User's Guide Fireface UC Portable USB Audio at its best! ™ TotalMix 24 Bit / 192 kHz 9 ® SyncAlign ZLM ® ® SyncCheck ™ SteadyClock USB 2.
General 1 2 3 4 5 Introduction ...............................................................6 Package Contents .....................................................6 System Requirements ..............................................6 Brief Description and Characteristics.....................6 First Usage - Quick Start 5.1 Connectors and Front Panel ...................................7 5.2 Quick Start ..............................................................9 6 Accessories ...........................
19 Configuring the Fireface 19.1 Settings Dialog – General.................................... 36 19.2 Clock Modes - Synchronization ........................... 38 20 Mac OS X FAQ 20.1 Round about Driver Installation ........................... 40 20.2 MIDI doesn't work ................................................ 40 20.3 Repairing Disk Permissions................................. 40 20.4 Supported Sample Rates..................................... 40 20.5 Channel Count under Core Audio ................
30 TotalMix: The Matrix 30.1 Overview ..............................................................69 30.2 Elements of the Matrix View ................................69 30.3 Usage ...................................................................69 30.4 Advantages of the Matrix .....................................70 31 TotalMix Super-Features 31.1 ASIO Direct Monitoring (Windows only) ..............70 31.2 Selection and Group based Operation ................71 31.3 Copy Routings to other Channels .....
User's Guide Fireface UC General User's Guide Fireface UC © RME 5
1. Introduction Thank you for choosing the Fireface UC. This unique audio system is capable of transferring analog and digital audio data directly to a computer from practically any source. The latest Plug and Play technology guarantees a simple installation, even for the inexperienced user. The numerous unique features and well thought-out configuration dialog puts the Fireface UC at the very top of the range of computer-based audio interfaces.
5. First Usage - Quickstart 5.1 Connectors and Front Panel The front of the Fireface UC features instrument, microphone and line inputs, a stereo line/headphone output, a rotary encoder with 7 segment display, and several status and MIDI LEDs. The Neutrik combo jacks of the Mic/Line inputs can be used via XLR and 1/4" TRS plugs. Both inputs display overload (CLIP), signal presence (SIG) and phantom power (48V) via green, red and yellow LEDs.
The rear panel of the Fireface UC features four analog inputs, six analog outputs, the power socket, and all digital inputs and outputs. SPDIF I/O coaxial (RCA): AES/EBU compatible. The Fireface UC accepts the commonly used digital audio formats, SPDIF as well as AES/EBU. ADAT I/O (TOSLINK): The unit automatically detects SPDIF or ADAT input signals. The optical output can operate as ADAT or SPDIF output, depending on the current setting in the Settings dialog.
5.2 Quick Start After the driver installation (chapter 10 / 18) connect the TRS jacks or the XLR jacks with the analog signal source. The input sensitivity of the rear inputs can be changed in the Settings dialog (Gain/Level), assuring the highest signal to noise ratio will be achieved. 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.
7. Warranty Each individual Fireface UC undergoes comprehensive quality control and a complete test at IMM before shipping. The usage of high grade components allows us to offer a full two year warranty. We accept a copy of the sales receipt as valid warranty legitimation. If you suspect that your product is faulty, please contact your local retailer.
CE / FCC Compliance CE This device has been tested and found to comply with the limits of the European Council Directive on the approximation of the laws of the member states relating to electromagnetic compatibility according to RL2004/108/EG, and European Low Voltage Directive RL2006/95/EG. FCC This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules.
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User's Guide Fireface UC Installation and Operation - Windows User's Guide Fireface UC © RME 13
9. Hardware Installation • Connect the power supply to the Fireface and then to any suitable power outlet. Power-on the Fireface with the rear power switch. • Check the correct firmware version by a double click on the rotary encoder button. The display PC means Windows, the display AP means Mac. The double click automatically switches between both versions. Note: a change of state is only possible when the unit is not connected to the computer.
