Rme Babyface For Mac

admin 12/13/2021

Rmeavbcontrollermac.zip: Mac OS X driver for Fireface UFX / UFX+ / UFX II, 802, UCX, UC, Babyface, Babyface Pro, MADIface XT / USB / Pro, Digiface USB, version 2.22 (2). Compatible to 10.6 and up, 32/64 bit.: driverusbmac2222.zip: Mac OS X Intel driver for Fireface UFX, UCX, UC and Babyface, version 1.68. Note for RME Fireface 802 users only. If you have a Fireface 802, your microphone gains will be analogue, so you’ll need to use the analogue gain pots on the front of your interface to increase the level. All other RME audio interfaces feature digitally-controlled mic preamp gains. Mac – How to use Skype or Zoom with an RME audio interface. 1) Make sure you have your audio interface connected to your Mac, and that you have your RME device selected in your System Preferences for both Input and Output. 2) If you haven’t already, connect your microphone and open TotalMix FX.

We take you through the steps for using popular video call apps Zoom and Skype with an RME audio interface.

  1. RME Fireface Series and Babyface Pro FS - Equipped with Premium Plug-ins.North & South American Customers Only. Effective July 1, 2020 this promotion applies to all Fireface Series interfaces. Fireface series interface must have been purchased on or after July 1, 2020.
  2. Mac OS X driver for Fireface UFX / UFX+ / UFX II, 802, UCX, UC, Babyface, Babyface/Pro, MADIface XT / USB / Pro, Digiface USB Version 2.22. Compatible to 10.6 and up, 32/64 bit.

With the UK and much of the rest of the world currently on lockdown due to the COVID-19 outbreak, video apps like Skype and Zoom have become increasingly popular for communication.

Although the audio quality is pretty poor (mono and heavily compressed), these apps are still a great way to collaborate remotely, for bouncing ideas with your band mates or other musicians.

What’s more, using professional-level audio equipment will still vastly improve the audio quality, and we’d highly recommend investing in a professional audio interface and a high quality vocal microphone – equipment that you’ll continue to use for recording post-lockdown.

If you’re already an RME user and are wondering how you can use your interface with Skype and Zoom, wonder no more, as we outline the steps to setting up below.

We’ll also have additional video tutorials to follow very soon, where we’ll go into more detail about multi-channel playback and recording, and look at some more professional options for higher quality audio.

Please Note: You’ll want to use headphones rather than speakers when working with Skype and Zoom. Using speakers / studio monitors will potentially cause you to run into problems with feedback. Keep things simple to begin with by keeping your volume levels low and turning things up slowly, until you’re happy you have everything set up correctly.

To jump to the Mac How To Guide, click here

To jump to the Windows How To Guide, click here


How to use Skype and Zoom with an RME Audio Interface: Setting Up Your Interface

See more videos at Synthax TV

Mac – How to use Skype or Zoom with an RME audio interface

1) Make sure you have your audio interface connected to your Mac, and that you have your RME device selected in your System Preferences for both Input and Output.

2) If you haven’t already, connect your microphone and open TotalMix FX. Switch on 48v phantom power for you mic input channel (if using a condenser) in the top-row of TotalMix, and raise the gain on the channel – the gain encoder is located next to the mic input channel (click the small wrench symbol to expand the options).

(On the Babyface Pro this will be labelled Mic 1, or AN 1 if you have the ‘NAMES’ button selected)

3) Click on the headphone output (bottom-row of TotalMix) to select the submix for your headphones (labelled PH 3/4 on the Babyface Pro). Route your microphone to your headphones output (so you can hear yourself), by raising the fader on your microphone input channel (top-row of TotalMix).

4) On a Mac, Skype / Zoom will use the first two outputs of your interface to receive audio (labelled AN 1/2 in the bottom row of TotalMix) – make sure that fader is raised too, so that Skype / Zoom sees your audio.

5) Make sure that you also have the audio from Skype / Zoom routed to your headphones, by clicking on your headphone output again (e.g. PH 3/4, bottom-row of TotalMix), then raising the first Software Playback channel (AN 1/2 in the middle row of TotalMix).

This next step will be slightly different depending on which RME audio interface you have;

For Babyface Pro, MADIface Pro, Fireface UC and Fireface UCX users

6) If you’re using one of RME’s smaller interfaces with Skype / Zoom, you can stop here, as Skype / Zoom will automatically see your mic input, since all RME’s smaller interfaces use the first two hardware inputs for microphones (Mic 1 & Mic 2, or AN 1/2 in the top-row of TotalMix).

