ALVA offer a collection of durable audio products built to the highest standards. Forming a perfect complement to the products from our partners from RME, there's an extensive selection of professional cables and a range of other items designed to make studio or on-stage life easier.
Appsys ProAudio is a Swiss design and manufacture company dedicated to creating digital solutions for broadcast, post-production, live and recording studios.
Calrec Audio supplies audio broadcast mixing consoles which are relied on by the world's most successful broadcasters.
Originally formed as a microphone manufacturer in 1964, Calrec celebrated 50 years as audio specialists in 2014.
The company's reputation for build quality, reliability and audio performance has made it an industry benchmark across the world.
DirectOut GmbH specialises in developing essential pro audio connectivity, networking and bridging solutions for broadcast, studio, live and installed sound applications.
The product range offers solutions that build bridges between different audio worlds, with support for MADI, SoundGrid, Dante, RAVENNA and the standards AES67 and SMPTE ST2110-30/31.
Founded in 1977 in Skanderborg, Denmark, Dynaudio has over 40 years of experience in producing cutting-edge loudspeakers.
From the classic BM Series and contemporary LYD Series, to the
high-end Core and M Series ranges of studio monitors, Dynaudio's focus
on transparency and accuracy has made them a household name of the
recording studio and broadcast audio industries.
In the UK, Dynaudio can be found in major studios such as Abbey Road
and Air Studios, as well as the next generation of film and game studios
mixing for surround sound and Dolby Atmos.
As well as the highly respected B4000+ organ module, Ferrofish offers a range of quality ADAT <> MADI <> Analogue converters that can be used for studio, live, post-production and broadcast applications and at a price that will suit any budget.
iConnectivity is a renowned professional audio manufacturer known for creating innovative and versatile products.
Headquartered in Calgary, Alberta Canada, the iConnectivity range includes audio and MIDI interfaces that are perfect for both studio and live sound.
The mioXL MIDI 1U rack unit is a favourite among studio and live sound professionals as a robust MIDI hub, whilst the unique PlayAUDIO1U interface allows for the connection of multiple host computers via USB.
High-end monitor controllers, headphone amplifiers and microphone preamps from Konstanz, Germany.
Founded in 1986, Lake People has been designing and manufacturing top-tier professional recording solutions for over 30 years in the Lake Constance region.
Renowned for their exceptional sound quality and reliability, Lake People products proudly carry the acclaimed "Made in Germany" seal of quality.
Lauten Audio design and manufacture high quality studio microphones with a unique and distinctive character.
Based in Northern California, the company regularly collaborates with industry professionals when creating fresh and original sounding microphones.
RME is a German company founded in 1996 by a small group of professional audio engineers and designers.
From day one, the team have stuck to a strict philosophy of truly innovative design and unparalleled reliability in the field of digital audio.
Award-winning headphone and speaker calibration software / measurement microphones from Sonarworks.
Calibrate your headphones and studio monitors with Sonarworks' SoundID Reference software. Create, mix and deliver with confidence, trust every mixing decision, and deliver an accurate studio reference sound every time.
Used and loved by over 200,000 sound recording studios globally.
Handmade pro audio equipment from Madrid, Spain. Combining eco-friendly materials with premium analogue sound, the Tierra Audio range includes Microphones, Preamps, EQs, Compressors and more, and in a variety of different flavours - from clean and precise, to warm, colourful and full of character.
Every component is built to the highest of standards, guaranteeing high-end sonic performance and maximum durability for studio recording, mixing and mastering applications.
A selection of Ex-Demo, B-Stock and Open-Box products from our brands including RME, Ferrofish, Icon and Lauten Audio.
Available at reduced prices from new so grab yourself a bargain!
Synthax Audio UK is a
professional audio distributor supplying the recording studio, live
audio, broadcast, installation, education and scientific application
markets.
Representing a number of established pro audio manufacturers, we keep immediate stock of all key items
from our brands including RME Audio, Calrec Brio and Type R, Ferrofish,
Dynaudio studio monitors, DirectOut, iConnectivity, Appsys ProAudio Multiverter and SRC, TIERRA Audio, Lake People, and
Lauten Audio Microphones.