10.2 Driver Update When facing problems with the automatic driver update, the user-driven way of driver installation will work. Under >Control Panel /System /Device Manager /Sound, Video and Game Controllers /RME Fireface UC/Properties /Driver< you'll find the 'Update Driver' button. XP: Select 'Install from a list or specific location (advanced)', click 'Next', select 'Don't search I will choose the driver to install', click 'Next', then 'Have Disk'. Now point to the driver update's directory.
11. Configuring the Fireface 11.1 Settings dialog - General Configuration of the Fireface UC is done via its own settings dialog.
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 13/14). The string Errors does not refer to buffer errors, but USB transmission errors. The display will be reset on any start of a playback/record. More information can be found in chapter 35.3. Output Format Word The word clock output signal usually equals the current sample rate.
11.2 Settings Dialog - Pitch Usually soundcards and audio interfaces generate their internal clock (master mode) by a quartz. Therefore the internal clock can be set to 44.1 kHz or 48 kHz, but not to a value in between. SteadyClock, RME's sensational Low Jitter Clock System, is based on a Direct Digital Synthesizer (DDS). This superior circuitry can generate nearly any frequency with highest precision.
11.3 Settings Dialog – Gain Level Line In Defines the reference level of the rear analog inputs 5-8. Line Out Defines the reference level of the rear analog outputs 1-6. Phones Defines the reference level of the analog outputs 7/8. Microphone Inputs Link 1+2 Ganging of faders 1 and 2. Simplifies the setup in case both channels shall have the same setting/values +48V Phantom power (48V) can be selected for each microphone input separately.
11.4 Settings Dialog - LTC The Fireface UC can extract position information as MTC as well APP (ASIO Positioning Protocol) from Timecode (LTC, SMPTE) received at the analog input 4. A detected Timecode is shown as time information in the LTC In field. The analog input signal needs a specific level: slowly reduce the level until the display stumbles or completely fails. Then increase the level by 10 dB. The field Input State will show further details of the Timecode.
If several digital devices are to be used simultaneously in a system, they not only have to operate with the same sample frequency but also be synchronous with each other. Therefore a Master has to be defined within the digital system, sending the same clock signal to all the other devices. RME’s exclusive SyncCheck technology (first implemented in the Hammerfall) enables an easy to use check and display of the current clock status.
12. Operation and Usage 12.1 Playback In the audio application being used, Fireface must be selected as output device. This can often be found in the Options, Preferences or Settings menus as Playback Device, Audio Devices, Audio etc. We recommend switching all system sounds off (via >Control Panel /Sounds<). Also Fireface should not be the Preferred Device for playback, as this could cause loss of synchronization and unwanted noises.
12.2 DVD-Playback (AC-3/DTS) AC-3 / DTS When using popular DVD software players like WinDVD and PowerDVD, their audio data stream can be sent to any AC-3/DTS capable receiver using the Fireface's SPDIF outputs. For this to work, the WDM SPDIF device of the Fireface UC has to be selected in >Control Panel/ Sounds and Multimedia/ Audio< or >Control Panel/ Sound/Playback<. Also check 'use preferred device only'. The DVD software's audio properties now show the options 'SPDIF Out' or similar.
12.3 Notes on WDM The driver offers one WDM streaming device per stereo pair, like ADAT 1+2 (Fireface UC). WDM Streaming is Microsoft's current driver and audio system, directly embedded into the operating system. WDM Streaming is hardly usable for professional music purposes, as all data is processed by the so called Kernel Mixer, causing a latency of at least 30 ms.
12.4 Channel Count under WDM The Fireface’s ADAT optical interface offers 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. It is nearly impossible to change the number of WDM devices without a reboot of the computer. Therefore whenever the Fireface UC changes into Double Speed (88.
12.6 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 two important features to the Fireface UC: a comprehensive I/O signal status display showing sample frequency, lock and sync status in the Settings dialog, and status LEDs for each input. The sample frequency shown in the Settings dialog (see chapter 11.
