RME Fireface UFX III

The Multichannel Flagship Interface

The Fireface UFX III is the center of any multitrack studio, handling up to 94 channels I/O with ease. Its unprecedented flexibility, compatibility, the inclusion of DURec (Direct USB Recording) and RME’s famous low latency hardware and driver designs guarantee flawless operation in any mode and application.

Packed with professional features, including SteadyClock FS, MADI I/O (64 channels), a powerful DSP, USB 3.0 (full 94 channel I/O Class Compliant ready), TotalMix FX, Direct USB Recording, and support for the Advanced Remote Control USB (available separately), the Fireface UFX III is the professional’s preferred tool for multitrack recording, mixing and mastering.

The Fireface UFX III is based on a newly developed analog and digital board. While the analog board offers, for example, DC-coupled analog outputs as well as new AD and DA converters with improved THD+N value, the digital board also enables interesting new features thanks to updated high-tech components.

FEATURES

• 12 x Analog I/O

• 4 x XLR/TRS Mic/Inst/Line

• 2 x Phones Output

• 1 x AES/EBU I/O

• 2 x ADAT I/O

• 2 x SPDIF I/O

• 1 x Word Clock I/O / MADI Coaxial

• 1 x MADI optical I/O

• 2 x MIDI I/O

• RME USB 3.0

• TotalMix FX

• ARC USB

• DURec

• Class Compliant Mode

• AutoSet Digital Gain Control

• DC-coupled Outputs

• Including FX

• SteadyClock FS

Powerful USB 3 Performance
The front panel of the Fireface UFX III provides four high-performance XLR/TRS combo inputs for microphone, instrument and line signals, two stereo headphone jacks with +19 dBu output level, MIDI I/O, and a USB port. In combination with the DURec function (Direct USB Recording), the USB port allows independent recording of selected input and output signals (up to 80 channels) to a connected USB storage medium.

The rear panel reveals the full connectivity of the Fireface UFX III. Besides another MIDI I/O, the two optical ADAT I/Os, an AES/EBU I/O, and eight balanced analog outputs with line level (including XLR stereo monitor outputs) are available. With the new Multi-Mode, the two ADAT I/Os can be used as separate optical SPDIF inputs and outputs in addition to the AES I/O. Furthermore, the Fireface UFX III offers an optical MADI interface (SC) with 64 bidirectional channels. The Word Clock connectors (BNC) work as additional coaxial MADI input and output if required.

Comprehensive MADI Connectivity
The Fireface UFX III opens the doors to a host of RME and 3rd party digital and analog I/O solutions. Expanding your analog channel count, the ability to route/mix within the digital domain through numerous sources presents many flexible options. Multiple external MADI devices can also be connected in series.

To further enhance MADI flexibility, the Fireface UFX III boasts some typical RME-style features. For example in USB 2 mode, which is limited to 30 channels I/O (12 analog plus 16 ADAT plus AES), the MADI I/O is still available via RME’s integrated hardware mixer TotalMix FX. Word Clock I/O (BNC) can be switched to MADI I/O (coaxial), and a special split mode even supports the use of both MADI I/Os simultaneously, with 32 channel each on optical and coaxial.

Powerful Applications for Mixing, Monitoring and Measurement included
The Fireface UFX III comes with the TotalMix FX DSP mixer offering comprehensive routing and monitoring options, as well as the DIGICheck Analyzer allowing to measure and analyze the digital data feed in both directions with maximum precision. TotalMix FX can completely replace an external mixer, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs, incl. main monitors and headphone mixes for musicians.

The additional TotalMix Remote is a remote control for TotalMix FX, to control the hardware mixer and effects in RME audio interfaces. TotalMix Remote mirrors the current state of the host system on the iPad and Windows/Mac computers - the entire mixing state, the complete routing, all FX settings, up to the level meters, and everything in real-time. Easily adjust all the mixer and FX settings from a distance, via Ethernet and WiFi.

DC-Coupled Outputs - CV/Gate Voltage Control
Most audio interfaces are traditionally designed with what is called 'AC-coupled outputs', where capacitors are used to filter out any extreme low frequencies.

Whilst these frequencies are generally considered undesirable for audio - eating into headroom and potentially causing damage to other equipment - one instance where DC-coupling remains desirable is the world of modular synthesizers, where static or slow-moving signals are used for control over various parameters such as pitch note values or LFOs.

All of the Fireface UFX III’s line-level outputs are fully DC-coupled, allowing for the sending of control voltages (CV) or Gate information to modular synthesizers (such as the popular Eurorack and Moog/MOTM/Synthesizers formats) and other studio hardware.

