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19" W 60-Channel Firewire/USB 2.0 Audio Interface/Preamp


RME's Fireface UFX audio interfaces features 60 channels of audio, digitally controlled high-end preamps, reference class converters and full 192 kHz operation.
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RME's Fireface UFX audio interfaces features 60 channels of audio, digitally controlled high-end preamps, reference class converters and full 192 kHz operation.

Ultra-low latency operation with USB and FireWire are combined with RME's reknowned driver stability and maintenance.  Including active jitter suppression, professional reference level support, advanced stand-alone functionality, RME's unique DIGICheck metering and analysis toolbox, and nearly identical operation and features on Windows PC and Mac.

On top of it: the TotalMix FX digital high-end mixer and signal router, driven by two powerful DSP, with integrated EQ, Dynamics and Reverb/Echo effects up to 192 kHz plus a built-in monitoring control.

The full feature set is backed up by extraordinary usability.  At its heart, is a bright multi-functional color display with full front panel metering for all 60 channels plus effect bus, and complete control of all key features - directly from the front of the UFX.

Inputs & Outputs:

The UFX provides 60 channels of audio: 30 input and 30 output channels. All inputs and outputs can be used at the same time. Up to 12 analog and 18 digital channels can be recorded onto 30 separate tracks.

NOTE: For available I/O channels with different Sample Rates, please consult the chart above.

Analog I/O

The UFX provides 12 analog I/Os:

  • 12 Inputs: 8 balanced TRS on the back and 4 XLR inputs with mic/instrumentpreamps on the front.
  • 12 Outputs: On the rear: 6 balanced TRS and 2 balanced XLR - perfect forthe direct connection of the main studio monitors. On the front: Twoadditional TRS stereo phones outputs providing high volumes even withhi-impedance headphones (playback channels 9/10 and 11/12).

Like other RME products, the FIREFACE-UFX combines superior analog circuit design with high-grade AD/DA converter chips.  Therefore, all balanced TRS & XLR I/Os and both phones outputs guarantee great low noise and distortion values.  The converters and preamps don't produce "sound", they do not add or remove anything from the source signal, just capture it as it is.

Equipped with the latest A/D and D/A converter chips, all I/Os operate up to 192 kHz and reach 118 dBA dynamic range on playback - even both headphone outputs.  Their high power technology delivers high volume no matter if high or low impedance phones are used.  The balanced analog inputs are based on RME's low-latency converter design from the high-end converter ADI-8 QS.  The DA section is based on RME's M-series.  Both designs guarantee excellent S/N and THD specs across a wide analog level range.

Due to its efficient jitter reduction, RME's superior SteadyClock finalizes the state-of-the-art AD/DA conversion, even when clocking to an external digital source.

Every input and output is individually switchable to common professional studio levels: -10 dBV, +4 dBu, HiGain (equivalent to +2 dBV, +13 dBu and +19 dBu for digital full scale) - directly on the device or via TotalMix.  The balanced XLR outputs even provide a level of up to +24 dBu.

All outputs can be used for ASIO Direct Monitoring purposes.

Mic/Instrument Preamps with RME's Advanced Parallel Conversion Technology

Preamps: The FIREFACE-UFX has 4 high-transparency preamps backed up by 4 stereo converters with RME's parallel converter technology.

Microphone and instrument preamps of the UFX use the core technology from RME's Micstasy - a high-end preamp for supreme sonic demands and critical applications, like the professional recording of classical concerts.  The fully symmetrical preamp design impresses with extremely low distortion, excellent signal to noise ratio and a perfect linear frequency response.  A premium solution for transmitting and amplifying any audio input truly unchanged, be it high-level stage or typical studio signals, lower level and high-impedance instruments, or dynamic, condenser and ribbon microphones.

The digitally controlled gain of up to 65 dB, adjustable in steps of 1 dB over a range of 55 dB, is individually set for every preamp by the display-supported controls on the front of the UFX.  All level settings are 100% reproducible and can also be adjusted comfortably within the TotalMix software on the host computer or by a MIDI remote controller.