13. Operation under ASIO 13.1 General Start the ASIO software and select ASIO Fireface UC as the audio I/O device. Fireface UC supports ASIO Direct Monitoring (ADM). Please note that currently Nuendo, Cubase and Logic either do not support ADM completely or error-free. The most often reported problem is the wrong behaviour of panorama in a stereo channel. When the sample frequency is set to 88.2 or 96 kHz, the number of ASIO ADAT channels is reduced to 4. At a sample rate of 176.
13.2 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 outputs operate in S/MUX4 mode, so the number of available channels per port is limited to 2.
14. Using more than one Fireface The current driver supports up to three Fireface UC. 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 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.
15. DIGICheck 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 5.2 operates as multi-client ASIO host, therefore can be used in parallel to any software, with both inputs and outputs (!). The following is a short summary of the currently available functions: • Level Meter. High precision 24-bit resolution, 2/10/28 channels.
16. Hotline – Troubleshooting 16.1 General The newest information can always be found on our website www.rme-audio.com, section FAQ, Latest Additions. Important: Check that the correct (PC = Windows, AP = Mac) firmware is loaded by a doubleclick on the rotary encoder. The input signal cannot be monitored in real-time • ASIO Direct Monitoring has not been enabled within the DAW, and/or monitoring has been disabled globally (TotalMix Options).
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User's Guide Fireface UC Mac OS X – Installation and Operation User's Guide Fireface UC © RME 33
17. Hardware Installation • Connect the power supply to the Fireface and then to any suitable power outlet. Power-on the Fireface with the rear power switch. • Check the correct firmware version by a double click on the rotary encoder button. The display PC means Windows, the display AP means Mac. The double click automatically switches between both versions. Note: a change of state is only possible when the unit is not connected to the computer.
18.2 Driver Update In case of a driver update it's not necessary to remove the old driver first, it will be overwritten during the installation. In case of problems the driver files can be deleted manually by dragging them to the trash bin: /Applications/Fireface USB Mixer /Applications/Fireface USB Settings /System/Library/Extensions/FirefaceUSB.kext /Users/username/Library/Preferences/Fireface USB folder /Users/username/Library/Preferences/de.rme-audio.FirefaceUSBMixer.
19. Configuring the Fireface 19.1 Settings Dialog Configuring the Fireface UC is done via its own settings dialog. Start the program Fireface USB Settings. The mixer of the Fireface (TotalMix) can be configured by starting the program Fireface USB Mixer. The Fireface’s hardware offers a number of helpful, well thought-of practical functions and options which affect how the card operates - it can be configured to suit many different requirements.
Microphone Inputs Channel 1 and 2 of the Fireface UC have digitally controlled microphone preamps of the highest quality. The digital control offers a gain setting in steps of 1 dB within a range of 10 dB to 65 dB. The configuration is done either directly at the unit via the rotary encoder, or via the Settings dialog's tab Gain. The current gain is displayed in dB beside the fader. In the lower range the fader jumps from 10 dB to 0 dB.
Output Format Word 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. Optical The optical TOSLINK output can operate as ADAT or SPDIF output. The Channel Status is fixed to Consumer state. Note: The optical input detects the incoming format automatically. SPDIF coax.
If several digital devices are to be used simultaneously in a system, they not only have to operate with the same sample frequency but also be synchronous with each other. Therefore a Master has to be defined within the digital system, sending the same clock signal to all the other devices. RME’s exclusive SyncCheck technology (first implemented in the Hammerfall) enables an easy to use check and display of the current clock status.
20. Mac OS X FAQ 20.1 Round about Driver Installation The driver with the file suffix zip provided by RME is a compressed archive. Zip is directly supported by OS X, a double click on the file is all one needs to do. The driver consists of a package file (pkg). A double click will start the OS X installer. The actual audio driver appears as a kernel extension file. The installer copies it to >System/ Library/ Extensions<. Its name is FirefaceUSB.kext.