Tristan Cassel-Delavois is a talented multi-intrumentalist who works with a number of acts and writes and produces his own material. He is also a big RME fan and kindly sent us these pics and words telling us about his set up.
“My journey with music started at the age of 8 with the violin which eventually gave way to singing and playing guitar once I hit 15 and couldn’t stop listening to rock music combined with the beach boys and the Beatles. After college I moved to London to study at the musicians institute.
The established artists I have worked with include Tricky, Tim Minchin, MJ Cole but I have always enjoyed being in bands and creating live shows whether for myself or for others. Now as a musical director, musician or audio programmer the tools I use revolve around Ableton Live for software and RME sound cards for hardware.
The Tricky show we are running this year relies more than ever on an innovative use of samples and loops so I settled on an RME Fireface UFX combined with an RME ADI-8 DS Mk III for the main laptop. This allows us to split stems out to the guys out front, record shows easily if we need to directly to the UFX and probably the most important feature is Totalmix FX.
The drummer and I both have iPads that wirelessly communicate with Totalmix via the Touch OSC app so we can control our own in-ear mixes during the gig. This is particularly important as the show is never the same twice and the songs can be in any order and be broken down into almost any structure at a moments notice as Tricky directs the music on the fly throughout the entire show. Pretty much anything can happen onstage so it is really important to have reliable and well built equipment and the addition of the after sales support from the RME guys via their forums is second to none so you feel well looked after.
We also have a backup Laptop running the same show with a Babyface and a stereo mix of the samples and loops so that if the power supply blows for any reason onstage we can switch to the battery powered setup.
The stage is set for Tricky’s live show in Bulgaria
For my own live shows and other smaller projects I use an (RME Fireface) UCX as my show needs to be a lot more portable but it still gives me the option to split backing stems out if needed or supply in ear mixes to a few people.
When I’m off the road I’m working on several different projects at once. Original projects include my own and the dance collective Bear Nang. This year I have started composing for film/tv and having edited sound to a short film last year I’m now composing/editing and mixing the music/sound design for an upcoming short film called Dive that has Film London support.”
Comments Off on RME TotalMix FX Version 1.1. Update for iPad
RME have released version 1.1 of TotalMix FX for iPad. Available on the App Store, the latest update boasts a number of new features including reduced CPU load and a much improved user experience.
When in Class Compliant mode, the RME TotalMix FX app adds full control over hardware and DSP effects for the Fireface UCX and UFX. And with the new version 1.1, the Babyface and the new Fireface 802 have now been added to the list of supported audio interfaces. TotalMix FX also gives you control over sample rate, clock sync configuration and digital I/O format selection.
Other new features for TotalMix FX for iPad include background Mode with advanced sample rate control, a new 2-Row view mode, faster level meters, and highly reduced CPU load in display, hardware communication and internal operation.
RME TotalMix FX for iPad runs on any iPad and all iOS versions from 5.0 up, using only few resources. As under Windows and Mac OS X it does not process audio, but acts as a remote control for your audio interface. The app is fully compatible even when storing/loading workspaces, and other than MIDI/OSC remote control, TotalMix FX for iPad includes all the creative and useful features found on the desktop version.
When using the RME Fireface UCX and TotalMix FX with your iPad, the interfaces entire functionality is unlocked with full overview and lightning fast configuration. This is also true of Fireface UFX, but with the added advantage of full control over DURec (Direct USB Recording) from your iPad.
TotalMix for iPad also benefits from the background audio function in iOS. This means that you are able to switch in and out of TotalMix at any time during recording and playback, without interrupting your audio.
The app includes an extensive “Help” section, whilst further information on TotalMix FX and Class Compliant operation can be found in the current manuals available in the downloads area at www.rme-audio.com
Comments Off on Matt Robertson on Bjork, The Prodigy, Synths & RME
Matt's CV includes credits for production, composition, engineering, orchestration, musical direction and programming, working alongside artists such as Björk, The Prodigy, Dido, Lamb and Phronesis.
Matt Robertson is a multi-talented musician based in Brighton UK. His skills are as diverse as the artists he works for, with credits for production, composition, engineering, orchestration, musical direction and programming on his CV, and working with artists such as Björk, The Prodigy, Dido, Lamb and Phronesis.
