PRO LINE
USB Mobile Audio. Made by RME
Based on a newly developed RME Hammerfall Pro Audio core the Babyface provides revolutionary ultra-low latencies with multiple I/O channels, realizing a performance previously not available from USB audio interfaces.

Babyface

22-Channel 192 kHz multi-format mobile USB audio interface
10 input / 12 output channels 2 x analog input with mic pres, line and mic level, balanced or unbalanced 4 x analog output 1 channel alternatively usable as Hi-Z input 1 x ADAT I/O or 1 x SPDIF I/O optical 2 x Phones Out (identical signal) 1 x MIDI I/O Bus-powered operation TotalMix FX (High-End DSP mixer with effects)

Connectivity

10 Input / 12 Output channels 2 x Analog Input (balanced) with 2 x MicPreamp (digitally controlled gain) and 1 x Hi-Z Input (alternative) 4 x Analog Output: 2 x XLR balanced plus 2 x TRS (= 2 x Phones/Monitors with identical Signal) 1 x ADAT I/O or 1 x SPDIF I/O (optical) 1 x MIDI I/O
Equipped with the latest 192 kHz AD- and DA-converters and two reference class microphone preamps the bus-powered Babyface delivers top sound in a nicely designed and attractively shaped enclosure. That includes the new TotalMix FX, a TotalMix on steroids, with tons of new features, improvements and 3-band parametric EQs, plus added echo and reverb: anything you need right out of the box and with near zero latency! Uncompromised mastering quality. The balanced XLR I/Os and the TRS phones outputs use RMEs analog circuit design, therefore guarantee outstanding noise and distortion
values. The latest generation AD/DA converters provide sample rates up to 192 kHz with an SNR of up to 115 dBA. Due to its efficient jitter reduction, SteadyClock(TM) guarantees prestine sound quality, even when clocking to an external digital source. High-End Mic Preamps. Both digitally controlled preamps provide individually switchable 48V phantom power. A gain of up to 60 dB, adjustable in steps of 3 dB over a range of 51 dB, exceptional EIN performance even at low amplification settings, and extremely low THD+N values let these preamps surpass those of other devices that cost several times the price of the Babyface. All level settings are 100% recallable by the setup software and can be comfortably adjusted directly at the unit. Digital I/O. The incredible feature set includes an optical TOSLINK I/O, usable as ADAT port with SMUX support or SPDIF optical at up to 192 kHz. In combination with an ADAT converter, like RME ADI-8 QS or OctaMic II, the Babyface provides an incredible amount of 10 analog input and 12 output channels. Phones Output. The additional headphone output, driven from a separate and dedicated DA converter, delivers the full sonic experience of up to 192 kHz and is available not only directly at the unit but also at the breakout cable. Perfect for two separate headphones or additional monitors. The phones level is easy to adjust and control with a simple click of the select button and the main volume knob. Instrument Input. Directly plug in your guitar or other instruments by switching one input to Hi-Z input mode. Recording any instrument becomes a breeze and does not require any other hardware. MIDI I/O. The integrated MIDI I/O completes the list of features and turns the Babyface into a creative audio system of universal usability. Do what you want wherever you want! Perfect Control. With one main control knob and two single buttons the elegant Babyface acts as a perfectly designed direct desktop control for all typical studio tasks: volume control, reference volume store and recall, volume dim, input selection/switching, input gain control - quick and easy access to all functions has been a major point during design and development. The LED bars serve as both level and gain meters, visually supporting the precise control of all inputs, outputs and headphone levels directly at the interface. USB. Made by RME. The Babyface provides RMEs unmatched USB pro audio technology for revolutionary ultra-low latencies on Mac and PC, by using two different optimized firmware versions for both operating systems. Like other RME USB 2.0 interfaces, the Babyface provides revolutionary ultra-low latencies even with multiple channels. The Babyface is compatible to USB 3 chipsets. Full mobility. The ultra-portable Babyface allows a bus-powered operation via two USB connectors (USB power cable included). This turns the Babyface into the perfect partner for mobile recording of live performances, composing sessions in a park or coffee shop, or just wherever you go. Even if you just see it as a good looking HIFI music player or home studio companion it will work perfectly on your desktop or notebook computer.

Worldwide Distribution

www.rme-audio.de
Am Pfanderling 60. 85778 Haimhausen. Germany Tel.: +49-08133-918170 Fax: +49-08133-9166

Rear Connectors

The Babyface provides two optical I/Os and a 15-pin D-sub connector. Both TOSLINK connectors for ADAT or SPDIF optical are on the back of the Babyface. The breakout cable - connected directly or via a special extension cable - offers the following connections: - 4 x XLR balanced (Analog I/O) - 1 x 1/4 TRS (Phones/Analog Out 3+4) - 2 x DIN (MIDI I/O)

TotalMix FX

The next generation of TotalMix delivers hardware mixing/routing with lots of new features and a highly improved usability. For a seamless integration of the new features TotalMix has been rewritten from the ground up. The DSP mixer now not only matches features of highend digital consoles but even adds effects like a 3-band parametric EQ plus Low Cut on all input and output channels. The Babyface also provides a separate FX send bus for all inputs and software playback channels, feeding two effect engines: Reverb and Echo. Every output channel includes a FX return control for the FX output signal.

