information is sent to the left channel, stereo information to the right.
Phase L. Inverts the phase of the left channel by 180°.
Phase R. Inverts the phase of the right channel by 180°.
Note: the functions Width, MS Proc, Phase L and Phase R affect all routings of the respective channel.

Besides Stereo/Mono, Phase L und Phase R the settings of the Hardware Outputs have further options:
Level. Sets the reference levels of the 8 analog Line outputs. The available settings are -10 dBV, +4 dBu and HiGain. The outputs 1/2 additionally offer +24 dBu. The Phones (channels 9-12) have a Low and High setting to choose from.
FX Return. The effect signal (Echo and Reverb) is mixed to the respective hardware output by the duo knob/small fader.
Crossfeed. Adjustable to 5 levels. Can be activated in a maximum of 6 stereo channels. Crossfeed uses the Bauer Binaural method for stereo loudspeaker simulation for headphones. This method, adopted from the ADI-2 series, creates a similar listening impression with headphones as with a normal loudspeaker setup.
Room EQ. Opens a window with 9-band Parametric Equalizer, Delay and Volume Calibration. See chapter 25.3.3.
Talkback. Activates this channel as receiver and output of the Talkback signal. This way Talkback can be sent to any outputs, not only the Phones in the Control Room section. Another application could be to send a certain signal to specific outputs by the push of a button.
No Trim. Sometimes channels need to have a fixed routing and level, which should not be changed in any case. An example is the stereo mixdown for recording of a live show. With No Trim active, the routing to this output channel is excluded from the Trim Gains function, therefore is not changed unintentionally.
Loopback. Sends the output data to the driver as record data. The corresponding submix can be recorded then. This channel’s hardware input sends its data only to TotalMix, no longer to the recording software.
Another difference to the input and playback channels is the Cue button instead of Solo. A click on Cue sends the respective Hardware Output’s audio to the Main Out, or any of the Phones outputs (option Assign / Cue to in the Control Room section). With this any hardware output can be controlled and listened to through the monitoring output very conveniently.
25.3.2 Equalizer
A click on EQ opens the Equalizer panel. It is available in all input and output channels, and affects all routings of the respective channel (pre fader). The panel includes a low cut and a 3band parametric equalizer which can be activated separately.
EQ. Activated by the EQ button.
Type. Band 1 and 3 can operate in Bell (peak), Shelving (shelf), High-Pass and Low-Pass mode. The middle band is fixed to Bell mode.
Gain. All three bands can change their amplification between +20 dB to -20 dB.
Freq. The filter’s center frequency is adjustable between 20 Hz and 20 kHz. While in Bell mode the center frequency is adjusted, in shelving mode the cut- off point (-3 dB) will be changed.
Q. The Quality factor of the filter is adjustable from 0.4 (wide) to 9.9 (narrow).
Lo Cut. Activated by the button Lo Cut. The slope of the high-pass filter is adjustable between 6, 12, 18 and 24 dB per octave. The cut-off point (-3 dB) is adjustable between 20 Hz and 500 Hz.