20.5 Channel Count under Core Audio The Fireface’s ADAT optical interface offers 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. It is not possible to change the number of Core Audio devices without a reboot of the computer. Therefore whenever the Fireface UC changes into Double Speed (88.
21. Using more than one Fireface OS X erlaubt die Verwendung von mehr als einem Audiogerät und deren gleichzeitige Nutzung in einem Programm. Dies geschieht über die Funktion Aggregate Devices, mit dem sich mehrere Geräte zu einem zusammenfassen lassen. The current driver supports up to three Fireface UC. 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).
23. Hotline – Troubleshooting The newest information can always be found on our website www.rme-audio.com, section FAQ, latest Additions. Important: Check that the correct (PC = Windows, AP = Mac) firmware is loaded by a doubleclick on the rotary encoder. The unit and drivers have been installed correctly, but playback does not work: • Is Fireface UC listed in the System Profiler? (Vendor ID 2613).
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User's Guide Fireface UC Stand-Alone Operation, Connections and TotalMix User's Guide Fireface UC © RME 45
24. Stand-alone Operation The Fireface UC has an internal memory to permanently store all configuration data. The data is stored directly after any change, and are loaded at power-on. Saved settings are: Settings dialog Sample rate, clock mode Master/Slave, configuration of the channels and the digital I/Os. TotalMix The complete mixer state. This also improves the clock situation immediately after power-on, avoiding wrong clocking and noise disturbances in a complex setup, caused by wrong synchronization.
24.2 8-Channel AD/DA-Converter When loading TotalMix' factory default 1 into the unit, the Fireface becomes a high quality 8channel AD/DA-converter, which also provides a monitoring of all 8 DA-channels via channels 7/8 (Preset 2: also monitoring all 8 inputs). A small modification allows for a monitoring of all I/Os via the SPDIF I/O. 24.3 2-Channel Mic Preamp Use TotalMix to route the two microphone inputs directly to the analog outputs. This turns the Fireface UC into a 2-channel microphone preamp.
25. Analog Inputs 25.1 Line Rear The Fireface has 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.
25.3 Instrument / Line Front The instrument inputs 3/4 of the Fireface UC are exceptionally flexible. Several gain and impedance options make them the ideal receivers for both line and instrument signals. Line Inputs 3/4 have balanced line inputs as 1/4" TRS jacks. 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.
26. Analog Outputs 26.1 Line The eight short circuit protected, low impedance line outputs 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.
27. Digital Connections 27.1 ADAT The ADAT optical input of the Fireface UC is 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. More information on Double Speed (S/MUX) can be found in chapter 35.4. ADAT In Interface for a device sending an ADAT signal to the Fireface UC.
Special Characteristics of the SPDIF Output Apart from the audio data itself, digital signals in SPDIF or AES/EBU format have a header containing channel status information. False channel status is a common cause of malfunction. The Fireface UC ignores the received header and creates a totally new one for the output signal. The Fireface UC’s new output header is optimized for largest compatibility with other digital devices: • 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.
28. Word Clock 28.1 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 section 35.8). Input The Fireface's word clock input is active when Word has been selected as Clock Source in the Settings dialog and a valid word clock signal is present.
28.2 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.
28.3 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.
29. TotalMix: Routing and Monitoring 29.1 Overview The Fireface UC includes a powerful digital real-time mixer, the Fireface 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. Here are some typical applications for TotalMix: • Setting up delay-free submixes (headphone mixes).
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29.2 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 UC provides 18 input channels, 18 software playback channels, and 18 hardware output channels: 36 channels don't fit on the screen side by side, neither does such an arrangement provide a useful overview. The input channel should be placed above the corresponding output channel.
29.3 Elements of a Channel A single channel consists of various elements: Input channels and playback channels each have a mute and solo button. Below there is the pan pot, realized as indicator bar (L/R) in order to save space. In the field below, the present level is displayed in RMS or Peak, being updated about every half a second. Overs (overload) are indicated here by an additional red dot. Next is the fader with a level meter.