However it is a passion for synthesizers that runs through all of these projects, and a fascination with sound that started at an early age.
“I started to learn piano at about 7” Matt says, “and although I love that, and still do, my music teachers back then really inspired me to look into electronic music. I got my first synth when I was about 14 from a music shop that I was working weekends in, and one shortly after that, which I found in the trash at school, and that was the beginning of my fascination with electronic sounds!”
In the studio, Matt relies on the quality, reliability and functionality of RME products.
“The hub of my studio is the RME HDSPe MADI. That is my main soundcard and I use SSL converters with it. I have several different routings in the TotalMix software that allow me to recall pretty complex routing setups very quickly. I used to have several patch bays but RME’s TotalMix software has made them redundant. A lot of the features are controlled via MIDI from my main controller, so it still feels very hands on. I also have an RME Fireface UFX, which I use as additional inputs in my studio, and again use the TotalMix software extensively to route everything around. All my synths are always on input and I can route anything to any effects chains really easily.
The (RME Fireface) UFX comes into its own though for live recording. I have a mobile studio setup that I use for recording live gigs. Recently I recorded the Phronesis album ‘Life to Everything’ for the Danish bass virtuoso Jasper Hoiby. The quality of the converters is stunning, and the ability to make a complete backup recording straight onto the USB drive in the front means I no longer have to take a second laptop around with me…. It’s pretty life changing!”
Matt spent most of 2012-13 touring with Björk as her Musical Director and keyboard player:
“It was an amazing experience, so many challenges and so many really talented people working on it. You really have to know your gear, and know that your gear wont let you down.”
Matt’s film work has included programming for the recent Nick Frost / Simon Pegg film The World’s End, and the Schwarzenegger / Stallone film Escape Plan.
User Feature By Derek Lincoln, Tees Music Alliance
When Tees Music Alliance installed an RME Fireface UFX there was a general hum of excitement and over the last 4 weeks comments have been flying in.
“Wow that looks great!”
“Finally moving into the 21st Century?”
“How does it work? Will you show me?”
“I’ve been able to do more with music in the last two weeks than ever before. This is what I love to do!”
Getting a UFX in our small venue is helping us move to a new level in what we do – supporting musicians in one of the most disadvantaged parts of the country.
As a small, not-for-profit company, we are always looking for new ways to support and help musicians and music lovers. Over the last year we have opened a new, small venue to promote local bands. We knew we needed better audio and wanted to install a system that would give us the greatest flexibility in how the space could be used. The Fireface UFX has given us that.
Since being installed a month ago we have been able to truly open up the use of the space. All of the following has been possible with no professional input with all audio work being carried out by volunteers and staff.
Tees Music Alliance with their RME Fireface UFX
We have hosted two live evenings with performances ranging from singer guitarists to a full band with eight members. The singer was recorded live using direct USB recording with very impressive results. Providing microphones for an eight piece band in a small venue is always a challenge but with the help of an ADAT connected 8 mic pre, and Russell (who was producing the sound for just the second time) eventually declared “headline band going class. FINALLY PAYING OFF”.
Practice rooms are in short supply round here and the addition of being able to offer bands the ability to record their rehearsals is an added bonus. With just a small amount of guidance and a spare memory stick, we have been able to let bands rehearse and record through the UFX. “I’m amazed at how quickly we can come in and set up and get such a professional quality sound” was the immediate feedback.
In preparing for our summer festival, Stockton Weekender, our volunteers have been recording and filming live sets of the local bands that will be on the bill with Primal Scream, Dexy’s, Spiritualized and The Proclaimers. With the UFX and using both direct USB recording (DURec) and Cubase, we have been able to capture some of the outstanding local talent in the run up to this major local event. This has worked really well with the volunteers gaining experience and the artists getting a quality recording and video for promoting their work.
We still have a long way to go with how we can use the UFX, we have yet to experiment with MIDI, mobile recording or using an iPad as remote but I am sure we will have fun along the way.
