• 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
• Combines excellent analog circuit design with high-grade AD/DA converter chips
• All balanced TRS and XLR I/Os and both phones outputs guarantee low noise and low distortion values
• The preamps don't produce "sound" - they do not add or remove anything from the source signal, just capture as is
• All I/Os operate up to 192kHz and reach 118dBA dynamic range on playback - including both headphone outputs
• High power technology delivers high headphone volume no matter if high or low impedance phones are used
• Due to its efficient jitter reduction, RME's 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, Hi Gain (equivalent to +2dBV, +13dBu and +19dBu for digital full scale) - directly on the device or via TotalMix
• The balanced XLR outputs provide a level of up to +24dBu
• All outputs can be used for ASIO Direct Monitoring purposes

   

• Analog I/O
  1. 12/12 @ 44.1/48kHz
  2. 12/12 @ 88.2/96kHz
  3. 12/12 @ 176.4/192kHz

   

• AES/EBU I/O
  1. 2/2 @ 44.1/48kHz
  2. 2/2 @ 88.2/96kHz
  3. 2/2 @ 176.4/192kHz

   

• ADAT I/O
  1. 16/62 @ 44.1/48kHz
  2. 8/8 @ 88.2/96kHz
  3. 2/2 @ 176.4/192kHz

   

• Total I/O
  1. 30/30 @ 44.1/48kHz
  2. 22/22 @ 88.2/96kHz
  3. 18/18 @ 176.4/192kHz

• Premium solution for transmitting and amplifying any audio input unchanged, be it high-level stage, or typical studio signals, lower level and high-impedance instruments, or dynamic, condenser and ribbon microphones
• Four high-transparency preamps backed up by 4 stereo converters using RME's parallel converter technology
• Every microphone channel uses a double, parallel AD conversion (the 4 preamps are feeding 8 AD converters at the same time) to reach exceptional signal-to-noise values and a performance not available with a classic converter design
• Microphone and instrument preamps 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 delivers extremely low distortion, excellent signal to noise ratio and a perfect linear frequency response
• Digitally controlled gain of up to 65dB, adjustable in steps of 1dB over a range of 55dB, is individually set for every preamp by the display-supported controls on the front panel
• 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 T
• he 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
• Each channel can be individually switched for +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
• Adding additional preamplifiers or more analog inputs is easily done via the dual ADAT optical I/Os on the rear

• Professional AES/EBU input and output working up to 192kHz on transformer-balanced, galvanically isolated, according to AES3-1992
• Two, 8-channel ADAT I/Os (16 channels) available simultaneously with the analog channels and 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 192kHz (S/MUX4)
• Using two external converters, the unit will provide 28 analog inputs and outputs, 20 with a sample rate of 96kHz, and 16 at 192kHz
• The second ADAT I/O can be used as optical S/PDIF I/O, making the UFX connections even more flexible
• Wordclock input and output (BNC) with switchable termination plus two MIDI I/Os complete the I/O list and turn unit into a professional audio system with universal usability

Features/Differences to Classic TotalMix

DSP-based TotalMix mixer allows fully independent routing and mixing of all 30 input and playback channels to all 30 physical outputs

• Two DSPs ensure an impressive performance even in extreme applications
• Up to 15 totally independent stereo sub-mixes, plus a comprehensive Control Room section, offer unrivalled monitoring capabilities and routing flexibility
• Every input and output channel comes with an extensive feature set, comparable to a full-scale digital console.
• Effects per channel include 3-band parametric EQ, adjustable low-cut, auto level, compressor, expander, MS processing and phase reversal.
• Reverb and echo effects unit is available for all channels via a stereo send and return bus.
• All effects available even at 192 kHz operation
• For example, at 48kHz, 60 EQs, 34 low-cuts and echo can be activated, while with reverb and echo activated, 46 EQs and 32 low cuts are still available
• The FX-DSP uses automatic overload surveillance - as soon as no more effects can be added, 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
• The complete effects section not only adds a lot of flexibility to the recording chain, but makes latency burdened software obsolete
• 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
• The DSP hardware calculates RMS and Peak levels for all 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
  1. New design and improved usability