RME Fireface UFX III 188-Channel 24-Bit/192kHz Audio Interface
The Fireface UFX III is the centre 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.
Powerful USB 3 Performance with Fireface UFX III
The front panel of the Fireface UFX III provides four high-performance XLR/TRS combo inputs. These inputs are for the microphone, instrument and line signals. Also featured are 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 the recording of selected input and output signals (up to 80 channels) to a USB.
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 are useable 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 are able to be used in a 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.
That includes 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’. Specifically, these capacitors are used to filter out any extremely 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 takes native support from operating systems. 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.
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. Afterwards, it will 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. 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 into a stand-alone field recorder and a multichannel live player for previous recordings. You can record live concerts, band rehearsals or spontaneous jam sessions directly and play them back from the medium.
Fireface UFX III Key Highlights:
- 94-in/94-out USB 3.0 audio interface tailor-made for massive-sized applications
- Upgraded AD/DA yields crystal-clear audio quality
- State-of-the-art SteadyClock FS technology ensures jitter-free sound reproduction
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
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