The 4 inputs on the front use balanced XLR/TRS combo sockets and operate alternatively as Hi-Z inputs.  Directly plug in up to 4 guitars or other instruments - no other hardware required.

Each channel can be individually switched to 48V phantom power or instrument level. LEDs for signal, clip, TRS operation and activated phantom power give a complete overview on the unit's status.

Advanced Parallel Conversion: The 4 UFX preamps are feeding not only 4, but 8 AD converters.  Every microphone channel uses a double, parallel AD conversion on 2 AD converters at the same time to reach exceptional signal-to-noise values and a performance not available with a classic converter design.

The UFX follows RME's tradition of providing flexible and expandable audio systems.  Adding additional preamplifiers or more analog inputs is easily done via the dual ADAT optical I/Os on the rear.

Digital I/O, Word Clock & MIDI

AES/EBU: The UFX provides a professional AES/EBU I/O working up to 192 kHz.

ADAT: Two 8-channel ADAT I/Os expand the UFX by 16 channels available simultaneously with the analog channels.  They can be used to connect two 8-channel AD/DA converters, mixing consoles, or to insert effects devices.  Both I/Os support sample rates with up to 192 kHz (S/MUX4).  Using 2 external converters like the ADI-8 QS, the UFX will provide 28 analog inputs and outputs, 20 with a sample rate of 96 kHz, and still 16 at 192 kHz.

SPDIF: The 2nd ADAT I/O can be used as optical SPDIF I/O, making the UFX connections even more flexible.

Word Clock & MIDI: A word clock input and output (BNC) with switchable termination plus 2 MIDI I/Os complete the I/O list and turn the Fireface UFX into a professional audio system with universal usability.


The DSP-based TotalMix mixer allows fully independent routing and mixing of all 30 input and playback channels to all 30 physical outputs.  Up to 15 totally independent stereo submixes plus a comprehensive Control Room section offer unrivalled monitoring capabilities and unsurpassed routing flexibility.

And there is more: The next generation of TotalMix delivers hardware mixing/routing with lots of new features and a highly improved usability.  For a seamless integration of the new features TotalMix FX has been rewritten from the ground up.

Every input and output channel comes with a luxury feature set, comparable to a full-scale digital console.  The effects per channel include 3-band parametric EQ, adjustable Low Cut, Auto Level, Compressor, Expander, MS Processing and phase reversal.  The Reverb and Echo effects unit is available for all channels by a stereo send and return bus.  The UFX easily surpasses the competition by offering all these effects even at 192 kHz operation.

2 DSPs ensure an impressive performance even in extreme applications.  As usual with RME, TotalMix is available with all channels (90) at all sample rates, completely unlimited.  The second DSP calculates the effects only, therefore has sufficient resources.  For example, at 48 kHz 60 EQs, 34 Low Cuts and Echo can be activated.  With activated Reverb and Echo still 46 EQs and 32 Low Cuts are available.

The FX-DSP uses automatic overload surveillance.  As soon as no effect can be added anymore the TotalMix surface will clearly signal this condition.  When changing to higher sample rates the UFX automatically deactivates all effects that exceed the DSP's performance - the DSP will never be overloaded.  This also prevents the user from destroyed loudspeakers.

The complete effects section not only adds a lot of flexibility to the recording chain, but makes latency burdened software dispensable. TotalMix can easily replace any external mixer, e.g. to create different latency-free monitoring mixes with EQ and Reverb for the main studio monitors and the headphone of the vocalist(s) in the recording chamber.

Furthermore the DSP hardware calculates RMS and Peak levels for all 90 level meters, so there is zero CPU load on the host.

The main functions of TotalMix can be remote controlled via MIDI with any Mackie Control compatible controller.

