For the small studio owner with a finite budget who wants audio precision and absolute stability, the number of options narrow when it comes to choosing an interface. One contender has just had a refresh…

As the centrepiece of any studio, an interface not only needs to do our work absolute sonic justice but also provide all the functionality we need within an entirely stable environment as well. Many interfaces offer excellent audio performance, indeed it could be argued that all modern ones do. Others bring DSP mixing, routing, and processing, often with entire ecosystems of plugins into the equation, the best of which have become modern studio classics.

Most can claim absolute reliability when used as part of a supported system, but take a straw poll among engineers and ask them to think of a company synonymous with “stability”, and one name on a short list comes up time and again: RME.

About RME

Founded in 1996, RME started out developing PCI converter cards for PC before evolving and expanding into the makers of the range of highly regarded converter-based products we know today. From desktop USB interfaces, right up to multichannel MADI and AVB based rackmount solutions for commercial use, their focus has always been on quality and reliability.

Where others have concentrated on providing newsworthy features such as high quality DSP plugin integration, RME has continued to thrive in the crowded interface market by stoically concentrating on what they do best: uncompromised functionality and stability.

Drivers and Technology

The modern interface market frequently makes it necessary for some manufacturers to buy-in driver technology and/or to use off the shelf DSP and other components. Setting them apart, RME’s approach continues to be one based upon their own hardware designs including FPGAs (programmable logic components that can be updated in the field) combined with in-house software engineering. RME’s reputation goes before it when it comes to the critical all-important link between the interface and your machine’s OS: The driver.

In the case of audio over USB, it’s sometimes suggested that USB 2’s limited bandwidth is unsuitable for multichannel use. Having been one of the first to develop their own USB 2 drivers, RME’s own figures dispel this, with the MADIface XT for example quoting up to 70 channels both ways via USB 2 at 48 or 44.1kHz. As well as their USB driver, RME were also the first company to engineer Class Compliant mode on their audio interfaces for use with mobile devices and more.

From user testimonials, and from the numbers it can be shown that the company’s commitment to controlling the engineering of the signal path all the way from input, up to operating system, and back has afforded them enviable stability and performance.

Fireface UCX II

The second incarnation of RME’s Fireface UCX landed back in July, adding several new features and bringing an end to the near ten year reign of its predecessor. The Fireface UCX II replaces dual FireWire 400/USB connectivity with a single USB 2 B-type connection to the computer. A new breakout D-Sub connection with added AES/EBU connectivity allows the unit to retain its familiar half-rack footprint, while a brand new front panel delivers multichannel bargraph metering with a turn-and-press encoder for navigation.

The unit also features RME’s DUrec technology which allows recording of all 40 channels in both directions to a USB stick plugged directly into the back of the interface, either as a standalone recorder, or for redundancy with your DAW.

TotalMix FX

Fireface UCX II comes with RME’s TotalMix FX DSP mixer/router and companion control app for Windows, Mac, and iPad. This allows fully independent routing and mixing of input and playback channels to all physical outputs, allowing everyday tasks such as control room levels and switching, headphone mixing, and loopback. It can be used to configure interface settings and to set up remote monitor control for those with the ARC USB remote.

TotalMix FX also provides EQ and Dynamics processing on all input and output channels, as well as reverb and delay engines available on sends. These are not in the record path by default, but can be for those that want to commit on the way in.

Living With Fireface UCX II

I’ve been using the UCX II on my Windows 10 system for a couple of weeks now for recording and mixing with a range of mics and headphones. As a front end, the Fireface UCX II has 75dB of clean gain in hand for anything including notoriously “deaf” dynamic mics, with plenty of juice available at the other end for headphones as well. The clean, bright front panel display provides clear metering and clocking/mute status among other things, and navigating its menus is entirely intuitive once you’ve flipped the “clockwise = up” option for the encoder. Predictably, Fireface UCX II’s audio quality is entirely flawless, and following many hours of use with it, my system has never been happier .

In an age where the need to reduce consumer waste and increase sustainability is a reality, RME’s commitment to longevity is well known to their users. Look around the back of all of their USB interfaces and you will always see the humble, ubiquitous B-type socket that has outlived many before it. Buy an ARC monitor remote, and you can be sure that it will work on any RME interface supporting TotalMix FX going back to 2001! The company’s policy of continuing driver updates for their discontinued creations is further testament to RME’s eye on the long game. If you live with Fireface UCX II, prepare to get used to seeing it around for a long time to come.

Rock Solid?

If you count stability and longevity, Fireface UCX II certainly is as close as you’ll get to rock solid. If you’re looking for something with a small footprint that won’t let you down, the Fireface UCX II should be at the top of a very short list.