There is therefore no need to route the microphone(s) to the Skype / Zoom output AN 1/2, as Skype / Zoom pick up audio from these channels by default.

You can test everything is working by going into the Skype / Zoom audio settings. Make sure you have your RME interface selected as both the output (labelled Speaker) and the input (labelled Microphone).

For some additional information on testing the input and output levels, scroll down to the end of this article.

For Fireface 802, UFX II and UFX+ (RME’s Loopback function)

6) If you’re using one of RME’s larger 1U interfaces, your microphone inputs will be on channels 9, 10, 11 and 12 (labelled Mic 9, Mic 10 etc in the top-row of TotalMix). So, you will need to route your microphone to output AN 1/2 (bottom-row of TotalMix), which Skype / Zoom uses for audio, and then activate RME’s loopback function, so that the microphone input you’re using is picked up by Skype / Zoom.

To route the microphone to Skype / Zoom, click on the AN 1/2 output in the bottom-row of TotalMix to make sure it’s selected, and now raise the fader for the input you have your mic plugged into (e.g. Mic 9) in the top-row of TotalMix, thereby routing the mic to that output.

7) Before Skype or Zoom can receive audio from your mic, you’ll need to activate RME’s Loopback function. Click on output AN 1/2 in the bottom-row of TotalMix, then click on the small wrench symbol to expand the options. Now click on the Loopback button to activate Loopback – this routes the audio back in as an input on channels 1 & 2, internally via your interface’s on-board DSP.

Note for RME Fireface 802 users only:
If you have a Fireface 802, your microphone gains will be analogue, so you’ll need to use the analogue gain pots on the front of your interface to increase the level. All other RME audio interfaces feature digitally-controlled mic preamp gains.

You will also want to route your mic to your headphone output if you haven’t already, by clicking on the headphone output on the bottom-row of TotalMix (e.g. PH 9/10), and raising the (e.g. Mic 9) fader so you can hear yourself for monitoring.

You should now be done. You can test everything is working by going into the Skype / Zoom audio settings. Make sure you have your RME interface selected as both the output (labelled Speaker) and the input (labelled Microphone).

For some additional information on testing the input and output levels, scroll down to the end of this article.

Windows – How to use Skype or Zoom with an RME audio interface

The steps for using Skype or Zoom on a Windows PC are much simpler, as the WDM Driver allows for any input or output to be visible in Skype or Zoom.

1) Make sure you have your audio interface connected to your PC, and have your RME interface selected in your Sound Settings for both Input and Output.

Babyface

2) If you haven’t already, connect your microphone and open TotalMix FX. Switch on 48v phantom power for you mic input channel (if using a condenser) in the top-row of TotalMix, and raise the gain on the channel – the gain encoder is located next to the mic input channel (click the small wrench symbol to expand the options).

(On the Babyface Pro this will be labelled Mic 1, or AN 1 if you have the ‘NAMES’ button selected)

3) Click on the headphone output (bottom-row of TotalMix) to select the submix for your headphones (labelled PH 3/4 on the Babyface Pro). Route your microphone to your headphones output (so you can hear yourself), by raising the fader on your microphone input channel (top-row of TotalMix).

This next step will be slightly different depending on which RME audio interface you have;

For Babyface Pro, MADIface Pro, Fireface UC and Fireface UCX users

4) Open Skype or Zoom, go to the audio settings and select Analog (1+2) as your audio input (under Microphone). This refers to your two XLR inputs – i.e. Mic 1 & Mic 2 (or AN 1/2 inputs).

5) Set your audio output as your headphones (Analog 3+4) (under Speakers).

You should now be good to go, and can test everything is working by using the respecive test functions. For some additional information on testing the input and output levels, scroll down to the end of this article.

Please note: We strongly recommend turning the output level in Skype or Zoom’s audio settings all the way down before using the test functions, then slowly raising the slider back up to a comfortable level. See ‘Testing the Output’ below for more info.

For Fireface 802, UFX II and UFX+

4) Open Skype or Zoom, go to the audio settings and select the input you have your microphone plugged into as your audio input (under Microphone).

(Either Analog (9+10) or Analog (11+12))

5) Set your audio output as your headphones (under Speakers).

(Either Analog 9+10 or Analog 11+12)

You should now be good to go. For some additional information on testing the input and output levels, see the below sections.

Please note: We strongly recommend turning the output level in Skype or Zoom’s audio settings all the way down before using the test functions, then slowly raising the slider back up to a comfortable level. See ‘Testing the Output’ below for more info.

