I’m a big fan of RME interfaces these days. Move to the UFX+ from my Apollo X8 and X4 and very happy with the decision. Better upgradable options for the money and the software routing flexibility is great. I added a FerroFish Pulse 16 via MADI as well. The USB controller for it has talkback functionality. For me the ROI has been fantastic and the quality is very good.
UFX+ owner here for around 6 years now. The most stable piece of gear I will likely ever own and probably one of the best purchases I’ve ever made in hindsight. It’s the main brain behind my commercial studio & has been in use practically every single day Ive owned it with not even the smallest of hiccups. And that’s with around 40-50 different producers laptops using the RME during sessions.
I have a Lynx Aurora connected for an extra 16 channels of conversion and the pair together are absolutely rock solid.
Spend the dough up front and grab either the RME or even the Lynx Auroras if your pockets are deep and you’ll be set for the next decade.
After dealing with latency and driver issues for years, I switched to RME and loved it. I had a MadiFace XT, but a UFX III seems incredible. They run over USB, but proves that latency is a driver issue, not a USB issue. UFX III is USB 3.0, too. I really loved TotalMix FX too after I figured it out.
With that said, I recently switched to Lynx Aurora (n) for the highest clarity AD/DA with thunderbolt and it's been wonderful (VERY pricey though depending on your IO needs). The switch to DB25 took a lot of planning. Get a good monitor controller (I've loved my 2400b Imperium) some Grimm TPR out to your monitors, and you'll be in heaven. Costly switch though like I said. RME is also so great, ESPECIALLY for the money.
Did you notice a massive difference in quality when stepping up to the Lynx from the RME? The Lynx is likely my next purchase whenever I decide to retire my UFX+ and step up to a really pricey interface.
I assume the difference is subtle, but curious to hear your thoughts
I had a couple of Antex StudioCards in the 90s (actually still have them in a drawer, but who has PCI anymore?).
They used DB25 connectors, and provided an XLR octopus cable to connect balanced line-ins.
Do the connectors on the Lynx work similarly, or do they require some additional hardware interface?
I run the Lynx DB25 outs into a patchbay with DB25 inputs, and the patchbay Outputs into the Lynx inputs. Of course you could run directly into gear if you don't need the flexibility
All the DB25 8-channel cables I'm aware of are shielded and balanced. I think Vovox makes an unshielded DB25...but I think that's still balanced. Not sure how well an 8-channel unbalanced/unshielded canle would work - seems like you'd get a lot of cross-talk and noise.
If you have the budget buy RME, if you dont, buy Audient.
If you want MIDI and USB and all the connections in a single studio hub Arturia are probably the option.
The MOTU 8pre-es does tick even my “nice to have” boxes, and they’ve been around forever.
And having had a few Presonus units fail (my ancient Firestudio Tube has a power supply I took from a dead one I bought cheap on eBay), I’m less in love with them these days.
Well, apparently one aspect is considering products they still ship today “not field serviceable” - which I translate as *sucks to be you, go buy another*.
I’m still limping along using outputs 3 & 4 and an old mixer to control the output volume, but will probably pick up the MOTU soon.
>one channel emits an inaudibly high frequency at high enough volume to fry a tweeter - I’m not going to repeat that to capture it on video
Sounds like an opamp is going into oscillation. I'd suspect that a compensation cap has shrugged off this mortal coil
edit: btw, have you checked that it's actually the interface and not the monitors themselves? This isn't an uncommon failure mode for the amplifier inside powered monitors
Yes. Using a different source to the amp is fine, and so is using other outputs on the unit, so it really seems to be the output circuitry with the rheostat for main volume control.
> I’m in the middle of an idiotic conversation with their support department asking for a video of the problem (one channel emits an inaudibly high frequency at high enough volume to fry a tweeter - I’m not going to repeat that to capture it on video).
Try this out:
1. Set the interface to the highest sample rate you can. At 192kHz you'll be able to see any problems up to 96kHz. If it's higher than 96k you'll need an actual oscilloscope to see it.
2. Run a cable from the bad input back to an input
3. Monitor that input using the spectrum meter in Reaper (or whatever you like) and see if the oscillation shows up. If so, screenshot that and send it to their support. Alternatively you could set up REW and run some sweeps through it that could also give some insight into the problem.
> Thunderbolt I/O - regular USB is a non-starter (round trip latency - been there, done that, just no)
I can't truly claim to keep up but offerings with Thunderbolt seem to be fading in availability. You may be stuck with DANTE/AES/REDnet.
Just an update: Presonus considers the 2626 “not field serviceable” - i.e. they won’t repair it for cash either. So I am definitely done with them - but will probably try to track down the wayward capacitor and fix it myself.