The frequency graphics give a precise overview of the filter results. Overlapping filters influence each other. This can be used to achieve more than 20 dB amplitude, or to generate difficult frequency response optimizations.
Note: TotalMix has an internal headroom of 24 dB. Extreme boosts with overlapping filters can therefore cause an internal overload. In any case such an overload is displayed by the Over LED of the channel’s level meter.
Preset. Settings of the EQ and the Low Cut can be stored, loaded, and copied between channels at any time. A click on Preset opens a menu with several entries:
Recall: Presets stored before by the user can be selected and loaded
Save to: There are 16 storage places available (EQ Preset 1 to 16)
Import: Loads a previously stored TM EQ file (.tmeq)
Export: Stores the current state as TM EQ file (.tmeq)
Factory: Includes 14 examples for the creative use of Low Cut and Equalizer
Reset: Resets the Low Cut and EQ to have zero influence (Gain 0 dB)
Rename: The EQ Presets 1 to 16 can be renamed. The changes will be shown in both lists Recall and Save to.
Notes on the EQ Presets
Copy between channels: The EQ Preset menu of all channels is identical. If an EQ setup is stored via Save to on one of the 16 storage places, it is then also available in any other channel via Recall.
Copy between Snapshots: The Presets are not saved in Snapshots, therefore do not change when a different Snapshot is loaded. Presets are saved in Workspaces and also loaded with these.
Copy between Workspaces: is done by the export and import function of the Preset menu. Important and useful Presets should always be saved as TM EQ file, so that they can not get lost even on accidental overwrite.
Factory Presets load like all Presets the settings of both Low Cut and EQ simultaneously. The current state, On or Off, is neither saved nor activated. Therefore a preset can be loaded anytime, but will not become active before the user switches the EQ and/or LC on except they had been active already before the load process. For this reason some Factory Presets have special names. For example Telephone (LC+EQ) will sound much better when the LC has been activated additionally to the EQ, as the LC here is set to an unusual high frequency of 500 Hz..

25.3.3 Room EQ
Almost everything written in the previous chapter also applies to the Room EQ. It is based on the technology and design of the 3-band PEQ, but offers 9 bands and is specifically intended for room correction. It is therefore only available in the output channels. As it is not part of the mixing as being more like a ‘fixed speaker correction’, its settings are only saved in the Workspace. The gain of the filters can be adjusted in steps of 0.1 dB (3-band PEQ: 0.5 dB).
In the Options – Reset Mix menu, there are additional options: Clear channel effects without Room EQ and Total Reset without Room EQ.
The Room EQ is located directly behind the 3-band PEQ and can be recorded via Loopback.
The Room EQ preset files have the extension .tmreq and are not compatible with those of the 3-band EQ (.tmeq).
A maximum of 20 channels of Room EQ or 10 stereo channels of Room EQ can be used.
The button Room EQ only switches this one on and off. Delay and Vol.Cal are off at 0 ms and 0 dB, otherwise they are always on. This is is also signaled by the Room EQ button lighting up orange within in the channel settings panel.
The Room EQ can work on mono and stereo output channels and can also be set differently for each channel, see screenshot below.
Delay offers a delay of 0 ms up to 42 ms, in steps of 0.01 ms, at all supported sample rates.
Vol.Cal changes the channel output level in the range +3 dB to -24 dB, in steps of 0.1 dB.
Quick Configuration Tips Gain to 0 dB: Ctrl – left mouse button. Any parameter values: Double-click and type in the value. Quick adjustment via mouse or mouse wheel: Hold down Shift.

25.3.4 Dynamics
A click on D opens the Dynamics panel with Compressor, Expander and Auto Level. They are available in all input and output channels, and affects all routings of the respective channel.
Dynamics. Activated by this button.
Thresh. Threshold where Compressor or Expander start to work. The Compressor is adjustable from -60 dB to 0 dB, the Expander is adjustable from -99 dB to -20 dB.
Ratio. Ratio of input to output signal. Defines the intensity of the signal processing. Adjustable from 1 to 10.
Gain. Gain stage to compensate a loss in level caused by the Compressor. Adjustable from -30 to +30 dB. With inactive Compressor (Threshold 0 dB, Ratio 1:1) this function can also be used as universal digital gain stage.
Attack. Defines the rise time for the control voltage of Compressor/Expander. Adjustable from 0 ms to 200 ms.
Release. Defines the release time for the control voltage of Compressor and Expander. Adjustable from 100 ms to 999 ms.
The amplitude graphics give a precise overview of the level changes caused by the current settings of Compressor and Expander. The white dot shows the level of the input signal and with this whether the signal is within the processing range or not. The small light blue lines in the level meter show the currently active gain reduction. Settings for these Dynamic Meters are found in the Preferences dialog (F2).
Auto Level. Activated by this button.
Max. Gain. Defines the maximum amplification of the input signal. Adjustable from 0 dB to 18 dB.
Headroom. To minimize short-time overloads and clipping of the signal peaks Auto Level can be set to operate at a fixed offset to 0 dBFS. Adjustable from 3 dB to 12 dB.
Rise Time. Defines the speed of a level increase after a level reduction. Adjustable from 0.1 s to 9.9 s.
Preset. Includes the same functions as described on the previous page for the Equalizer. The names of the Factory Presets make clear whether Compressor, Auto Level or both (C+A) have to be switched on.