Babyface Features

- Sample rates up to 192 kHz on all I/Os (including two ADAT channels via SMUX4) - Two digitally controlled microphone preamps in high-end quality - Two balanced universal inputs for line and instrument signals - SteadyClock for maximum jitter suppression and clock refresh - Direct operation with rotary encoder and keys - TotalMix FX: Newly developed internal DSP high-end mixer - Full mobility by bus powered operation - DIGICheck, RMEs unique meter and analysis tool - Peak and RMS hardware-calculated for all channels

Drivers

Windows Vista / 7 / XP SP2 (32 & 64 bit) Apple Mac OS X 10.5+ (Core Audio) The Babyface bag (included) with all cables.

Buffer Size The setting Buffer Size determines the latency between incoming and outgoing ASIO and WDM data, as well as affecting system stability (see chapter 9.1 / 10). Errors does not refer to buffer errors, but USB transmission errors. The display will be reset on any start of a playback/record. More information can be found in chapter 26.3.
Options DSP EQ for Record Switches the 3-band EQ and Low Cut of all input channels into the recording path. In case Loopback has been activated the EQ and Low Cut of the Output channel is placed into the recording path. See also chapter 23.5. Optical Out The optical TOSLINK output can operate as ADAT or SPDIF output. The Channel Status is fixed to Consumer state. Note: The optical input detects the incoming format automatically. SPDIF In TMS activates the transmission of Channel Status data and Track Marker information from the SPDIF input signal.
Clock Mode Sample Rate Sets the currently used sample rate. Offers a central and comfortable way of configuring the sample rate of all WDM devices to the same value, as since Vista the audio software is no longer allowed to set the sample rate. However, an ASIO program can still set the sample rate by itself. During record/playback the selection is greyed out, so no change is possible. Clock Source The unit can be configured to use its own clock (Internal = Master) or the digital input signal (Optical = Slave). If the external source isn't available (Input Status No Lock), the unit will change to the internal clock. The current clock source is displayed as Current. Pitch More information on Pitch is available in chapter 8.2.
Input Status Indicates presence of a valid signal at the optical input (Lock, No Lock) and whether the signal is synchronous (Sync). The third column shows the sample frequency detected by the hardware (coarse recognition, 32 kHz, 44.1 kHz, 48 kHz etc.). In Clock Mode the clock reference is shown. See also chapter 26.1. The About tab includes information about the current driver version as well as the current firmware version of the Babyface.
8.2 Settings Dialog - Pitch
Usually soundcards and audio interfaces generate their internal clock (master mode) by a quartz. Therefore the internal clock can be set to 44.1 kHz or 48 kHz, but not to a value in between. SteadyClock, RME's sensational Low Jitter Clock System, is based on a Direct Digital Synthesizer (DDS). This superior circuitry can generate nearly any frequency with highest precision. DDS has been implemented into the Babyface with regard to the needs of professional video applications, as well as to maximum flexibility. The section Pitch includes both a list of typical video frequencies (so called pull up/pull down at 0.1% and 4%) and a fader to freely change the basic sample rate in steps of 1 Hz (!) over a range of +/- 5%. The Pitch function requires the Babyface to be in clock mode Master (Internal)! The frequency setting will only be applied to this one specific Babyface! Changing the sample rate during record/playback often results in a loss of audio, or brings up warning messages of the audio software. Therefore the desired sample rate should be set at least coarsely before starting the software.

Note: Under Vista/7 the analog outputs 1/2 show up as Loudspeaker.
9.5 Multi-client Operation
RME audio interfaces support multi-client operation. This means several programs can be used at the same time. Also ASIO and WDM can be used simultaneously. The use of multi-client operation requires to follow two simple rules: Multi-client operation requires identical sample rates!
I.e. it is not possible to use a software with 44.1 kHz and another one with 48 kHz. Different software can not use the same playback channels at the same time.
If for example Cubase uses channels 1/2, this playback pair can't be used in WaveLab, no matter if ASIO or WDM. However, this is no limitation at all, because TotalMix allows for any output routing, and therefore a playback of multiple software on the same hardware outputs. Note that identical inputs can be used at the same time, as the driver simply sends the data to all applications simultaneously. ASIO-Multiclient RME audio interfaces support ASIO multi-client operation. It is possible to use more than one ASIO software at the same time. Again the sample rate has to be identical, and each software has to use its own playback channels. Again the inputs can be used simultaneously. RME's sophisticated tool DIGICheck is an exception to this rule. It operates like an ASIO host, using a special technique to access playback channels already occupied. Therefore DIGICheck is able to analyse and display playback data from any software, no matter which format the software uses.

