The Fireface UFX is the new flagship of RME's audio interfaces. 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, combined with the legendary RME 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 - of course - nearly identical operation and features on Windows PC and Mac. On top of it: TotalMix FX, the new 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-blown feature set is backed up by extraordinary usability. At its heart is a bright multi-functional colour 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. RME's new Fireface flagship is a highly integrated pro audio solution, a full-blown studio packed in a 19" enclosure. An interface designed for users who don't want to make compromises in sound, stability and ultra-low latency operation, and who long for an unrivaled professional feature set. Once again a milestone interface from RME, including the best of the best - and even a bit more. Inputs and 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. The UFX provides 12 analog I/Os: 12 Inputs. 8 balanced TRS on the back and 4 XLR inputs with mic/instrument preamps on the front. 12 Outputs . On the rear: 6 balanced TRS and 2 balanced XLR - perfect for the direct connection of the main studio monitors. On the front: Two additional TRS stereo phones outputs providing high volumes even with hi-impedance headphones (playback channels 9/10 and 11/12). When it comes to sound quality and price to performance ratio RME plays in its own league. The Fireface UFX is no exception. Like any other RME product it combines excellent analog circuit design with high-grade AD/DA converter chips. Therefore all balanced TRS & XLR I/Os and both phones outputs guarantee outstanding low noise and distortion values. In best RME tradition and product philosophy 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. Microphone/Instrument Preamps with RME's Advanced Parallel Conversion technology The UFX has four high-transparency preamps backed up by four stereo converters with RME's new 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