Testing the Input

You’ll also find volume controls in both of Skype and Zoom’s audio settings. The Microphone input volume slider should communicate with TotalMix and take control over the gain encoders for your mic inputs. You can see this if you go back into TotalMix and click on the wrench symbol next to your mic input in the top-row, and watch the gains move as you move the volume slider in Skype or Zoom.

Note: We suggest de-selecting the ‘Automatically adjust microphone volume’ checkbox, lowering the slider to zero (all the way to the left), and then carefully raising it again until you get a desired level.

You should automatically see input level for the Microphone section whenever you speak into your mic, however you can click the Test Mic button to confirm, which will allow you to record a short message which will be played back to you.

Testing the Output

To test the output, simply click on the Test Speaker button. As with the input, we’d recommend lowering the Output Volume slider all the way to the left first, then slowly increasing it until you are satisfied with the level.

Remember, you have two volume controls for your headphones – the volume controller here in Skype / Zoom, and the one for your headphones in TotalMix FX. As you are routing your microphone directly to yourself for monitoring, raising the headphone output in TotalMix will also raise the volume you hear your input (for you in your headphones, but not for anyone else on the video chat).

You will therefore want to strike a balance between using the microphone input in the headphones submix (in TotalMix), and using the Output Volume control in Skype / Zoom, when controlling your personal headphone monitoring level.

Final Word

We hope that’s allowed you to get set up with Skype or Zoom – if you’re having trouble following the above steps, check out the video tutorials on our YouTube Channel.

We’ll also be checking out how you can use multiple sources with Skype and Zoom (your web browser, DAW, iTunes etc), and how you can record yourself and others in your video chat for jamming and music collaboration. Stay tuned.

Click here to see the full range of RME audio interfaces

Click here to see the full range of Lauten Audio Microphones

If you’d like to know more about any of RME’s audio interfaces, soundcards, AD/DA Converters or microphone preamps, give us a call on 01727 821 870 to speak to one of our team or to arrange a demo.
You can also contact us here.

Rme babyface pro mac
PDF Sheet FullscreenNormal View
  • 12 Input and 12 Output channels
  • 4 x Analog Inputs (Mic, Line, Instrument)
  • 4 x Analog Outputs (2 x XLR, 2 x Phones)
  • 1 x ADAT I/O or 1 x SPDIF I/O optical
  • 1 x MIDI I/O
  • 1 x USB 2.0 (USB 3 compatible)
  • Digital Gain control on all inputs
  • Separate outputs for high and low impedance headphones
  • TotalMix FX (with EQ, Reverb, Echo)

The exciting Babyface Pro once again demonstrates RME’s absolute commitment to superior craftsmanship, not only in audio circuits and driver development, but also in mechanics.

Created with the highest precision from a block of aluminum, this high-end yet portable interface incorporates newly designed analog and digital circuits. Its innovative energy saving technologies provide supreme fidelity with no compromises in level, noise or distortion.

For the main I/O RME have designed a completely new XLR socket, which integrates seamlessly into the housing and saves space.

The two headphone outputs, offering TRS and mini-jack sockets in parallel, have completely separate driver stages to perfectly match low and high impedance headphones, guaranteeing pristine sonic results no matter what type of headphone is used.

Two digitally controlled preamps provide individually switchable 48V phantom power. These brand new circuits feature a gain range of 76 dB, adjustable in steps 0003of 1 dB, including a relay-driven PAD, resulting in exceptional EIN (Equivalent Input Noise) performance as well as line overload protection, and enough gain for even the lowest level microphones.

Babyface Pro’s incredibly efficient design almost never requires an external power supply – it’s perfectly stable on USB 3 bus power, and also most USB 2 ports, with no degradation in any technical specification. This makes it perfect for mobile recording, even with a pair of your favourite condenser microphones.

The comprehensive feature set continues with an optical TOSLINK I/O; use as either an ADAT port with SMUX support or SPDIF for sessions up to 192 kHz. In combination with an external ADAT converter, the Babyface Pro fully supports 12 analog inputs as well as 12 outputs, making it ideal for both live and studio multi-track applications. You can plug any instrument, line or high impedance, into Babyface Pro’s jack inputs 3 & 4. Record your guitar on the go, with no additional hardware required. MIDI I/O via an included breakout cable completes the package.

Mac

Babyface Pro ships with RME’s TotalMix FX, available for Windows and Mac OS X. An iOS version is available as well. This amazingly versatile software allows you to use Babyface Pro in any situation. For example mixing your guitar and vocals to headphones has never been easier.

The FPGA-based DSP mixer adds a flexible, 3-band parametric equalizer to all inputs and outputs. Reverb and delay FX are also available.