9.6 Analog Recording

For recordings via the analog inputs the corresponding record device has to be chosen (Babyface Analog (x+x)). Channels 1 and 2 of the Babyface have digitally controlled microphone preamps of the highest quality. The digital control offers a gain setting in steps of 3 dB within a range of 9 dB to 60 dB. The configuration is done either directly at the unit via the rotary encoder, or via the Settings panel of the input channels 1 and 2 in TotalMix, with the knob Gain. The current gain is displayed in dB beside the knob. In the lower range the knob jumps from 9 dB to 0 dB. This useful additional setting provides line signal compatibility at up to +12 dBu at the microphone input. Above the knob Gain the inputs can be set separately to provide 48V phantom power at the XLR connectors. Phantom power is required for condenser microphones. Input channel 2 can be switched to the TRS jack on the right side of the Babyface. The Hi-Z instrument input has an input impedance of 470 kOhm. The input gain is controlled by the same knob, but the gain range now starts at +9 dB. It often makes sense to monitor the input signal or send it directly to the output. This can be done at zero latency using TotalMix (see chapter 21). An automated control of real-time monitoring can be achieved by Steinbergs ASIO protocol with RMEs ASIO drivers and any ASIO 2.0 compatible program. When 'ASIO Direct Monitoring' has been switched on, the input signal is routed in real-time to the output whenever a recording is started (punch-in).

MIDI Babyface offers one MIDI I/O via two 5-pin DIN jacks. The MIDI ports are added to the system by the driver. Using MIDI capable software, these ports can be accessed under the name Babyface Midi. Using more than one Babyface, the operating system adds a consecutive number to the port name, like Babyface MIDI (2) etc. The MIDI ports support multi-client operation. A MIDI input signal can be received from several programs at the same time. Even the MIDI output can be used by multiple programs simultaneously. However, due to the limited bandwidth of MIDI, this kind of application will often show various problems.
9.9 Clock Modes - Synchronization
In the digital world, all devices must be either Master (clock source) or Slave (clock receiver). Whenever several devices are linked within a system, there must always be a single master clock. A digital system can only have one master! If the Babyfaces clock mode is set to 'Internal', all other devices must be set to Slave. The Babyface utilizes a very user-friendly, intelligent clock control, called AutoSync. Selecting Optical as Clock Source, the system constantly scans the digital input for a valid signal. If any valid signal is found, the Babyface switches from the internal quartz (Clock Mode Current Internal) to a clock extracted from the input signal (Clock Mode Current ADAT or SPDIF). The difference to a usual slave mode is that whenever the clock reference fails, the system will automatically use its internal clock and operate in clock mode Master. AutoSync guarantees that record and record-while-play will always work correctly. In certain cases however, e.g. when the inputs and outputs of a DAT machine are connected directly to the Babyface, AutoSync may cause feedback in the digital carrier, so synchronization breaks down. To solve this problem switch the Babyface clock mode to Master (Clock Source Internal). In some situations changing the clock mode can not be avoided. Example: A CD player is connected to the SPDIF input. Try recording a few samples from the CD and you will be disappointed - few CD players can be synchronized. The samples will inevitably be corrupted, because the signal from the CD player is read with the clock from the Babyface, being out of sync. In this case, the Clock Source should be set temporarily to SPDIF. RMEs exclusive SyncCheck technology (first implemented in the Hammerfall) enables an easy to use check and display of the current clock status. Input Status indicates whether there is a valid signal (Lock, No Lock) for the optical input, or if there is a valid and synchronous signal (Sync). In the field Clock Mode the clock reference is shown. See chapter 26.1. Under WDM the Babyface will (has to) set the sample rate. Therefore the error shown to the right can occur. A stable signal with a sample rate of 32 kHz is detected at the ADAT input (Sync), but Windows audio had been set to 44100 Hz before. The red color of the text label signals the error condition, and prompts the user to set 32000 Hz manually as sample rate. Under ASIO the audio software sets the sample rate, so that such an error can not happen. If the input sample rate is different then there will be no Sync indication. With RMEs AutoSync and SyncCheck, finally anyone can master this common source of error, previously one of the most complex issues in the digital studio world.

Note: TotalMix is part of the hardware of each Babyface. Up to three mixers are available, but these are separated and can't interchange data. Therefore a global mixer for all units is not possible. In real-world an operation of more than one Babyface makes no sense and is therefore not actively supported by RME. The second unit would have to be synchronized using the optical input. The result is an extension by only 2 analog record and 4 analog playback channels (plus 8 digital via ADAT Out). It makes much more sense to directly connect an 8-channel converter to the ADAT I/O of one Babyface, adding full 8 channels of record and playback.