25.4 Section Control Room
In the section Control Room the menu Assign defines the Main Out which is used for listening in the studio. For this output the functions Dim, Recall, Mono, Talkback, External In and Mute FX are automatically applied. At the unit the VOLUME knob follows this assignment.
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 Names in the View Options menu at any time.
Phones 1 to 4 will have Dim (set in Settings) and a special routing applied when Talkback is activated. Putting them beside the Main Out increases the overview within the output section greatly.
Dim. The volume will be reduced by the amount set in the Settings dialog (F3).
Recall. Sets the gain value defined in the Settings dialog.
Speaker B. Switches playback from Main Out to Main Out B. The faders of the channels Main and Speaker B can be ganged via Link.
Mono. Mixes left and right channel. Useful to check for mono compatibility and phase problems.
Talkback. A click on this button will dim all signals on the Phones outputs by an amount set up in the Preferences dialog. At the same time the control room’s microphone signal (source defined in Preferences) is sent to the Phones. The microphone level is adjusted with the channel’s input fader.
External Input. Switches Main monitoring from the mix bus to the stereo input defined in the Settings dialog (F3). The relative volume of the stereo signal is adjusted there as well.
Mute FX. Mutes Reverb and Echo on the Main Out, to hear the mix without those effects.
Assign. Allows to define the Main Out, Main Out B (Speaker B), and up to four Phones outs.
The output for the Cue signal, which is usually Main, can also be set to one of four Phones outputs. The setting Cue/PFL to also controls the PFL monitoring.

25.5 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. It can still be hidden via the top menu Window Hide Control Strip.
The areas described in the following chapters can be minimized by a click on the arrow in their title bar.
Device selection. Select the unit to be controlled in case more than one is installed on the computer.
FX – DSP Meter. Shows the DSP load caused by activated EQ, Low Cut, Compressor, Auto Level, Echo and Reverb. The DSP of the Fireface UFX II has an automatic load limiter. If no DSP resources are left further effects can not be activated. When switching to DS and QS modes effects will be deactivated automatically until the DSP is not overloaded anymore.
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.), and also no changes to the Presets. The accidental overwrite of an EQ Preset can not be made undone.
Undo/Redo also operates across Workspaces. Therefore a completely differently set up mixer view can be loaded via Workspace, and with a single click on Undo the previous internal mixer state is returned but the new mixer view stays.
Global Mute – Solo – Fader.
Mute. Global Mute operates in a pre fader style, muting all currently activated routings of the channel. As soon as any Mute button is pressed, the Mute Master button lights up in the Control Strip area. With this button all selected mutes can be switched off and on again. One can comfortably set up a mute group or activate and deactivate several mute buttons simultaneously.
Solo. As soon as any Solo button is pressed, the Solo Master button lights up in the Control Strip area. With this button all selected Solos are switched off and on again. Solo operates as Solo-inPlace, post fader style, as known from common mixing desks. A typical limitation for mixing desks, Solo working only globally and only for the Main Out, does not exist in TotalMix. Solo is always activated for the current submix only.
Fader. A Shift-click on a fader adds the fader to the temporary fader group. All faders now marked yellow are ganged, and move simultaneously in a relative way. The temporary fader group is deleted by a click on the F symbol.