Depeche Mode recently embarked on their “Delta Machine” tour which will last nearly two years and is predominantly covering Europe and the US. Delta Machine is Depeche Mode’s 13th album which is the latest in a band career that spans an amazing 32 years with over 100 million album sales.
Depeche Mode’s programmer and Musical Director Kerry Hopwood, has been with the band from very early and has an intimate understanding of the band’s technical requirements. He had until recently spec’d a dedicated sample system that was to control and output the show’s additional sounds, but due to ongoing problems they decided to look elsewhere.
In the video below, Kerry and keyboard tech Ben Adams explain why they chose various RME interfaces to help run the show and what a difference it made to the sound.
The Depeche Mode Delta Machine tour uses the following RME devices:
The Fireface UCX, Babyface and Fireface UFX are not only three of the most popular interfaces in RME’s line of USB solutions – they also feature a special mode making them compatible to the world’s most popular tablet – the Apple iPad®. While these devices give the iPad all the missing professional I/O that it lacks, the usage of the units’ TotalMix FX was either impossible or cumbersome.
TotalMix FX for iPad now adds full control over the hardware mixer and DSP effects for the Fireface UFX, UCX and Babyface when in Class Compliant mode, and lets users create, store and load complete mixes directly from the iPad. Additionally, hardware controls like phantom power for microphone inputs, mic/line/instrument switching and sample rate are supported.
TotalMix FX has been ported to the iPad carefully to be used safely while maintaining the tablet’s feel and ease of use. Landscape and portrait view, two zoom levels for detail view and overview, horizontal and vertical scrolling via swipe gestures, newly designed Retina graphics and much more make it both a breeze and joy to use.
TotalMix FX does not interfere with other apps performing a recording or playback. The user can always switch to TotalMix FX to adjust a monitor mix, gains, or effects such as equalizer, compressor, reverb and echo. Record and playback will continue in the background.
Comments Off on RME Fireface UFX Now Class Compliant
A certain American based audio interface company claimed at NAMM 2013 that they had launched “The first professional multi-channel audio interface for iPad & Mac”. As well as this being an obvious untruth in that they were definitely not the “first”, this was also a little insulting to pro users that had been using their iPad and RME Fireface UCX for almost a year already (See our announcement from Jan 2012). But, they wouldn’t be the first to ride on the coat tails of RME’s ground breaking technologies, and they certainly will not be the last.
The arrival of apps that supported multichannel playback with iOS 6 in September 2012 allowed some companies to finally get excited about the iPad being a genuine option for multitrack recording. This of course gave the early adopting Fireface UCX and Babyface even more functionality with the iPad and the many DAW apps that are now available.
Now, if that wasn’t news enough for you screen swiping and tapping iPad junkies (of which I am definitely one), RME have just announced that their flagship Fireface UFX is the latest interface to feature the class compliant mode. This makes it the most versatile high-end professional audio interface available, giving you up to 22 channels of I/O on your iPad. You can of course still use the Fireface UFX with TotalMix on your Mac or PC and with DURec in stand-alone mode. And remember, all RME audio interfaces come with rock solid drivers that work from day one!
So, does that make the RME Fireface UFX “The first REALLY professional multi-channel audio interface for iPad & Mac”? (It’s hard to come up with these tag lines, there must be an App… Oh Gee!)
Click below for Fireface UFX class compliant mode information and firmware updates.
The Arch Improvisors, with TouchOSC being used to mix the band in combination with RME’s TotalMix FX
Engineer Matt Saunders recently sent us this article about his experience of his new RME Fireface UFX on a live free improvisation gig;
The Arch Improvisors Or Four musicians, three iPads, a laptop, an engineer and an RME Fireface UFX
“… oh, and can I try out your UFX as my sound card for this gig I’m doing?” asked Lawrence.
“Of course,” I replied amenably “and whilst we’re at it why don’t we mix the gig on it and record it too? In fact, why don’t I come and do it for you?”
“Great,” came the reply. “Oh and by the way, there’s no money in it.”