12. DIGICheck Windows

The DIGICheck software is a unique utility developed for testing, measuring and analysing digital audio streams. Although this Windows software is fairly self-explanatory, it still includes a comprehensive online help. DIGICheck 5.3 operates as multi-client ASIO host, therefore can be used in parallel to any software, with both inputs and outputs (!). The following is a short summary of the currently available functions: Level Meter. High precision 24-bit resolution, 2/10/28 channels. Application examples: Peak level measurement, RMS level measurement, over-detection, phase correlation measurement, dynamic range and signal-to-noise ratios, RMS to peak difference (loudness), long term peak measurement, input check. Oversampling mode for levels higher than 0 dBFS. Supports visualization according to the K-System. Hardware Level Meter for Input, Playback and Output. Reference Level Meter freely configurable, causing near zero CPU load, because calculated from the Babyface hardware. Vector Audio Scope. World wide unique Goniometer showing the typical afterglow of a oscilloscope-tube. Includes Correlation meter and level meter. Surround Audio Scope. Professional Surround Level Meter with extended correlation analysis, ITU weighting and ITU summing meter. Spectral Analyser. World wide unique 10-, 20- or 30-band display in analog bandpass filter technology. 192 kHz-capable! Bit Statistics & Noise. Shows the true resolution of audio signals as well as errors and DC offset. Includes Signal to Noise measurement in dB and dBA, plus DC measurement. Totalyser. Spectral Analyser, Level Meter and Vector Audio Scope in a single window. Channel Status Display. Detailed analysis and display of SPDIF and AES/EBU Channel Status data. Global Record. Long-term recording of all channels at lowest system load. Completely multi-client. Open as many measurement windows as you like, on any channels and inputs or outputs! To install DIGICheck, go to the \DIGICheck directory on the RME Driver CD and run setup.exe. Follow the instructions prompted on the screen. DIGICheck is constantly updated. The latest version is always available on our website www.rme-audio.com, section Downloads / DIGICheck.

15.2 Driver Update

In case of a driver update it's not necessary to remove the old driver first, it will be overwritten during the installation. In case of problems the driver files can be deleted manually by dragging them to the trash bin: /Applications/Fireface USB Mixer /Applications/Fireface USB Settings /System/Library/Extensions/FirefaceUSB.kext /Users/username/Library/Preferences/Fireface USB folder /Users/username/Library/Preferences/de.rme-audio.FirefaceUSBMixer.plist /Users/username/Library/Preferences/de.rme-audio.TotalmixFX.plist /Users/username/Library/Preferences/de.rme-audio.Fireface_USB_Settings.plist /Library/LaunchAgents/de.rme-audio.firefaceUSBAgent.plist

15.3 Firmware Update

The Flash Update Tool updates the firmware of the Babyface to the latest version. It requires an already installed driver. Start the program Babyface USB Flash. The Flash Update Tool displays the current revision of the Babyface firmware, and whether it needs an update or not. If so, simply press the 'Update' button. A progress bar will indicate when the flash process is finished (Verify Ok). After the update the unit needs to be reset. This is done by powering down the Babyface for a few seconds. A reboot of the computer is not necessary. When the update fails (status: failure), the unit's second BIOS will be used from the next cold boot on (Secure BIOS Technology). Therefore the unit stays fully functional. The flash process should then be tried again on a different computer.
16. Configuring the Babyface

16.1 Settings Dialog

Configuring the Babyface is done via its own settings dialog. Start the program Fireface USB Settings. The mixer of the Babyface (TotalMix FX) can be configured by starting the program Fireface USB Mixer. The Babyfaces hardware offers a number of helpful, well thought-out practical functions and options which affect how the card operates - it can be configured to suit many different requirements. The following is available in the Settings dialog: Operation of the DSP Configuration of the digital I/O Current sample rate Synchronization behaviour State of input and output
Any changes performed in the Settings dialog are applied immediately - confirmation (e.g. by exiting the dialog) is not required. However, settings should not be changed during playback or record if it can be avoided, as this can cause unwanted noises. Use the drop down menu Properties For to select the unit to be configured. On the right of it the current firmware and driver version is shown.
Options DSP EQ for Record Switches the 3-band EQ and Low Cut of all input channels into the recording path. In case Loopback has been activated the EQ and Low Cut of the Output channel is placed into the recording path. See also chapter 23.5. Optical Out The optical TOSLINK output can operate as ADAT or SPDIF output. The Channel Status is fixed to Consumer state. Note: The optical input detects the incoming format automatically.

