Recording - May 2012 - 63

At this point, I had to pause to perform an increasingly familiar project: placing the sticky little rubber feet on the bottom of the device so it wouldn’t slide around the top of my rack. Once that was done, I was ready to rock out.

Software
Where the hardware hookup was similar to most other interfaces I’ve used, the software was very different. I downloaded the latest versions of the driver/application bundle, and it was remarkably small, so I have to admit to not expecting much. But when I installed everything, I was in for a surprise. The main mixer emulation, called TotalMix FX, is one of the most complete studio emulations I’ve ever worked with. This application provides a large-scale mixing surface with an extensive eq, robust dynamics control, send-based

reverb and delay effects, and a subgroup system for output control. In essence, TotalMix FX provides as complete of a mixing system as any hardware mixer, and provides a complete save/restore mechanism. It performs all of these tasks with virtually no impact on your computer, since the heavy lifting is all done within the DSP of the Fireface UCX. The UCX is also compatible with RME’s DIGICheck application set, which provides a number of metering, testing and analysis tools, to use both for optimizing your setup and visually verifying what you are hearing. This set of tools isn’t integrated into the mixing system, but it is quite handy for the advanced user. One of the keys to maximize the value of the UCX is to take advantage of its DSP capabilities. Each channel can provide eq and compression, either to the mix or to the input while recording. This is important,

because a monitor-only eq/compression set would not help in making for the best capture of a performance. Using the “EQ+D for Record” option in the RME Settings application, it means that these effects will be inserted during recording—a great way to reduce the overall cost of implementing dynamic and eq control of each channel during mixdown. Given the robust set of input and output options, the TotalMix FX system can serve as a credible mixer replacement for most project studio situations. I’ve been working in this mode for several years, and a significant part of my computer’s monitor real estate is given over to the virtual mixing environment—because this is much cheaper than physical real estate! The TotalMix FX software brings virtual mixing to a whole new level by providing an extreme level of flexibility without overwhelming the user.


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Recording - May 2012

Table of Contents for the Digital Edition of Recording - May 2012

Recording - May 2012
Fade In
Contents
Talkback
Fast Forward
Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Kel Audio HM-7U amd HM-3C Microphones
Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
AKG Perception 120 USB Microphone
Miking Instruments: The Lost Art
Earthworks SR20 Microphone
SXSW 2012
Radial Engineering MC3 Passive Monitor Switcher
Readers’ Tapes
Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Miking A Symphony Orchestra For A Commercial
Audio-Technica AT4050ST Stereo Microphone
Alclair Reference In-Ear Monitors
RME Fireface UCX
Advertiser Index
Fade Out
Recording - May 2012 - Recording - May 2012
Recording - May 2012 - Cover2
Recording - May 2012 - 1
Recording - May 2012 - 2
Recording - May 2012 - 3
Recording - May 2012 - Fade In
Recording - May 2012 - 5
Recording - May 2012 - Contents
Recording - May 2012 - 7
Recording - May 2012 - Talkback
Recording - May 2012 - 9
Recording - May 2012 - Fast Forward
Recording - May 2012 - 11
Recording - May 2012 - Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Recording - May 2012 - 13
Recording - May 2012 - 14
Recording - May 2012 - 15
Recording - May 2012 - 16
Recording - May 2012 - 17
Recording - May 2012 - 18
Recording - May 2012 - 19
Recording - May 2012 - 20
Recording - May 2012 - 21
Recording - May 2012 - Kel Audio HM-7U amd HM-3C Microphones
Recording - May 2012 - 23
Recording - May 2012 - Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
Recording - May 2012 - 25
Recording - May 2012 - 26
Recording - May 2012 - 27
Recording - May 2012 - 28
Recording - May 2012 - 29
Recording - May 2012 - 30
Recording - May 2012 - 31
Recording - May 2012 - 32
Recording - May 2012 - 33
Recording - May 2012 - AKG Perception 120 USB Microphone
Recording - May 2012 - 35
Recording - May 2012 - Miking Instruments: The Lost Art
Recording - May 2012 - 37
Recording - May 2012 - Earthworks SR20 Microphone
Recording - May 2012 - 39
Recording - May 2012 - SXSW 2012
Recording - May 2012 - 41
Recording - May 2012 - Radial Engineering MC3 Passive Monitor Switcher
Recording - May 2012 - 43
Recording - May 2012 - Readers’ Tapes
Recording - May 2012 - 45
Recording - May 2012 - Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Recording - May 2012 - 47
Recording - May 2012 - 48
Recording - May 2012 - 49
Recording - May 2012 - 50
Recording - May 2012 - 51
Recording - May 2012 - 52
Recording - May 2012 - 53
Recording - May 2012 - 54
Recording - May 2012 - 55
Recording - May 2012 - Miking A Symphony Orchestra For A Commercial
Recording - May 2012 - 57
Recording - May 2012 - Audio-Technica AT4050ST Stereo Microphone
Recording - May 2012 - 59
Recording - May 2012 - Alclair Reference In-Ear Monitors
Recording - May 2012 - 61
Recording - May 2012 - RME Fireface UCX
Recording - May 2012 - 63
Recording - May 2012 - 64
Recording - May 2012 - Advertiser Index
Recording - May 2012 - 66
Recording - May 2012 - 67
Recording - May 2012 - 68
Recording - May 2012 - 69
Recording - May 2012 - 70
Recording - May 2012 - 71
Recording - May 2012 - Fade Out
Recording - May 2012 - Cover3
Recording - May 2012 - Cover4
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