By now the mental alarm bells were starting to ring. “What have you said yes to now”, my inner voice chimed in. “Why didn’t you ask that before you opened your big mouth?” I yelled back over the internal pealing. “Come to think of it, why the alarm bells? Can’t you choose a quieter inner metaphor? Say a whisper in my ear for instance.” But inner voice had gone out for an immaterial smoke and all I heard was the faint reverb of my own head as I tried to convince myself that this was a great chance to try out some ideas.
However, Mr. Voice’s misgivings proved groundless as we shall discover.
The Gig: Hannah Marshall, cello; Noel Taylor, clarinet/bass clarinet; Jamie Coleman, trumpet; Lawrence Casserley, live processing.
The Venue: Arch 1, somewhere in the de-militarised zone surrounding the Olympic Park in deepest East London.
The Equipment: 4 musicians, associated acoustic instruments, a sound processing instrument (created in Max/MSP), a MacBook Pro, 3 iPads, various DPA mics, some Sennheiser radio mic bits, an amp or two, some EVs, an engineer and an RME Fireface UFX.
The Mission (having chosen to accept it): to mix, process and record the gig on the RME Fireface UFX controlled from an iPad at the bar or wherever felt comfortable.
It was, it has to be said, an inauspicious start as I sat there quietly developing hypothermia contemplating the steel door on the entrance to the brick vault that gave the venue its name.
The aptness of the name was starting to take second place to possible frostbite when Robert (the owner) appeared to open up and I set to to prepare for impending musicians.
Lawrence’s instrument lives in his MacBook and is controlled by 2 iPads, running TouchOSC and a large Ableton style pad matrix. It is, of itself, mute and exists to process the acoustic musicians in real time, so the RME Fireface UFX handled his I/O. It may not be as visually exciting as large but finite number of Revoxs with one tape strung between them but it is magnitudes more flexible and requires fewer milk bottles.
I intended to mix and record the gig through RME’s Totalmix running on the same hardware controlled by another iBeast with TouchOSC and Matthias’s TotalmixpadLV template.
An adhoc, fixed IP, network was created on the Mac and the iDevices lashed and ported into it. (A short discussion was had about the seeming mutual incompatibility of the acronym DHCP and Max/MSP but no useful conclusion was reached).
Microphones were applied to musicians, well to their associated instruments, and some level checks were done.
And it just worked! OK, there was one slight hiccup in that, initially, no OSC was coming back from the Totalmix. But a quick reselection of the appropriate iPad from the ‘Options_Settings_OSC1’ tab drew a happy flashing of the red incoming OSC indicator on the pad.
I have to admit to a bout of happy giggling and Tigger like bouncing as the level meters pulsed before my eyes and the remaining recording time (humourously long due to the 1 TB of hard drive hanging off the RME Fireface UFX) appeared in the box. I moved faders and the level changed. I applied EQ and dynamics and the sound likewise changed as expected. I started the recording and lo the counter counted and the blue light flashed on the HDD.
Even when Lawrence was caning it on his iPads and the level meters were jigging swiftly there was no offensive lag in response. It was a pleasure to have the freedom to wander freely, mixer in hand, around the venue and sample the delights from a variety of comfortable positions. Having named all the channels in Totalmix my scribble strip was there with me and the hide channel ability enabled me to group the faders together on a single screen.
However, this is where my only annoyance/feature request lies. Since Lawrence’s instrument is in the box, his outputs come out on the ‘Software Playback’ row. This makes it impossible to group all the musicians on a single page without routing his output to a hardware output and then back in on an input (we did it with jack leads having not noticed the loopback facility in the Hardware Outs. Doh!). It would be nice to be able to put Totalmix into 2 Row mode and use the hide function to concatenate my channel needs onto a single screen on the iPad.
Now that I have discovered the joy of roaming free at my leisure (or at least until the WiFi signal drops) I can’t wait to use it on more technically complex gigs. One candidate springs immediately to mind where we have a distributed surround layout with no handy mix position and no speakers pointing at where I usually end up. It’s also much lighter than a traditional desk, digital or analogue, which my old bones appreciate deeply.