Clock Mode Sample Rate Used to set the current sample rate. This is the same setting as in the Audio MIDI Setup, just added here for your convenience. Clock Source The unit can be configured to use its own clock (Internal = Master) or the digital input signal (Optical = Slave). If the external source isn't available (Input Status No Lock), the unit will change to the internal clock. The current clock source is displayed as Current. Input Status Indicates for the optical input whether there is a valid signal (Lock, No Lock), or if there is a valid and synchronous signal (Sync). The third column shows the sample frequency detected by the hardware (coarse recognition, 32 kHz, 44.1 kHz, 48 kHz etc.). In Clock Mode the clock reference is shown. See also chapter 26.1.
16.2 Clock Modes - Synchronization
In the digital world, all devices must be either Master (clock source) or Slave (clock receiver). Whenever several devices are linked within a system, there must always be a single master clock. A digital system can only have one master! If the Babyfaces clock mode is set to 'Internal', all other devices must be set to Slave. The Babyface utilizes a very user-friendly, intelligent clock control, called AutoSync. Selecting Optical as Clock Source, the system constantly scans the digital input for a valid signal. If any valid signal is found, the Babyface switches from the internal quartz (Clock Mode Current Internal) to a clock extracted from the input signal (Clock Mode Current ADAT or SPDIF). The difference to a usual slave mode is that whenever the clock reference fails, the system will automatically use its internal clock and operate in clock mode Master. AutoSync guarantees that record and record-while-play will always work correctly. In certain cases however, e.g. when the inputs and outputs of a DAT machine are connected directly to the Babyface, AutoSync may cause feedback in the digital carrier, so synchronization breaks down. To solve this problem switch the Babyface clock mode to Master (Clock Source Internal). In some situations changing the clock mode can not be avoided. Example: A CD player is connected to the SPDIF input. Try recording a few samples from the CD and you will be disappointed - few CD players can be synchronized. The samples will inevitably be corrupted, because the signal from the CD player is read with the clock from the Babyface, being out of sync. In this case, the Clock Source should be set temporarily to SPDIF. RMEs exclusive SyncCheck technology (first implemented in the Hammerfall) enables an easy to use check and display of the current clock status. Input Status indicates whether there is a valid signal (Lock, No Lock) for the optical input, or if there is a valid and synchronous signal (Sync). In the field Clock Mode the clock reference is shown. See chapter 26.1. In practice, SyncCheck provides the user with an easy way of checking whether all digital devices connected to the system are properly configured. With AutoSync and SyncCheck, finally anyone can master this common source of error, previously one of the most complex issues in the digital studio world.

20. Hotline Troubleshooting
The newest information can always be found on our website www.rme-audio.com, section FAQ, latest Additions.
The unit and drivers have been installed correctly, but playback does not work: Is Babyface listed in the System Profiler? (Vendor ID 2613). Has Babyface been selected as current playback device in the audio application? The 8 ADAT channels dont seem to work The optical output has been switched to 'SPDIF'. As can be seen in the block diagram, all channels and their assignments still exist, but the optical transmitter has been disconnected from ADAT. The ADAT playback devices are still usable by routing and mixing them in TotalMix to other outputs. Playback works, but record doesnt: Check that there is a valid signal at the input. If so, the current sample frequency is displayed in the Settings dialog. Check whether the Babyface has been selected as recording device in the audio application. Check whether the sample frequency set in the audio application (Recording properties or similar) matches the input signal. Check that cables/devices have not been connected in a closed loop. If so, set the systems clock mode to Master. Crackle during record or playback: Increase the number and size of buffers in the application. Try different cables (coaxial or optical) to rule out any defects here. Check that cables/devices have not been connected in a closed loop. If so, set the systems clock mode to Master. Possible causes for a Babyface not working The USB cable is not, or not correctly inserted into the socket Not enough power. Use the special dual USB power cable.
Driver installation and Settings dialog/TotalMix work, but a playback or record is not possible While recognition and control of the device are low bandwidth applications, playback/record needs the full USB transmission performance. Therefore, defective USB cables with limited transmission bandwidth can cause such an error scheme.
21. Routing and Monitoring

21.1 Overview

The Babyface includes a powerful digital real-time mixer, the Babyface mixer, based on RMEs unique, sample-rate independent TotalMix technology. It allows for practically unlimited mixing and routing operations, with all inputs and playback channels simultaneously, to any hardware outputs. TotalMix FX adds 3-band parametric equalizer, low cut, echo and reverb. Here are some typical applications for TotalMix: Setting up delay-free submixes (headphone mixes). The Babyface allows for up to 6 fully independent stereo submixes. On an analog mixing desk, this would equal 12 Aux sends. Unlimited routing of inputs and outputs (free utilisation, patchbay functionality). Distributing signals to several outputs simultaneously. TotalMix offers state-of-the-art splitter and distributor functions. Simultaneous playback of different programs via a single stereo output. The ASIO multiclient driver supports the usage of several programs at the same time, but only on different playback channels. TotalMix provides the means to mix and monitor these on a single stereo output. Mixing of the input signal to the playback signal (complete ASIO Direct Monitoring). RME is not only the pioneer of ADM, but also offers the most complete implementation of the ADM functions. Integration of external devices. Use TotalMix to insert external effects devices, be it in the playback or in the record path. Depending on the current application, the functionality equals insert or effects send and effects return, for example as used during real-time monitoring when adding some reverb to the vocals. Every single input channel, playback channel and hardware output features a Peak and RMS level meter, calculated in hardware. These level displays are very useful to determine the presence and routing destinations of the audio signals. For a better understanding of the TotalMix mixer you should know the following: As shown in the block diagram (next page), the record signal usually stays un-altered. TotalMix does not reside within the record path, and does not change the record level or the audio data to be recorded (exceptions: EQ for Record and Loopback mode). The hardware input signal can be passed on as often as desired, even with different levels. This is a big difference to conventional mixing desks, where the channel fader always controls the level for all routing destinations simultaneously. The level meters of input and playback channels are connected pre-fader, to be able to visually monitor where a signal is currently present. The level meters of the hardware outputs are connected post-fader, thus displaying the actual output level.