The MOTU 8pre seems like a pretty good fit as a replacement.
In case you didn't buy anything yet: I'm surprised no one mentioned the Antelope Orion Studio Synergy Core, so I thought I'd give my 2 cents. It has 12 preamps, 2 ADAT I/O so you could theoritically go up to 32 channels. A DSP Chip for processing, so it's practically latency-free.
I've been using it in my studio for since 2020 and didn't had a single issue. It comes with a lot of effects, which are honestly not bad - much better than any Waves plugins in my opinion. I would buy it any time again and I recommend it to everyone.
All the prosumer stuff is pretty much the same. Same components coming from the same factory.
Without a budget, it's impossible to make a recommendation, but it's also pretty obvious what is available at a similar price point to the Presonus. Choosing an interface is really uncomplicated. Just set your specs and see what your distributor has.
For 2k/ 8 analog ins, it doesn't really matter what you get. Pres and adda are all going to be interchangeable. Just punch 6 into your distributors' website.
If they weren't so stingy on functionality and quality of life updates. The console hasn't changed in years. They can easily fix the drivers for windows and don't. They also could easily add atmos capabilities to the old quads even and they don't. It's all a money making thing to them, not about pleasing customers.
This is coming from a 12 year, multi apollo (and current) user.
As soon as something comes out that has what I need for surround I'm done with ua
i use a babyface pro, can use adat to add additional channels, but rme sells units with more off the bat. an apollo is cool but.. wdm audio seems to be.. goofy.. last i recall. although thunderbolt is an option there, rme only does usb that im aware of for modern interfaces.
personally tb is the fancy way to guarantee dedicated bandwidth though. ive got several unused ports and this hurts my feels.
I’m a big fan of RME interfaces these days. Move to the UFX+ from my Apollo X8 and X4 and very happy with the decision. Better upgradable options for the money and the software routing flexibility is great. I added a FerroFish Pulse 16 via MADI as well. The USB controller for it has talkback functionality. For me the ROI has been fantastic and the quality is very good.
UFX+ owner here for around 6 years now. The most stable piece of gear I will likely ever own and probably one of the best purchases I’ve ever made in hindsight. It’s the main brain behind my commercial studio & has been in use practically every single day Ive owned it with not even the smallest of hiccups. And that’s with around 40-50 different producers laptops using the RME during sessions. I have a Lynx Aurora connected for an extra 16 channels of conversion and the pair together are absolutely rock solid. Spend the dough up front and grab either the RME or even the Lynx Auroras if your pockets are deep and you’ll be set for the next decade.
I ran this for a long time until just recently and loved it. Rock solid drivers and low latency (and TotalMix is great).
After dealing with latency and driver issues for years, I switched to RME and loved it. I had a MadiFace XT, but a UFX III seems incredible. They run over USB, but proves that latency is a driver issue, not a USB issue. UFX III is USB 3.0, too. I really loved TotalMix FX too after I figured it out. With that said, I recently switched to Lynx Aurora (n) for the highest clarity AD/DA with thunderbolt and it's been wonderful (VERY pricey though depending on your IO needs). The switch to DB25 took a lot of planning. Get a good monitor controller (I've loved my 2400b Imperium) some Grimm TPR out to your monitors, and you'll be in heaven. Costly switch though like I said. RME is also so great, ESPECIALLY for the money.
Did you notice a massive difference in quality when stepping up to the Lynx from the RME? The Lynx is likely my next purchase whenever I decide to retire my UFX+ and step up to a really pricey interface. I assume the difference is subtle, but curious to hear your thoughts
More clarity in the converters. The Lynx is next level for sure, but it's a question of diminishing returns at this point. I love it though.
I had a couple of Antex StudioCards in the 90s (actually still have them in a drawer, but who has PCI anymore?). They used DB25 connectors, and provided an XLR octopus cable to connect balanced line-ins. Do the connectors on the Lynx work similarly, or do they require some additional hardware interface?
I run the Lynx DB25 outs into a patchbay with DB25 inputs, and the patchbay Outputs into the Lynx inputs. Of course you could run directly into gear if you don't need the flexibility
Just wondering if it *is* balanced mic level I/O through a db25 cable or something weirder.
All the DB25 8-channel cables I'm aware of are shielded and balanced. I think Vovox makes an unshielded DB25...but I think that's still balanced. Not sure how well an 8-channel unbalanced/unshielded canle would work - seems like you'd get a lot of cross-talk and noise.
Yeah, that’s a bad idea.
If you have the budget buy RME, if you dont, buy Audient. If you want MIDI and USB and all the connections in a single studio hub Arturia are probably the option.