If only we could get the solo/PFL audio feed to the iPad…
Much thanks must go to Rob Masters et al at Synthax UK for putting up with my obscure questions and Ralph Dunlop at Sound Network for his inestimable DPAs. Thanks is also due to Matthias Carstens (head designer at RME) and his posse for making such a groovy box and the TouchOSC template. Last but by no means least to Rob Fischer who is Hexler and codes TouchOSC. I use it in other ways than this and it is a damned fine bit of kit.
TouchOSC can be downloaded from an App Store near you and one can find out more at http://hexler.net/
If you want to check out that candidate that comes to mind have a look at http://www.colourscape.org.uk. It’s an odd acoustic at the best of times.
This is our very own “rockumentary, if you will” about RME Sessions which was held on November 5th 2012 at Air Studios, London. Martin Warr (Synthax Audio, MD) explains how RME Sessions came about and what we actually did on the day.
We used 3 recording set ups, the first was an RME Babyface with Logic on a Mac Book Pro, the second was an RME Fireface UCX in Class Compliant mode on an iPad and an RME Fireface UFX with Pro Tools on an iMac.
We also used Lauten Audio mics across the session, including the new Atlantis FC-387 on lead vocals and Ultrasone headphones, which the band loved.
Simon Smith and Justin Spier of De Montfort University
We were recently invited to De Montfort University in Leicester, UK to take a look at their studios which feature various RME interfaces and converters.
Their most recent system was designed and installed by Studio Creations, one of the UK’s top pro audio suppliers.
In this video, Simon Smith, De Montfort University’s “Music Technician” tells us about their studio and music set ups, including the multi speaker studio which is for multi-channel composition and diffusion.
Justin Spier of Studio Creations also tells us about why RME MADI was important to the install.
Comments Off on Why Upgrade to an RME Fireface UFX
We are constantly asked why someone should upgrade their RME Fireface 800 and/or other audio interfaces to the RME Fireface UFX. There are of course many reasons, not least the significant jump up sonically, but also features such as DURec (Direct USB Recording) making the Fireface UFX a standalone hard disc recorder, make it a unique interface that will work at the heart of your studio and/or live rig.
This film gives you an overview on what you get for your money when you upgrade to the RME Fireface UFX.
At Synthax Audio we are constantly working to improve how we serve and support RME customers in the UK, and as part of this, we are pleased to announce that we are launching “RMExpert”, an in-store programme which is dedicated to offering you the best possible service for RME products.
We have handpicked a number of enthusiastic and knowledgeable sales people in various RME authorised stores across the UK and have trained them to a level that qualifies them as RMExpert’s. As this training is ongoing, this means that RMExpert’s will be able to offer a commitment of service never before seen in the UK.
So, how can an RMExpert help you? It’s worth pointing out that RMExpert’s already know their stuff, many are musicians, engineers, editors, writers and producers so understand the requirements and demands of anyone who is looking to invest in their studio, live, post-production or broadcast facility. But now, any RMExpert can offer the following:
Want a comprehensive RME demo?
All RMExpert’s have demo RME stock on their shop floor or in their demo rooms, including the new Fireface UFX, and are able to give you a comprehensive demo. As well as a thorough walk through RME hardware, RMExpert’s are able to take you through Totalmix and Totalmix FX, RME’s software user interface for routing, mixing and now dynamics and FX.
Which RME interface is for you?
With such a comprehensive range of products that include Analogue, ADAT, AES, S/PDIF and MADI I/O using Firewire, USB 2.0, PCI, PCIe and PCI Express connectivity, RMExpert’s can offer you help and advice on which RME solution would be best suited to your application.
Can you buy from an RMExpert?
RMExpert’s and the stores that they work for hold plenty of RME stock and are the perfect place to buy after you have had your demo.
And what about after you have bought your RME interface?
Even when you have bought and started using your RME interface, you can go back to your RMExpert for advice. He or she will also be able to point you to more resources such as videos and forums to help you get the best from your interface. And of course, you can always contact us if you need even more expertise, we are always happy to help.
How do I contact an RMExpert?
You can contact any of our RMExpert’s directly here. Go on, give them a call or email them to set up a demo or to more information.
Tristan Cassel-Delavois is a talented multi-intrumentalist who works with a number of acts and writes and produces his own material. He is also a big RME fan and kindly sent us these pics and words telling us about his set up.