21.5 The Control Strip

The Control Strip on the right side is a fixed element. It combines different functions that are either required globally, or constantly used, and therefore should not be hidden in a menu. Device selection. Select the unit to be controlled in case more than one is installed on the computer. DSP Meter. Shows the DSP load caused by activated EQs and Low Cuts. The DSP of the Babyface has been designed so that an overload can not occur. The display therefore is for information purposes only. Undo / Redo. With the unlimited Undo and Redo changes of the mix can be undone and redone, at any time. Undo/Redo does not cover graphical changes (window size, position, channels wide/narrow etc.), and also no changes to the Presets. The accidental overwrite of an EQ Preset can not be made undone. Undo/Redo also operates across Workspaces. Therefore a completely differently set up mixer view can be loaded via Workspace, and with a single click on Undo the previous internal mixer state is returned but the new mixer view stays.
Global Mute Solo Fader. Mute. Global Mute operates in a pre fader style, muting all currently activated routings of the channel. As soon as any Mute button is pressed, the Mute Master button lights up in the Control Strip area. With this button all selected mutes can be switched off and on again. One can comfortably set up a mute group or activate and deactivate several mute buttons simultaneously. Solo. As soon as any Solo button is pressed, the Solo Master button lights up in the Control Strip area. With this button all selected Solos are switched off and on again. Solo operates as Solo-in-Place, post fader style, as known from common mixing desks. A typical limitation for mixing desks, Solo working only globally and only for the Main Out, does not exist in TotalMix. Solo is always activated for the current submix only. Fader. A Shift-click on a fader adds the fader to the temporary fader group. All faders now marked yellow are ganged, and move simultaneously in a relative way. The temporary fader group is deleted by a click on the F symbol.
View Options. This area combines different functions of routing, the level meters and the mixer view. Routing Submix: The Submix view (default) is the preferred view and delivers the quickest overview, operation and understanding of TotalMix. The click on one of the Hardware Output channels selects the respective submix, all other outputs are darkened. At the same time all routing fields are set to this channel. With Submix view, it is very easy to generate a submix for any output: select the output channel, adjust the fader and pans of first and second row finished. Free: The Free view is for advanced users. It is used to edit several submixes simultaneously, without the need to change between them. Here one works with the routings fields of the input and playback channels only, which then show different routing destinations. Trim Gains. Activates all Trim buttons on all channels. TotalMix thus behaves like a conventional, simple mixing desk. Each fader affects all active routings of the channel simultaneously, as if the fader were a trimpot in the hardware input.

21.9 Hotkeys and Usage

TotalMix FX has many hotkeys and mouse/hotkey combinations to speed up and simplify the usage. The Shift key enables a fine-tuning of the gain with all faders and in the Matrix. On all knobs it will speed up the setting. A click on a fader with held down Shift key adds the fader to the temporary fader group. A click in the fader path with held down Shift key will let the fader jump to 0 dB, at the next click to. Same function: Double click of the mouse. Clicking on one of the Panorama or Gain knobs with held down Shift key lets the knob jump tp center position. Same function: Double click of the mouse. Clicking on one of the channel settings buttons (slim/normal, settings, EQ) with held down Shift key lets all channels to the right change their state. For example all panels can be opened/closed simultaneously. A double click of the mouse on a knob or its numerical field opens the according Input Value dialog. The desired value can then be set by keyboard. Dragging the mouse from a parameter field increases (move up) or decreases (move down) the value in the field. Ctrl-N opens the dialog Function Select to open a new TotalMix window. Ctrl-W opens the dialog File Open of the operating system to load a TotalMix Workspace file. The key W starts the dialog Workspace Quick Select for a direct selection or storage of up to 30 Workspaces. The key M switches the active window to Mixer view. The key X switches the active window to Matrix view. Ctrl-M opens a new Mixer window, Ctrl-X opens a new Matrix window. Another Ctrl-M or Ctrl-X closes the new window again. F1 opens the online help. The Level Meter setup dialog can be opened with F2 (same as in DIGICheck). The dialog Preferences is opened with F3. Alt-F4 closes the current window. Alt and number 1 to 8 (not on the numeric keypad!) will load the corresponding Snapshot. The right mouse button selects a Hardware Output. At the same time a context menu is displayed having these options: Clear Submix. Deletes the whole submix of the selected output. All inputs and playbacks of this routing will be set to. Copy Submix. Copies the whole submix of the selected output into memory. All input and playback faders from that routing will be included. Paste Submix. Writes the previously copied submix on to the now selected output.