TotalMix Features:

  • Improved Control Room section for the main output (studio monitors) andphones.  Cue for quick listening to other outputs. Separated monitorpanel.
  • 4 mute, solo and fader groups each.
  • Switchable mono and stereo channel view
  • Channel options: Stereo Width, MS Processing, Phase L/R
  • Trim Mode: Adjusts the volume for all routed signals of a channel. This option allows to modify the volume of all sends of a channelsimultaneously, equalling a hardware's trim functionality.
  • Unlimited Undo and Redo
  • FX Sends and Returns: 1 send bus for every input/playback channel withReverb/Echo
  • Expandable channel view for channel settings, EQ and Dynamics setup
  • Slim channel mode for selected or all channels, to save space or give ameter bridge view
  • 2-Row Mode: reduces the height of the mixer to 2 rows for smaller displays
  • Extended Matrix window with mono/stereo mode, Undo/Redo, display of phaseand mute

Monitor Controller:

The UFX is not only a great desktop level controller, but a monitor switcher and source selector with integrated talkback function for modern Mix-In-the-Box studios.  As the UFX includes the usually externally added monitoring controller, it also preserves the original sound, as its hardware output stays directly connected to the studio monitors.

Level Control: The big rotary encoder on the front of the UFX maintains precisely controls the 3 dedicated stereo monitor outputs Main Out, Phones 1 and Phones 2.  Start turning the volume encoder and the display shows the current gain value in big numbers.  The small encoder buttons provide direct access to pan and reverb for the selected output.  Pushing the volume knob switches between the outputs.

Monitor Management: The above gain (volume) settings at the unit work hand in hand with the Control Room section of TotalMix FX.  Any physical output can be assigned to the 3, directly knob-controlled monitor outputs.  E.G. just assign the AES/EBU output as Main Out, or as Phones Out - any output can be used.  The functions Talkback, Listenback, Mono and Dim will work automatically for the assigned outputs in the expected way.

Hardware Remote: The UFX has a connector for the optional RME hardware remote, with controls for Volume, DIM, level storage and Recall.

USB & FireWire

USB 2.0: The Fireface UFX has been optimized for highest performance under Windows and Mac OS.  It uses a special customized firmware for every operating system.  Like other RME USB 2.0* interfaces, the UFX provides revolutionary ultra-low latencies even with multiple channels.
*The Fireface UFX is compatible to USB 3 chipsets.

FireWire: The redesigned FireWire core provides the UFX with the same compatibility and performance as RME's USB solution.  For the 1st time, the UFX does not have any FireWire chip inside at all - it's programmed into the FPGA, under direct control of the RME masterminds, and updated by a simple firmware update - if ever necessary.  This new technology is even compatible to Agere's infamous rev. 6 chip.


Display: In search of an exceptional usability experience for the huge feature set, RME integrates a high-resolution colour display into the front panel.  In combination with 3 rotary encoders all important features of the UFX can be manually controlled directly on the UFX itself.  TotalMix, connected PC or Mac, is synced to the interface controls and follows all changes automatically.

Smart control: The 4 keys, the 2 encoders 1 and 2, the high-resolution and clear color display, and a well thought-out menu structure enable the user to quickly change and configure all the device's settings even without a computer.  Help notes and clear markers in the display guide the user through all functions.

Additional Features:

  • SteadyClock: RME's unique jitter suppression technologyguarantees perfect sound quality throughout, making the device completelyindependent from the quality of external clock signals.  Due to thehighly efficient jitter reduction, the UFX converters operate independentlyfrom the quality of the external clock signal, as if they are working withinternal clock all the time - guaranteeing a prestine soundquality.
    SteadyClock allows the Fireface UFX to control the sample ratefreely on its own.  The settings dialog includes a direct choice of thevideo and audio world's most often used sample rates.
  • ICC: Intelligent Clock Control not only displays everyclock status, but will also retain the last valid input sample rate in case offailure of the external source.  Other renowned RME technologies likeSyncCheck offer a quick detection of clock problems.
  • DIGICheck: The UFX comes with RME's unique software toolbox for metering, testing, measuring and analyzing digital audiostreams.  It provides a multi-track recorder, calculates the level meterspeak and RMS in hardware and is able to analyze and display playback data fromany software, no matter which format the software uses.*
    *Some features inDIGICheck are not yet available in the Mac version.
  • Power supply: The specially developed, internalhi-performance switch mode power supply lets the UFX operate in the range of100V to 240V AC, thus it can be operated all over the world.  It isshort-circuit-proof, has an integrated line-filter, is fully regulated againstvoltage fluctuations, and suppresses mains interference.
  • Stand Alone Operation with Setup Recall: Using the 3rotary encoders and the clear colour display the Fireface UFX can beconfigured and set up completely at the device.  Additionally internalmemory allows for the permanent storage of six different states of the unit. Therefore the Fireface UFX is able to operate fully stand-alone, withoutany connected computer.  In stand-alone operation it can transform intototally different devices by the simple click of a button.  Furthermore,in this mode TotalMix FX can also be controlled via MIDI.  Applicationexamples include: 12-channel AD/DA converter, 4-channel mic preamp, monitormixer, digital format converter, analog/digital routing matrix.