USB 3 Class Compliant Audio
The Fireface UFX III operates in two different modes: driver-based USB 3 and Class Compliant. The Class Compliant mode is a standard that is natively supported by operating systems like Windows, Mac OSX and Linux distributions. No proprietary drivers are required, the device will be directly recognized when the CC firmware is loaded. 

The Fireface UFX III is RME's first audio interface with full USB 3.0 support in Class Compliant Mode. This makes all channels available in driverless operation for Linux, Mac and iPadOS. An iPad Pro with USB C can manage up to 94 channels for recording and playback in TotalMix FX for iPad and on system level.

ARC USB Remote Control - Plug’n Play Plus
The optional available ARC USB connects to your computer via USB, and talks to TotalMix FX directly. It has 15 freely assignable and illuminated buttons, one encoder wheel, and a TS jack to connect a foot switch.

The ARC USB is a USB 1.1 MIDI remote control for the Fireface UFX III. Thanks to operating as a UAC 1 class device, it is natively compatible to Windows and Mac OS X. As soon as it is present in the operating system, TotaIMix FX will automatically detect the ARC USB, and communicate with it via simple MIDI remote commands to control the UFX III.

DURec (Direct USB Recording)
DURec is an integrated digital recorder for all inputs and outputs directly to USB memory devices via the front USB port. The Fireface UFX III records on USB thumb drives or hard drives with up to 2 TB capacity. The recording functionality is provided by the internal DSP, and is therefore independent from a connected Windows or Mac computer. The Direct USB Recording converts the Fireface UFX Series both into a stand-alone field recorder and a powerful multichannel live player for previous recordings, e. g. for virtual sound checks. Live concerts, band rehearsals or spontaneous jam sessions can be directly recorded and played back from the medium - even completely stand-alone without computer or software.

More Outstanding Features

TotalMix FX - Mixing/Routing with superior features for Studio and Live Work
Since 2001 TotalMix added unlimited routing and mixing to RME‘s audio interfaces. Its unique capability to create as many independent submixes as output channels available turned it into the most flexible and powerful mixer of its kind.

DigiCheck - The Secret Weapon of High Resolution Audio Measurements
RME Audio interfaces not only provide you with a professional digital audio interface, but also with a free available software tool: DigiCheck, for metering, testing, measuring and analyzing digital audio streams.

SteadyClock FS - Reference class Digital Clocking
Excellent performance in all clock modes and High Quality Analog Conversion to hear your mix as it is, with lowest jitter and highest jitter immunity.

RME USB - Transport audio with lowest latency and industry leading stability
Use your RME audio interface on Mac and PC with reliable, stable, and regularly updated drivers for our products. RME Audio develops its own interface core, it’s not dependent on 3rd parties for upgrades, modifications or bug fixes, so customers can use latest operating systems without interruption or delay."

SPECIFICATIONS

Analog
AD, Line In 1-8, rear

• Input: 6.3 mm TRS, electronically balanced

• Signal to Noise ratio (SNR) @ LoGain: 116 dB (AES17), 118 dBA

• Signal to Noise ratio (SNR) @ +4 dBu: 115 dB (AES17), 117 dBA

• Frequency response @ 44.1 kHz, -0.1 dB: 8.9 Hz – 20.4 kHz

• Frequency response @ 96 kHz, -0.5 dB: 4.3 Hz – 45.2 kHz

• Frequency response @ 192 kHz, -1 dB: 3 Hz – 89 kHz

• Filter: Short Delay Sharp, 5 / 5 / 6 samples delay

• THD @ -1 dBFS: < -120 dB, < 0.0001 %

• THD+N @ -1 dBFS: < -110 dB, < 0.00032 %

• Channel separation: > 110 dB

• Maximum input level: +19 dBu

• Input: 6.3 mm TRS jack, electronically balanced

• Input impedance @ 1 kHz: 10 kOhm unbalanced, 10.6 kOhm balanced

• Input sensitivity switchable between Lo Gain and +4 dBu

• Input level for 0 dBFS @ Lo Gain: +19 dBu

• Input level for 0 dBFS @ +4 dBu: +13 dBu

• Variable digital gain: 0 to +12 dB

• Minimum level for 0 dBFS: +1 dBu, -1.2 dBV

Microphone In 9-12, front
As AD, but:

• Input: XLR, electronically balanced

• Input impedance @ 1 kHz: 3.4 kOhm

• Signal to Noise ratio (SNR) @ 0 dB Gain: 117 dB (AES17), 119.5 dBA

• THD+N @ -1 dBFS, Gain 20 dB: < -110 dB, < 0.00032 %

• Frequency response @ 44.1 kHz, -0.1 dB: 10.7 Hz – 20.3 kHz

• Frequency response @ 96 kHz, -0.5 dB: 5.1 Hz – 45.0 kHz

• Frequency response @ 192 kHz, -1 dB: 3.5 Hz – 88 kHz

• EIN @ 60 dB Gain, 150 Ohm, A-Weighted: -129.8 dBu

• Gain range: 75 dB

• Maximum input level, Gain 0 dB: +18 dBu

• Maximum input level, Gain 75 dB: -57 dBu

• CLIP LED: 0 dBFS

• SIG LED: -60 dBFS

Instrument In 9-12, front
As AD, but:

• Input: 6.3 mm TS jack, unbalanced

• Input impedance @ 1 kHz: 1 MOhm

• Signal to Noise ratio (SNR): 116 dB (AES17), 118.5 dBA

• Frequency response @ 44.1 kHz, -0.5 dB: 2.4 Hz – 20.0 kHz

• Frequency response @ 96 kHz, -1 dB: 1.6 Hz – 28 kHz

• Frequency response @ 192 kHz, -3 dB: 0.8 Hz – 54 kHz

• THD+N @ -1 dBFS, Gain 20 dB: < -107 dB, < 0.00045 %

• Gain range: 42 dB

• Maximum input level, Gain 8 dB: +21 dBu

• Maximum input level, Gain 50 dB: -21 dBu

DA, Line Out 3-8, rear

• Output: 6.3 mm TRS jack, servo-balanced

• Signal to Noise ratio (SNR) @ HiGain: 116.5 dB (AES17), 118.5 dBA

• Signal to Noise ratio (SNR) @ +4 dBu: 116 dB (AES17), 118 dBA

• Signal to Noise ratio (SNR) @ -10 dBV: 107 dB (AES17), 109 dBA

• Frequency response @ 44.1 kHz, -0.1 dB: 0 Hz – 20.2 kHz

• Frequency response @ 96 kHz, -0.5 dB: 0 Hz – 44.6 kHz

• Frequency response @ 192 kHz, -1 dB: 0 Hz – 77.5 kHz

• THD+N: < -110 dB, < 0.00032 %

• Channel separation: > 110 dB

• Output level switchable Hi Gain, +4 dBu, -10 dBV

• Output level at 0 dBFS @ Hi Gain: +19 dBu

• Output level at 0 dBFS @ +4 dBu: +13 dBu

• Output level at 0 dBFS @ -10 dBV: +2 dBV (+4.2 dBu)

• Output impedance: 75 Ohm

DA - Stereo Monitor Output XLR (1-2)
As DA, but:

• Output: XLR, balanced

• Output level switchable 24 dBu, Hi Gain, +4 dBu, -10 dBV

• Output level at 0 dBFS @ 24 dBu: +24 dBu

• Output level at 0 dBFS @ Hi Gain: +19 dBu

• Output level at 0 dBFS @ +4 dBu: +13 dBu

• Output level at 0 dBFS @ -10 dBV: +2 dBV (+4.2 dBu)

• Output impedance: 150 Ohm

DA - Stereo Monitor Output Phones (9-12)
As DA, but:

• Output: 2 x 6.3 mm TRS stereo jack, unbalanced

• Maximum output level at 0 dBFS, High: +19 dBu

• Maximum output level at 0 dBFS, Low: +2 dBV

• Max power per channel @ 32 Ohm load, 0.02% THD: 200 mW (2.5 Vrms, +10 dBu)

• Signal to Noise ratio (SNR) @ High: 116.5 dB (AES17), 118.5 dBA

• Signal to Noise ratio (SNR) @ Low: 115 dB (AES17), 117 dBA

• Output impedance: 2 Ohm

MIDI

• 2 x MIDI I/O via 5-pin DIN jacks

• Galvanically isolated by optocoupled input

• Hi-speed mode: Jitter and response time typically below 1 ms

• Separate 128 byte FIFOs for input and output

• 2 x MIDI I/O via MADI

• Invisible transmission via User bit of channel 56 (up to 48 kHz)

• Invisible transmission via User bit of channel 28 (up to 96 kHz)

Digital

• Clocks: Internal, ADAT, AES, SPDIF, word clock

• Jitter suppression: > 50 dB (> 1 Hz)

• Effective clock jitter influence on AD and DA conversion: near zero

• PLL ensures zero dropout, even at more than 100 ns jitter

• Digital Bitclock PLL for trouble-free varispeed ADAT operation

• Supported sample rates: 28 kHz up to 200 kHz

Digital Inputs
MADI

• Optical via FDDI duplex SC connector

• 62.5/125 and 50/125 compatible

• Coaxial via BNC (Word Clock input), 75 Ohm

• High-sensitivity input stage (< 0.2 Vpp)