21.10 Menu Options

Deactivate Screensaver: When active (checked) any activated Windows screensaver will be disabled temporarily. Always on Top: When active (checked) the TotalMix window will always be on top of the Windows desktop. Note: This function may result in problems with windows containing help text, as the TotalMix window will even be on top of those windows, so the help text isn't readable. Enable MIDI Control: Activates external MIDI control of the TotalMix mixer. In Mackie Protocol mode the channels which are currently under MIDI control are indicated by a colour change of the name field. Submix linked to MIDI control. The 8-channel group follows the currently selected submix, means Hardware Output, when a different submix is chosen on the remote as well as when doing this in TotalMix. When using multiple windows it can be useful to deactivate this feature for specific windows. The view will not change then. Preferences: Opens a dialog box to configure several functions of the level meters and the mixer. See chapter 21.7. Settings. Opens a dialog box to configure several functions like Talkback, Listenback, Main Out and the MIDI Remote Control. See chapter 21.8. Reset Mix. Offers several options to reset the mixer state: Straight playback with all to Main Out. All Playback channels are routed 1:1 to the Hardware Outputs. Simultaneously all playbacks are mixed down to the Main Out. The faders in the third row are not changed. Straight Playback. All Playback channels are routed 1:1 to the Hardware outputs. The faders in the third row are not changed. Clear all submixes. Deletes all submixes. Clear channel effects. Switches off all EQs, Low Cuts, Reverb, Echo and Stereo Width and sets their knobs to default position. Reset output volumes. All faders of the third row will be set to 0 dB, Main and Speaker B to -10 dB. Reset channel names. Removes all names assigned by the user. Total Reset. Playback routing 1:1 with mixdown to Main Out. Switches off all other functions.

22. The Matrix

22.1 Overview
The mixer window of TotalMix looks and operates similar to mixing desks, as it is based on a conventional stereo design. The matrix display presents a different method of assigning and routing channels, based on a single channel or monaural design. The matrix view of the Babyface has the look and works like a conventional patchbay, adding functionality way beyond comparable hardware and software solutions. While most patchbays will allow you to connect inputs to outputs with just the original level (1:1, or 0 dB, as known from mechanical patchbays), TotalMix allows you to use a freely definable gain value per crosspoint. Matrix and TotalMix are different ways of displaying the same processes. Because of this both views are always fully synchronized. Each change in one view is immediately reflected in the other view as well.

Examples for sending MIDI strings: - Set input 1 to 0 dB: B68 - Set input 5 to maximum attenuation: B1 6A 0 - Set playback 1 to maximum: B7F - Set Output 3 to 0 dB: B68 Note: Sending MIDI strings requires to use programmer's logic for the MIDI channel, starting with 0 for channel 1 and ending with 15 for channel 16. Further functions: - Trim Gains On: BC 66 xx (BC = MIDI channel 13, xx = any value) - Trim Gains Off: BC 66 xx or select a submix Select submix (fader) in third row: - channel 1/2: BC 68/69 xx - channel 3/4: BC 6A/6B xx etc.

24.6 Loopback Detection

The Mackie Control protocol requires feedback of the received commands, back to the hardware controller. So usually TotalMix will be set up with both a MIDI input and MIDI output. Unfortunately any small error in wiring and setup will cause a MIDI feedback loop here, which then completely blocks the computer (the CPU). To prevent the computer from freezing, TotalMix sends a special MIDI note every 0.5 seconds to its MIDI output. As soon as it detects this special note at the input, the MIDI functionality is disabled. After fixing the loopback, check Enable MIDI Control under Options to reactivate the TotalMix MIDI.
25. Technical Specifications

25.1 Analog

AD, Microphone/Line 1-2 Input: XLR, electronically balanced Input impedance: 2 kOhm Resolution: 24 bit Signal to Noise ratio (SNR): 108 dB RMS unweighted, 111 dBA Frequency response @ 44.1 kHz, -0.1 dB: 5 Hz 20.6 kHz Frequency response @ 96 kHz, -0.5 dB: 5 Hz 45.3 kHz Frequency response @ 192 kHz, -1 dB: 5 Hz - 90 kHz THD: < -100 dB, < 0.001 % THD+N: < -98 dB, < 0.0012 % Channel separation: > 110 dB Gain range: 0 dB, +9 up to +60 dB Maximum input level XLR, Gain 0 dB: +12 dBu Maximum input level XLR, Gain 60 dB: -48 dBu CLIP LED: 0 dBFS SIG LED: -52 dBFS AD, Instrument In 2 As Microphone/Line 1-2, but: Input: 6.3 mm TRS jack, unbalanced Input impedance: 470 kOhm Maximum input level TRS, Gain 9 dB: +12 dBu Maximum input level TRS, Gain 60 dB: -39 dBu
DA, Line Out 1-2 Resolution: 24 bit Dynamic range (DR): 112 dB, 115 dBA @ 44.1 kHz (unmuted) Frequency response @ 44.1 kHz, -0.5 dB: 5 Hz - 22 kHz Frequency response @ 96 kHz, -0.5 dB: 5 Hz 45 kHz Frequency response @ 192 kHz, -1 dB: 5 Hz - 80 kHz THD: - 104 dB, 0.00063 % THD+N: -100 dB, 0.001 % Channel separation: > 110 dB Output: XLR balanced Output impedance: 75 Ohm Output level balanced at 0 dBFS: +15 dBu Output level unbalanced at 0 dBFS: +9 dBu DA, Phones 3/4 As DA Line Out, but: Output: 6.3 mm TRS jack, unbalanced Output impedance: 30 Ohm Output level at 0 dBFS: +7 dBu