Back to AN1/AN2. Now you can change all the faders of all inputs and playback channels just as you like, thus making any input and playback signals audible via the outputs AN1/AN2. The panorama can be changed too. Click into the area above the fader and drag the green bar in order to set the panorama between left and right. The level meters of the third row display the level changes in real-time.
Please set Out 4 to a gain of around -20 dB and the pan close to center. Now click onto the routing field. You'll now see two checkmarks, one at 'AN 3+4', the other one at 'AN 5+6'. Click onto 'SPDIF'. The window disappears, fader and pan jump to their initial values, the signal can now be routed to the SPDIF output. You can continue like this until all entries have got a checkmark, i. e. you can send the signal to all outputs simultaneously.
29.7 The Quick Access Panel This section includes additional options, further improving the handling of TotalMix. The Master buttons for Mute and Solo have already been described, they allow for group-based working with these functions. In the View section the single mixer rows can be made visible or invisible. If the inputs are not needed for a pristine playback mix, the whole upper vanishes after a click on the Input button.
Mouse: The original factory presets can be reloaded by holding down the Ctrl-key and clicking on any preset button. Alternatively the files described above can be renamed, moved to a different directory, or being deleted. Keyboard: Using Ctrl and any number between 1 and 8 (not on the numeric keypad!) will load the corresponding factory default preset. The key Alt will load the user presets instead. When loading a preset file, for example 'Main Monitor AN 1_2 plus headphone mix 3_4.
29.9 The Monitor Panel The Monitor panel provides several options usually found on analog mixing desks. It offers quick access to monitoring functions which are needed all the time in typical studio work. Monitor Main Use the drop down menu to select the hardware outputs where your main monitors are connected to. Dim A click on this button will lower the volume of the Monitor Main output by an amount set up in the Preferences dialog (see below).
Main Monitor Dim: Amount of attenuation of the Monitor Main output in dB. Activated by the Dim button in the Monitor panel. Stereo Pan Law The Pan Law can be set to -6 dB, -4.5 dB, -3 dB and 0 dB. The value chosen defines the level attenuation in pan center position. This setting is useful because the ASIO host often supports different pan laws too. Selecting the same value here and in the ASIO host, ASIO Direct Monitoring works perfectly, as both ASIO host and TotalMix use the same pan law.
29.12 Hotkeys In many situations TotalMix can be controlled quickly and comfortably by the keyboard, making the mixer setup considerably easier and faster. The Shift-key for the fine mode for faders and pan pots has already been mentioned. The Ctrl-key can do far more than changing the routing pairwise: • Clicking anywhere into the fader area with the Ctrl-key pressed, sets the fader to 0 dB. • Clicking anywhere into the pan area with the Ctrl-key pressed, sets the panorama to meaning Center.
29.13 Menu Options Always on Top: When active (checked) the TotalMix window will always be on top of the Windows desktop. Note: This function may result in problems with windows containing help text, as the TotalMix window will even be on top of those windows, so the help text isn't readable. Deactivate Screensaver: When active (checked) any activated Windows screensaver will be disabled temporarily. Ignore Position: When active, the windows size and position stored in a file or preset will not be used.
29.14 Level Meter The Fireface UC calculates all the display values Peak, Over and RMS in hardware, in order to be capable of using them independent of the software in use, and to cause no CPU load. Tip: This feature, the Hardware Level Meter, is used by DIGICheck (see chapter 15/22) to display Peak/RMS level meters of all channels without CPU load. The level meters integrated in TotalMix - considering their size - cannot be compared with DIGICheck. Nevertheless they already include many useful functions.
30. TotalMix: The Matrix 30.1 Overview The mixer window of TotalMix looks and operates similar to mixing desks, as it is based on a conventional stereo design. The matrix display presents a different method of assigning and routing channels, based on a single channel or monaural design. The matrix view of the Fireface UC has the look and works like a conventional patchbay, adding functionality way beyond comparable hardware and software solutions.