25.5.1 View Options
The field Show combines different functions of routing, the level meters and the mixer view.
Routing Mode
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. With Submix view, it is very easy to generate a submix for any output: select the output channel, adjust the fader and pans of first and second row finished.
Free. The Free view is for advanced users. It is used to edit several submixes simultaneously, without the need to change between them. Here one works with the routings fields of the input and playback channels only, which then show different routing destinations.
Level Meters
Post FX. Switches all level meters before (pre) or after (post) the effects. Level changes by these can be easily checked using this feature. Additionally the input signal can be checked for overloads. It is recommended to use Post FX as default setting, as the extreme reduction of a signal by LC/EQ is very seldom. Also all OVR displays of all level meters operate both pre and post, efficiently preventing overloads going unnoticed.
RMS. The numerical level display in the channels displays peak or RMS.
Show
FX. Opens the window to set up the effects Reverb and Echo.
Trim. Activates all Trim buttons on all channels. TotalMix thus behaves like a conventional, simple mixing desk. Each fader affects all active routings of the channel simultaneously, as if the fader were a trim-pot in the hardware input.
2 Row. Switches the mixer view to 2 rows. Hardware Inputs and Software Playbacks are placed side by side. This view saves a lot of space, especially in height.
Names. Display of the original names of channels when they had been renamed by the user.

25.5.2 Snapshots – Groups
Snapshots. Snapshots include all mixer settings, but no graphical elements like window positions, window size, number of windows, visible EQs or Settings, scroll states, Presets 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. Via File / Load Snapshot the mixer states can be loaded individually.
Eight different mixes can be stored under individual names in the Snapshot section. A click on any of the eight buttons loads the corresponding Snapshot. A double click on the name field opens the dialog Input Name to edit the name. As soon as the mixer state is changed the button starts flashing. A click on Store lets all buttons flash, whereby the last loaded one, the base of the current state, flashes inversely. The storage finishes by clicking the desired button (means storage place). The storage process is exited by another click on the flashing Store button.
The area Snapshots can be minimized by a click on the arrow in the title bar.
Groups. The area Groups provides 4 storage places each for fader, mute and solo groups. The groups are valid per Workspace, being active and usable in all 8 Snapshots. But with this they are also lost when loading a new workspace, in case they have not been saved before in a different Workspace.
Note: The Undo function will help in case of an accidental overwrite or deletion of the groups.
TotalMix uses flashing signals to guide you through the group setup. After a click on Edit and click on the desired storage place all desired functions for this group have to be activated or selected. The storage process is finished by another click on Edit.
When setting up a fader group make sure to not add faders that are at the top or low position, unless all faders of that group have this position.
The Mute groups operate other than the global mute exclusively for the current routing. This way you can not mute signals on all outputs unintentionally. Instead signals can be muted on specific submixes by the push of a button.
A solo group operates exactly like the global solo, signals outside the current routing are not affected.

25.5.3 Channel Layout – Layout Presets
To maintain overview within TotalMix FX channels can be hidden. Channels can also be excluded from being remoted. Under Options / Channel Layout a dialog lists all I/Os with their current state. Selecting one or several channels enables the options to the right:
Hide Channel in Mixer/Matrix. The selected channels are no longer shown in TotalMix FX, nor are they available via MIDI or OSC remote control.
Hide Channel in MIDI Remote 1-4. The selected channels are hidden for MIDI remote (CC and Mackie Protocol).
Hide Channel in OSC Remote 1-4. The selected channels are hidden for OSC remote control.
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 x are removed from the list of remote controllable channels. Within an 8-channel block of a Mackie compatible control they are skipped.

RME Fireface UFX II USB 2.0 Digital I/O System User Guide

RME Fireface UFX II USB 2.0 Digital I/O System

Product Information

Product Usage Instructions

Inputs and Outputs

Frequently Asked Questions (FAQ)

Important Safety Instructions

Introduction

Operation and Usage

References

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