Latest generation low latency AD/DA converters, combined with RME’s unique SteadyClock technology, result in exceptional specifications that will satisfy the most demanding of professionals.

Combining a huge feature set with sonic excellence and intuitive control, whether for the studio or on the move, the RME Babyface Pro is the most comprehensive and versatile compact audio interface ever built.

A field-programmable gate array (FPGA) is an integrated circuit designed to be configured by a customer or a designer after manufacturing.The Class Compliant mode is a standard that is natively supported by operating systems like Windows, Mac OS X, Linux distributions, and hardware like Apple’s iPad. No proprietary drivers are required, the device will be directly recognized.Due to the highly efficient jitter reduction, the converters operate as if they are working with internal clock all the time - guaranteeing a pristine sound experience!TotalMix FX is RME’s superior hardware mixer. It delivers fully flexible mixing/routing with many superior features for studio and live work, still maintaining exemplary overview and usability.

Straight to the core without interference: the reference design of the Babyface Pro leaves nothing to be desired.

RME devices are designed to conserve music as it is. Audio signals are passed in their entirety, nothing added, nothing taken. For the new Babyface, the audio circuits have been improved to meet even highest gain levels with best dynamic range.

The clever user interface is informative and clearly laid out. It makes access to every feature and configuration mode of the Babyface Pro intuitive and easy to use.

Even in stand-alone mode, routing and mixing of inputs to outputs directly on the device opens a whole world of possible applications.

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 high-end 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.

Features/Differences to classic TotalMix:

  • New design and improved usability
  • Control Room Section: Dedicated section for the main output (e. g. studio monitors) and other monitoring outputs (e. g. phones). All existing stereo output channels can be freely assigned as source for the control room section channels.
  • Four definable groups for Solo, Mute and Faders
  • Switchable Mono and Stereo channel view
  • Channel Options: Stereo Width, MS Processing, Phase L/R
  • Trim mode: Adjusts the volume for all routed signals of a channel. This option allows to modify the volume of all sends of a channel simultaneously, equalling a hardware's trim functionality.
  • Unlimited Undo and Redo
  • FX Sends and Returns: One send bus for every input/playback channel with Reverb/Echo
  • Expandable channel view for channel settings and EQ setup
  • Slim channel mode for selected or all channels, to save space or give a meter bridge view
  • 2-Row Mode: reduces the height of the mixer to two rows for smaller displays

The DSP-based hardware calculates RMS and Peak levels for all channels without causing any CPU load.

Analog

AD, Microphone/Line 1-2

  • Input: XLR, electronically balanced
  • Input impedance balanced: 2 kOhm, 5.2 kOhm with PAD
  • Input impedance unbalanced: 1 kOhm, 2.6 kOhm with PAD
  • Signal to Noise ratio (SNR): 113 dB RMS unweighted, 116 dBA
  • Frequency response @ 44.1 kHz, -0.1 dB: 18 Hz – 20.8 kHz
  • Frequency response @ 96 kHz, -0.5 dB: 7 Hz – 45.8 kHz
  • Frequency response @ 192 kHz, -1 dB: 5 Hz – 92 kHz
  • With PAD active : -0.1 dB 8 Hz, -0.5 dB < 4 Hz, -1 dB < 3 Hz
  • THD: < -110 dB, < 0.00032 %
  • THD+N: < -104 dB, < 0.00063 %
  • THD @ 30 dB Gain: < -107 dB, < 0.0004 %
  • THD+N @ 30 dB Gain: < -100 dB, < 0.001 %
  • Channel separation: > 110 dB
  • Gain range: -11 dB up to +65 dB
  • Maximum input level XLR, Gain 0 dB: +8 dBu, PAD +19 dBu
  • Maximum input level XLR, Gain 65 dB: -57 dBu, PAD -46 dBu

AD, Line/Instrument In 3-4

As Microphone/Line 1-2, but:

  • Input: 6.3 mm TS jack, unbalanced
  • Input impedance: 1 MOhm
  • Signal to Noise ratio (SNR): 114 dB RMS unweighted, 117 dBA
  • Frequency response @ 44.1 kHz, -0.1 dB: 5 Hz – 20.8 kHz
  • Frequency response @ 96 kHz, -0.5 dB: < 3 Hz – 45.8 kHz
  • Frequency response @ 192 kHz, -1 dB: < 2 Hz – 92 kHz
  • Maximum input level @+4 dBu, Gain 0 dB: +13 dBu
  • Maximum input level @-10 dBV, Gain 9 dB: -5 dBu