A blue field indicates phase inversion. This state is displayed in the Matrix only, and can only be changed within the Matrix view. Hold down the Shift-key while clicking on an already activated field. Mute overwrites the phase display, blue becomes orange. If mute is deactivated the phase inversion is indicated again. 30.
31.2 Selection and Group-based Operation Click on the white name label of channel 1 and 2 in TotalMix. Be sure to have channel 3's fader set to a different position and click on its label too. All three labels have changed to the colour orange, which means they are selected. Now moving any of these faders will make the other faders move too. This is called 'building a group of faders', or ganging faders, maintaining their relative position.
31.5 Recording a Subgroup (Loopback) TotalMix supports a routing of the subgroup outputs (=hardware outputs, bottom row) to the recording software. Instead of the signal at the hardware input, the signal at the hardware output is sent to the record software. This way, complete submixes can be recorded without an external loopback cable. Also the playback from a software can be recorded by another software. To activate this function, click on the white label in the third row while holding down the Ctrl-key.
Recording a Software's playback In real world application, recording a software's output with another software will show the following problem: The record software tries to open the same playback channel as the playback software (already active), or the playback one has already opened the input channel which should be used by the record software. This problem can easily be solved.
Unfortunately, very often it is not possible within the record software to assign a different input channel to an existing track 'on the fly'. The loopback mode solves this problem elegantly. The routing scheme stays the same, with the input channel 1 sent to any output via TotalMix, to the Compressor, from the Compressor back to any input. Now this input signal is routed directly to output 1, and output 1 is then switched into loopback mode via Ctrl-mouse. As explained in chapter 31.
32. MIDI Remote Control 32.1 Overview TotalMix can be remote controlled via MIDI. It is compatible to the widely spread Mackie Control protocol, so TotalMix can be controlled with all hardware controllers supporting this standard. Examples are the Mackie Control, Tascam US-2400 or Behringer BCF 2000. Additionally, the stereo output faders (lowest row) which are set up as Monitor Main outputs in the Monitor panel can also be controlled by the standard Control Change Volume via MIDI channel 1.
32.3 Setup • Open the Preferences dialog (menu Options or F3). Select the MIDI Input and MIDI Output port where your controller is connected to. • When no feedback is needed (when using only standard MIDI commands instead of Mackie Control protocol) select NONE as MIDI Output. • Check Enable MIDI Control in the Options menu. 32.4 Operation The channels being under MIDI control are indicated by a colour change of the info field below the faders, black turns to yellow.
32.5 Simple MIDI Control The stereo output faders (lowest row) which are set up as Monitor Main outputs in the Monitor panel can also be controlled by the standard Control Change Volume via MIDI channel 1. With this, the main volume of the Fireface is controllable from nearly any MIDI equipped hardware device. Even if you don't want to control all faders and pans, some buttons are highly desired to be available in 'hardware'.
Examples for sending MIDI strings*: - Set input 1 to 0 dB: B0 66 40 - Set input 17 to maximum attenuation: B1 66 0 - Set playback 1 to maximum: B4 66 7F - Set Output 16 to 0 dB: B8 75 40 *Note: Sending MIDI strings might require the use of programmer's logic for the MIDI channel, starting with 0 for channel 1 and ending with 15 for channel 16. 32.6 Loopback Detection The Mackie Control protocol requires feedback of the received commands, back to the hardware controller.
Mackie Control Protocol The stand-alone operation supports the following Mackie Control surface elements*: *Tested with Behringer BCF2000 Firmware v1.07 in Mackie Control emulation for Steinberg mode.
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User's Guide Fireface UC Technical Reference User's Guide Fireface UC © RME 81
33. TECH INFO Not all information to and around our products fit in a manual. Therefore RME offers a lot more and detailed information in the Tech Infos. The very latest Tech Infos can be found on our website, section News & Infos, or the directory \rmeaudio.web\techinfo on the RME Driver CD.