• Accepts 56 channel and 64 channel mode, plus 96k Frame

• Standard: up to 64 channels 24 bit 48 kHz

• S/MUX: up to 32 channels 24 bit 96 kHz

• S/MUX4: up to 16 channels 24 bit 192 kHz

• Lock range: 25 kHz – 54 kHz

• Jitter suppression: > 50 dB (> 1 Hz)

AES/EBU

• 1 x XLR, transformer-balanced, galvanically isolated, according to AES3-1992

• High-sensitivity input stage (< 0.3 Vpp)

• SPDIF compatible (IEC 60958)

• Accepts Consumer and Professional format

• Lock range: 27 kHz – 200 kHz

• Jitter suppression: > 50 dB (> 1 Hz)

ADAT Optical

• 2 x TOSLINK, format according to Alesis specification

• Standard: 2 x 8 channels 24 bit, up to 48 kHz

• Double Speed (S/MUX): 2 x 4 channels 24 bit 96 kHz

• Quad Speed (S/MUX4): 2 x 2 channels 24 bit 192 kHz

• Bitclock PLL ensures perfect synchronisation even in varispeed operation

• Lock range: 31.5 kHz – 50 kHz

• Jitter suppression: > 50 dB (> 1 Hz)

SPDIF optical (ADAT 2)

• 2 x optical, according to IEC 60958

• Accepts Consumer and Professional format

• Lock range: 27 kHz – 200 kHz

• Jitter suppression: > 50 dB (> 1 Hz)

Word Clock

• BNC

• Internal termination 75 Ohm switchable

• Automatic Double/Quad Speed detection and internal conversion to Single Speed

• SteadyClock guarantees super low jitter synchronization even in varispeed operation

• Not affected by DC-offsets within the network

• Signal Adaptation Circuit: signal refresh through auto-center and hysteresis

• Overvoltage protection

• Level range: 1.0 Vpp – 5.6 Vpp

• Lock Range: 27 kHz – 200 kHz

• Jitter suppression: > 50 dB (> 1 Hz)

Digital Outputs

MADI

• Optical via FDDI duplex SC connector

• 62.5/125 and 50/125 compatible

• Coaxial via BNC (Word Clock input), 75 Ohm

• High-sensitivity input stage (< 0.2 Vpp)

• Accepts 56 channel and 64 channel mode, plus 96k Frame

• Standard: up to 64 channels 24 bit 48 kHz

• S/MUX: up to 32 channels 24 bit 96 kHz

• S/MUX4: up to 16 channels 24 bit 192 kHz

• Lock range: 25 kHz – 54 kHz

• Jitter suppression: > 50 dB (> 1 Hz)

AES/EBU

• XLR, transformer-balanced, galvanically isolated, according to AES3-1992

• Output level Professional 4.5 Vpp, Consumer 2.6 Vpp

• Format Professional according to AES3-1992 Amendment 4

• Format Consumer (SPDIF) according to IEC 60958

• Single Wire mode, sample rate 28 kHz up to 200 kHz

ADAT

• 2 x TOSLINK, format according to Alesis specification

• Standard: 2 x 8 channels 24 bit, up to 48 kHz

• Double Speed (S/MUX): 2 x 4 channels 24 bit 96 kHz

• Quad Speed (S/MUX4): 2 x 2 channels 24 bit 192 kHz

SPDIF optical (ADAT 2)

• 2 x optical, according to IEC 60958

• Accepts Consumer and Professional format

• Lock range: 27 kHz – 200 kHz

• Jitter suppression: > 50 dB (> 1 Hz)

Word Clock

• BNC

• Max. output voltage: 5 Vpp

• Output voltage @ 75 Ohm termination: 4.0 Vpp

• Output impedance: 10 Ohm

• Frequency range: 27 kHz – 200 kHz

General

• Power supply: Internal switching PSU, 100 - 240 V AC, 36 Watts

• Idle power consumption: 19 Watts

• Typical power consumption: 22-25 Watts

• Dimensions including rack ears (WxHxD): 483 x 44 x 210 mm (19" x 1.73" x 8.5")

• Dimensions without rack ears (WxHxD): 440 x 44 x 210 mm (17.3" x 1.73" x 8.3")

• Total depth: 240 mm (9.4”)

• Weight: 3 kg ( 6.6 lbs)

• Temperature range: +5° up to +50° Celsius (41° F up to 122°F)

• Relative humidity: < 75%, non condensing

For more information, click here to visit the manufacturers website.