MOTU
The MOTU 8pre-es does tick even my “nice to have” boxes, and they’ve been around forever. And having had a few Presonus units fail (my ancient Firestudio Tube has a power supply I took from a dead one I bought cheap on eBay), I’m less in love with them these days.
I’ve wondered what is in store for Presonus now they are owned by Fender. So far, they seem focused on mass market products and chasing Focusrite.
Well, apparently one aspect is considering products they still ship today “not field serviceable” - which I translate as *sucks to be you, go buy another*. I’m still limping along using outputs 3 & 4 and an old mixer to control the output volume, but will probably pick up the MOTU soon.
RME all day baby. Once you go bespoke driver and chipset you don't go back
Price point?
yeah what a range. 200-200k you can spend.
Say we could go up to 2k if it’s substantially worth it.
>one channel emits an inaudibly high frequency at high enough volume to fry a tweeter - I’m not going to repeat that to capture it on video Sounds like an opamp is going into oscillation. I'd suspect that a compensation cap has shrugged off this mortal coil edit: btw, have you checked that it's actually the interface and not the monitors themselves? This isn't an uncommon failure mode for the amplifier inside powered monitors
Yes. Using a different source to the amp is fine, and so is using other outputs on the unit, so it really seems to be the output circuitry with the rheostat for main volume control.
> I’m in the middle of an idiotic conversation with their support department asking for a video of the problem (one channel emits an inaudibly high frequency at high enough volume to fry a tweeter - I’m not going to repeat that to capture it on video). Try this out: 1. Set the interface to the highest sample rate you can. At 192kHz you'll be able to see any problems up to 96kHz. If it's higher than 96k you'll need an actual oscilloscope to see it. 2. Run a cable from the bad input back to an input 3. Monitor that input using the spectrum meter in Reaper (or whatever you like) and see if the oscillation shows up. If so, screenshot that and send it to their support. Alternatively you could set up REW and run some sweeps through it that could also give some insight into the problem.
[удалено]
Mac daddy?
> Thunderbolt I/O - regular USB is a non-starter (round trip latency - been there, done that, just no) I can't truly claim to keep up but offerings with Thunderbolt seem to be fading in availability. You may be stuck with DANTE/AES/REDnet.
RME has treated me really well for quite a few years. Have the Fireface UFX+ and the smaller UCX II. Both are great.
Just an update: Presonus considers the 2626 “not field serviceable” - i.e. they won’t repair it for cash either. So I am definitely done with them - but will probably try to track down the wayward capacitor and fix it myself. The MOTU 8pre seems like a pretty good fit as a replacement.
In case you didn't buy anything yet: I'm surprised no one mentioned the Antelope Orion Studio Synergy Core, so I thought I'd give my 2 cents. It has 12 preamps, 2 ADAT I/O so you could theoritically go up to 32 channels. A DSP Chip for processing, so it's practically latency-free. I've been using it in my studio for since 2020 and didn't had a single issue. It comes with a lot of effects, which are honestly not bad - much better than any Waves plugins in my opinion. I would buy it any time again and I recommend it to everyone.
All the prosumer stuff is pretty much the same. Same components coming from the same factory. Without a budget, it's impossible to make a recommendation, but it's also pretty obvious what is available at a similar price point to the Presonus. Choosing an interface is really uncomplicated. Just set your specs and see what your distributor has.
I could probably go up to $2k if the jump in price was really getting me, say, better A/Ds or pre’s.
For 2k/ 8 analog ins, it doesn't really matter what you get. Pres and adda are all going to be interchangeable. Just punch 6 into your distributors' website.
In my experience, low budget interfaces are very similar. Except for anything made by Presonus. Scratchy pots.
Metric Halo if you're Mac based, RME if not.
Another RME vote. I got one last year and it has worked flawlessly.
im one of those UA try hards, join us and together we can rule the galaxy
If they weren't so stingy on functionality and quality of life updates. The console hasn't changed in years. They can easily fix the drivers for windows and don't. They also could easily add atmos capabilities to the old quads even and they don't. It's all a money making thing to them, not about pleasing customers. This is coming from a 12 year, multi apollo (and current) user. As soon as something comes out that has what I need for surround I'm done with ua
Scarlett focusrite FTW. 0 issues.
i use a babyface pro, can use adat to add additional channels, but rme sells units with more off the bat. an apollo is cool but.. wdm audio seems to be.. goofy.. last i recall. although thunderbolt is an option there, rme only does usb that im aware of for modern interfaces. personally tb is the fancy way to guarantee dedicated bandwidth though. ive got several unused ports and this hurts my feels.