  • Windows 7 / Vista / XP SP2 (32 & 64 bit)
  • Apple Mac OS X 10.5 or up (Core Audio)
  • Windows and Mac OS X drivers are completely identical in terms of featuresand functionality.

Technical Specifications:

  • AD, Line In 1-8, rear
    - Signal to Noise ratio (SNR): 110 dB RMSunweighted, 113 dBA
    - Frequency response @ 44.1 kHz, -0.1 dB: 5 Hz - 21.5kHz
    - Frequency response @ 96 kHz, -0.5 dB: 5 Hz - 45.5 kHz
    - Frequencyresponse @ 192 kHz, -1 dB: 5 Hz - 66.5 kHz
    - THD: < -110 dB, <0.00032 %
    - THD+N: < -104 dB, < 0.00063 %
    - Channel separation:> 110 dB
    - Input: 6.3 mm TRS jack, electronically balanced
    - Inputsensitivity switchable to Lo Gain, +4 dBu, -10 dBV
    - Input level for 0 dBFS@ Lo Gain: +19 dBu
    - Input level for 0 dBFS @ +4 dBu: +13 dBu
    - Inputlevel for 0 dBFS @ -10 dBV: +2 dBV
  • Microphone In 9-12, front:
    As AD, but:
    - Input: XLR, electronicallybalanced
    - Signal to Noise ratio (SNR): 112 dB RMS unweighted, 115 dBA
    -Gain range: 65 dB
    - Maximum input level, Gain 0 dB: +12 dBu
  • Instrument In 9-12, front:
    As AD, but:
    - Input: 6.3 mm TS jack,unbalanced
    - Signal to Noise ratio (SNR): 112 dB RMS unweighted, 115dBA
    - Gain range: 55 dB
  • DA, Line Out 3-8, rear:
    - Dynamic range (DR): 115 dB RMS unweighted,118 dBA
    - Frequency response @ 44.1 kHz, -0.5 dB: 5 Hz - 22 kHz
    -Frequency response @ 96 kHz, -0.5 dB: 5 Hz - 34 kHz
    - Frequency response @192 kHz, -1 dB: 5 Hz - 50 kHz
    - THD: -104 dB, < 0.00063 %
    - THD+N:-100 dB, < 0.001 %
    - Channel separation: > 110 dB
    - Output: 6.3 mmTRS jack, servo-balanced
    - Output impedance: 75 Ohm
    - Output levelswitchable Hi Gain, +4 dBu, -10 dBV
    - Output level at 0 dBFS @ Hi Gain: +19dBuB
    - Output level at 0 dBFS @ +4 dBu: +13 dBu
    - Output level at 0 dBFS@ -10 dBV: +2 dBV
  • 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
  • DA - Stereo Monitor Output Phones (9-12):
    As DA, but:
    - Output: 6.3mm TRS stereo jack, unbalanced
    - Maximum output level at 0 dBFS, High: +13dBu
    - Maximum output level at 0 dBFS, Low: +2 dBV
    - Output impedance: 30Ohm
  • AES/EBU: XLR, transformer-balanced, galvanically isolated, according toAES3-1992
  • ADAT Optical:
    - 4 x TOSLINK, format according to Alesisspecification
    - Standard: 2 x 8 channels 24 bit, up to 48 kHz
    - DoubleSpeed (S/MUX): 2 x 4 channels 24 bit 96 kHz
    - Quad Speed (S/MUX4): 2 x 2channels 24 bit 192 kHz
  • Word Clock: BNC, switch for internal termination 75 Ohm
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