34. Technical Specifications 34.1 Analog AD, Line In 5-8, rear • Resolution AD: 24 bit • Signal to Noise ratio (SNR): 110 dB RMS unweighted, 113 dBA • Frequency response @ 44.1 kHz, -0.1 dB: 5 Hz – 20.6 kHz • Frequency response @ 96 kHz, -0.5 dB: 5 Hz – 45.3 kHz • Frequency response @ 192 kHz, -1 dB: 5 Hz - 90 kHz • THD: < -100 dB, < 0.001 % • THD+N: < -98 dB, < 0.0012 % • Channel separation: > 110 dB • Maximum input level: +19 dBu • Input: 6.
DA – Phones, 7/8, front • as DA, but: • Output: 6.3 mm TRS jack, unbalanced • Output impedance: 30 Ohm 34.2 MIDI • • • • 2 x MIDI I/O breakout cable with 4 x 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 34.3 Digital • • • • • • • • Clocks: Internal, ADAT In, SPDIF In, word clock in.
Word Clock • BNC, not terminated (10 kOhm) • Switch for internal termination 75 Ohm • 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.
35. Technical Background 35.1 Lock and SyncCheck Digital signals consist of a carrier and the data. If a digital signal is applied to an input, the receiver has to synchronize to the carrier clock in order to read the data correctly. To achieve this, the receiver uses a PLL (Phase Locked Loop). As soon as the receiver meets the exact frequency of the incoming signal, it is locked. This Lock state remains even with small changes of the frequency, because the PLL tracks the receiver's frequency.
35.2 Latency and Monitoring The term Zero Latency Monitoring has been introduced by RME in 1998 for the DIGI96 series of audio cards. It stands for the ability to pass-through the computer's input signal at the interface directly to the output. Since then, the idea behind has become one of the most important features of modern hard disk recording.
Therefore, in a digital loopback test a negative offset of about 3 ms occurs. This is no real problem, because this way of working is more than rare, and usually the offset can be compensated manually within the application. Additionally, keep in mind that even when using the digital I/Os usually at some place an AD- and DA-conversion is involved (no sound without...). Note: Cubase and Nuendo display the latency values signalled from the driver separately for record and playback.
35.4 DS - Double Speed When activating the Double Speed mode the Fireface UC operates at double sample rate. The internal clock 44.1 kHz turns to 88.2 kHz, 48 kHz to 96 kHz. The internal resolution is still 24 bit. Sample rates above 48 kHz were not always taken for granted, and are still not widely used because of the CD format (44.1 kHz) dominating everything. Before 1998 there were no receiver/transmitter circuits available that could receive or transmit more than 48 kHz.
35.6 AES/EBU - SPDIF The most important electrical properties of 'AES' and 'SPDIF' can be seen in the table below. AES/EBU is the professional balanced connection using XLR plugs. The standard is being set by the Audio Engineering Society based on the AES3-1992. For the 'home user', SONY and Philips have omitted the balanced connection and use either Phono plugs or optical cables (TOSLINK). The format called S/P-DIF (SONY/Philips Digital Interface) is described by IEC 60958.
35.7 Noise Level in DS / QS Mode The outstanding signal to noise ratio of the Fireface's AD-converters can be verified even without expensive test equipment, by using record level meters of various software. But when activating the DS and QS mode, the displayed noise level will rise from -109 dB to -104 dB at 96 kHz, and –82 dB at 192 kHz. This is not a failure. The software measures the noise of the whole frequency range, at 96 kHz from 0 Hz to 48 kHz (RMS unweighted), at 192 kHz from 0 Hz to 96 kHz.
36. Diagrams 36.
36.2 Connector Pinouts TRS jacks of analog input / output The stereo ¼" TRS jacks of the analog inputs and outputs are wired according to international standards: Tip = + (hot) Ring = – (cold) Sleeve = GND The servo balanced input and output circuitry allows to use monaural TS jacks (unbalanced) with no loss in level. This is the same as when using a TRS-jack with ring connected to ground.