XLR Connectors The servo-balanced input circuitry allows to use monaural TS jacks (unbalanced) with no loss in level. This is the same as when using a TRS-jack with ring connected to ground. The electronic output stage does not operate servo-balanced! When connecting unbalanced equipment, make sure pin 3 of the XLR output is not connected. A connection to ground will cause higher THD (distortion)!
TRS Phones jack The analog output 3/4 is accessible through a stereo " TRS jack. This allows a direct connection of headphones. In case the output should operate as Line output, an adapter TRS plug to RCA phono plugs, or TRS plug to TS plugs is required. The pin assignment follows international standards. The left channel is connected to the tip, the right channel to the ring of the TRS jack/plug.
15-pin D-type connector and XLR breakout cable Pin 5 Name Line In Left Line In Right + Line Out Right + MIDI Out (5) MIDI In (4) Pin 10 Name Line In Left + Line Out Left Line Out Right GND/Shell MIDI In (5) Pin 15 Name Line In Right Line Out Left + Phones Left Phones Right MIDI Out (4)
15-pin D-type connector and RCA/phono breakout cable Pin 5 Name GND/Shell Line In Right + Line Out Right + MIDI Out (5) MIDI In (4) Pin 10 Name Line In Left + n.c. n.c. GND/Shell MIDI In (5) Pin 15 Name GND/Shell Line Out Left + Phones Left Phones Right MIDI Out (4)

28. Accessories

There are several items available for the Babyface: Part Number Description
Optical cable for SPDIF and ADAT operation: OK0050 OK0100 OK0200 OK0300 OK0500 OK1000 NTCARDBUS BF-BAGBK BF-BOCMKH BF-BOXLRMKH BF-EXT13 Optical cable, TOSLINK, 0.5 m (1.6 ft) Optical cable, TOSLINK, 1 m (3.3 ft) Optical cable, TOSLINK, 2 m (6.6 ft) Optical cable, TOSLINK, 3 m (9.9 ft) Optical cable, TOSLINK, 5 m (16.4 ft) Optical cable, TOSLINK, 10 m (33 ft) Power supply for Babyface. Robust and light-weight switching power supply, 100 V-240 V AC, 12 V 2 A DC. Bag for Babyface Breakout cable RCA (phono) Breakout cable XLR Extension cable 1.3 m (4.6 ft)

29. Warranty

Each individual Babyface undergoes comprehensive quality control and a complete test before shipping. The usage of high grade components should guarantee a long and trouble-free operation of the unit. If you suspect that your product is faulty, please contact your local retailer. Audio AG grants a limited manufacturer warranty of 6 months from the day of invoice showing the date of sale. The length of the warranty period is different per country. Please contact your local distributor for extended warranty information and service. Note that each country may have regional specific warranty implications. In any case warranty does not cover damage caused by improper installation or maltreatment replacement or repair in such cases can only be carried out at the owner's expense. No warranty service is provided when the product is not returned to the local distributor in the region where the product had been originally shipped. Audio AG does not accept claims for damages of any kind, especially consequential damage. Liability is limited to the value of the Babyface. The general terms of business drawn up by Audio AG apply at all times.

30. Appendix

RME news, driver updates and further product information are available on our website: http://www.rme-audio.com Distributor: Audio AG, Am Pfanderling 60, D-85778 Haimhausen, Tel.: (49) 08133 / 91810
Trademarks All trademarks, registered or otherwise, are the property of their respective owners. RME, DIGICheck and Hammerfall are registered trademarks of RME Intelligent Audio Solutions. SyncCheck, ZLM, DIGI96, SyncAlign, TMS, TotalMix, SteadyClock and Babyface are trademarks of RME Intelligent Audio Solutions. Alesis and ADAT are registered trademarks of Alesis Corp. ADAT optical is a trademark of Alesis Corp. Microsoft, Windows XP and Windows Vista are registered trademarks or trademarks of Microsoft Corp. Steinberg, Cubase and VST are registered trademarks of Steinberg Media Technologies GmbH. ASIO is a trademark of Steinberg Media Technologies GmbH. Copyright Matthias Carstens, 02/2011. Version 1.4 Current driver version: W: 0.966, Mac OS X: 1.50, Firmware 179 Although the contents of this Users Guide have been thoroughly checked for errors, RME can not guarantee that it is correct throughout. RME does not accept responsibility for any misleading or incorrect information within this guide. Lending or copying any part of the guide or the RME Driver CD, or any commercial exploitation of these media without express written permission from RME Intelligent Audio Solutions is prohibited. RME reserves the right to change specifications at any time without notice.
31. Declaration of Conformity
This device has been tested and found to comply with the limits of the European Council Directive on the approximation of the laws of the member states relating to electromagnetic compatibility according to RL2004/108/EG, and European Low Voltage Directive RL2006/95/EG.
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: - Reorient or relocate the receiving antenna. - Increase the separation between the equipment and receiver. - Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. - Consult the dealer or an experienced radio/TV technician for help.