DA, Line Out 1-2

  • Dynamic range (DR): 115 dB RMS unweighted, 118 dBA
  • Frequency response @ 44.1 kHz, -0.5 dB: 0 Hz – 20.8 kHz
  • Frequency response @ 96 kHz, -0.5 dB: 0 Hz – 45 kHz
  • Frequency response @ 192 kHz, -1 dB: 0 Hz - 89 kHz
  • THD: - 106 dB, 0.0005 % • THD+N: -102 dB, 0.0008 %
  • Channel separation: > 110 dB
  • Output: XLR balanced
  • Output impedance: 300 Ohm balanced, 150 Ohm unbalanced
  • Output level @ 0 dBFS: Balanced +19 dBu, unbalanced +13 dBu
  • DC @ 0 dBFS: 6.35mm 4.8 V, 3.5mm 2.4 V, XLR bal. 9.6 V

DA, Phones 3/4

AS DA Line Out, but:

  • Output: 6.3 mm TRS jack, unbalanced
  • Output impedance: 10 Ohm
  • Output level at 0 dBFS, 1 kOhm load: +13 dBu
  • Max power @ 0.1% THD: 50 mW
  • Output: 3.5 mm TRS jack, unbalanced
  • Output impedance: 2 Ohm
  • Output level at 0 dBFS, 1 kOhm load: +7 dBu
  • Max power @ 0.1% THD: 70 mW

MIDI

  • 1 x MIDI I/O via breakout cable with 2 x 5-pin DIN jacks
  • Galvanically isolated by optocoupled input
  • Hi-speed mode: Jitter and response time typically below 1 ms
  • Separate 128 byte FIFOs for input and output 25.3

Digital

  • Clocks: Internal, ADAT In, SPDIF In
  • Low Jitter Design: < 1 ns in PLL mode, all inputs
  • Internal clock: 800 ps Jitter, Random Spread Spectrum
  • Jitter suppression of external clocks: > 50 dB (2.4 kHz)
  • Effective clock jitter influence on AD and DA conversion: near zero
  • PLL ensures zero dropout, even at more than 100 ns jitter
  • Digital Bitclock PLL for trouble-free varispeed ADAT operation
  • Supported sample rates: 28 kHz up to 200 kHz

Digital Inputs

ADAT Optical

  • 1 x TOSLINK
  • Standard: 8 channels 24 bit, up to 48 kHz
  • Double Speed (S/MUX): 4 channels 24 bit 96 kHz
  • Quad Speed (S/MUX4) : 2 channels 24 bit 192 kHz
  • Bitclock PLL ensures perfect synchronisation even in varispeed operation
  • Lock Range: 31.5 kHz – 50 kHz
  • Jitter when synced to input signal: < 1 ns
  • Jitter suppression: > 50 dB (2.4 kHz)

SPDIF optical

  • 1 x optical, according to IEC 60958
  • Accepts Consumer and Professional format
  • Lock Range: 27 kHz – 200 kHz
  • Jitter when synced to input signal: < 1 ns
  • Jitter suppression: > 50 dB (2.4 kHz) 25.5

Digital Outputs

ADAT optical

  • 1 x TOSLINK
  • Standard: 8 channels 24 bit, up to 48 kHz
  • Double Speed (S/MUX): 4 channels 24 bit 96 kHz
  • Quad Speed (S/MUX4) : 2 channels 24 bit 192 kHz

Rme Babyface Pro Macos Mojave

SPDIF optical

  • 1 x optical, according to IEC 60958
  • Format Consumer (SPDIF) according to IEC 60958
  • Sample rate 28 kHz up to 200 kHz

General

Rme
  • Power supply: USB bus power or external power supply
  • Typical power consumption: 2.9 Watts
  • Max. power consumption: 4.6 Watts
  • Current at 5 V bus power operation: 600 mA (2.9 Watts)
  • Current at 12 V external power: 240 mA (2.9 Watts)
  • Dimensions (WxHxD): 108 x 35 x 181 mm (4.25' x 1.4' x 7.1')
  • Weight: 680 g ( 1.5 lbs)
  • Temperature range: +5° up to +50° Celsius (41° F up to 122°F)
  • Relative humidity: < 75%, non condensing

Rme Babyface Macbook Pro

Driver support

- Windows 10 / 8 / 7 / Vista / XP SP2 (32 & 64 bit)

- Apple Mac OS X 10.6 or up (Core Audio)


System Requirements

Computer with at least Pentium Core 2 Duo CPU.

Rme Babyface For Macbook