Recording - February 2018 - 34
RME Babyface Pro
to be easily disconnected for on-the-go
4-in/4-out use.
The Mixer view is supplemented by a
Matrix view, where you can quickly add
and remove routings from any input to
any combination of outputs. While you
don't get the fine control over levels and
the like in this view, it greatly speeds
up the creation and storage of multiple
monitor mixes in terms of raw routing.
You can then go back to the mixer to
fine-tune the settings as needed.
The software effects in TotalMix FX include a bus echo and reverb that sound
very good (if not outrageous in terms of
maximum delay/reverb time), as well
as per-channel 3-band parametric EQ
and separate lowcut filter. These aren't
meant to be comprehensive channel
strips; while you do have the option of
looping back the mixer's output to be recorded in your DAW, or tracking audio
with the TotalMix FX EQ, the submixes
you create are primarily for monitoring
purposes. Your DAW will have plug-ins
for tracking and mixdown that will do a
better job on your finished product. By
keeping this processing lean (or restricting it to reverb/delay effects that are
less reliant on tight time-alignment with
the input signal), the effects structure in
the Babyface Pro is optimized for very
low latency.
Performance and sound
The Babyface Pro can handle 24-bit
audio up to sample rates of 192 kHz,
with fewer and fewer channels of I/O
available at higher rates. Dual or quad
34
RECORDING February 2018
sample multiplexing (S/MUX) reduces
the number of available optical ADAT
channels from eight (44.1 or 48 kHz) to
four (88.2 or 96) or two (176.4 or 192).
The built-in SteadyClock sync circuitry
is designed for low jitter and reliable
performance even with very low buffer
sizes, and the Babyface Pro's manual is
actually a great tutorial on where those
buffers actually are in the digital audio
path and what they're for.
Sound quality is exceptional all
around. The converters are clean and
clear, but I have to make special mention
of the mic preamps in the Babyface Pro,
which provide gobs of clean gain-a
range of 76 dB, out to +65 dBu. This
is where a lot of portable interfaces,
especially bus-powered ones, fall flat;
you can't get signals that hot without
obtrusive noise. The signal-to-noise ratio
of the mic inputs (113 dB unweighted,
116 dBA) is such that even very finicky
low-gain dynamic and ribbon mics do
very well through the Babyface Pro.
Overall, there's not a lot more to
add. With rock-solid build, reliable lowlatency performance, a ton of routing
options, easy operation whether standalone or with TotalMix FX in the background, and impeccable sound, RME's
Babyface Pro is a portable interface for
the modern mobile recording rig that
can't afford to compromise.
PRICE: $749
MORE FROM:
RME, www.rme-audio.com
http://www.royerlabs.com
http://www.rme-audio.com
Table of Contents for the Digital Edition of Recording - February 2018
Contents
Recording - February 2018 - Intro
Recording - February 2018 - Cover1
Recording - February 2018 - Cover2
Recording - February 2018 - 1
Recording - February 2018 - 2
Recording - February 2018 - 3
Recording - February 2018 - 4
Recording - February 2018 - 5
Recording - February 2018 - 6
Recording - February 2018 - 7
Recording - February 2018 - Contents
Recording - February 2018 - 9
Recording - February 2018 - 10
Recording - February 2018 - 11
Recording - February 2018 - 12
Recording - February 2018 - 13
Recording - February 2018 - 14
Recording - February 2018 - 15
Recording - February 2018 - 16
Recording - February 2018 - 17
Recording - February 2018 - 18
Recording - February 2018 - 19
Recording - February 2018 - 20
Recording - February 2018 - 21
Recording - February 2018 - 22
Recording - February 2018 - 23
Recording - February 2018 - 24
Recording - February 2018 - 25
Recording - February 2018 - 26
Recording - February 2018 - 27
Recording - February 2018 - 28
Recording - February 2018 - 29
Recording - February 2018 - 30
Recording - February 2018 - 31
Recording - February 2018 - 32
Recording - February 2018 - 33
Recording - February 2018 - 34
Recording - February 2018 - 35
Recording - February 2018 - 36
Recording - February 2018 - 37
Recording - February 2018 - 38
Recording - February 2018 - 39
Recording - February 2018 - 40
Recording - February 2018 - 41
Recording - February 2018 - 42
Recording - February 2018 - 43
Recording - February 2018 - 44
Recording - February 2018 - 45
Recording - February 2018 - 46
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Recording - February 2018 - 80
Recording - February 2018 - Cover3
Recording - February 2018 - Cover4
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