RME Audio Digiface AES User Manual

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User's Guide

Digiface AES

™

TotalMix FX

24 Bit / 192 kHz

™

SteadyClock

SyncCheck

USB 2.0 Digital I/O System

USB Bus Powered

6 Channel AES / SPDIF Interface

8 Channel ADAT Interface

2 + 4 Channel Analog Interface

24 Bit / 192 kHz Digital Audio

High Quality SRC

30 x 16 Matrix Router

MIDI Input / Output

Full Stand-Alone Operation

Class Compliant Operation

Table of Contents

Troubleshooting

Summary of Contents for RME Audio Digiface AES

Page 1 User's Guide Digiface AES ™ TotalMix FX 24 Bit / 192 kHz ™ ™ SteadyClock SyncCheck USB 2.0 Digital I/O System USB Bus Powered 6 Channel AES / SPDIF Interface 8 Channel ADAT Interface 2 + 4 Channel Analog Interface...
Page 2 (see warranty statement on page 102). Proper Use The Digiface AES is a digital interface for professional audio applications for use with CE ap- proved class B computers. To comply with the European CE standard, the Digiface AES must be used with CE approved Class B computers.
Page 3: Table Of Contents
Clock Modes - Synchronization ......24 Operation under ASIO General ..............25 Channel Count under ASIO ......... 25 Known Problems ..........26 Using more than one Digiface AES ....... 26 DIGICheck Windows ..........27 Hotline – Troubleshooting ........28 User's Guide Digiface AES © RME...
Page 4 Examples 23.1 8-Channel AD/DA-Converter ....... 45 23.2 2-Channel Mic Preamp ........45 23.3 Monitor Mixer ............45 23.4 Digital Format Converter ........45 23.5 Analog/Digital Routing Matrix ....... 45 23.6 Jitter Remover ............45 User's Guide Digiface AES © RME...
Page 5 27.4 Operation ............. 75 27.5 MIDI Control ............76 27.6 Stand-Alone MIDI Control ........77 27.7 Loopback Detection ..........79 27.8 OSC (Open Sound Control) ......... 79 DAW Mode ............... 79 TotalMix Remote ............. 80 User's Guide Digiface AES © RME...
Page 6 38.3 USB Audio ............95 38.4 DS – Double Speed ..........96 38.5 QS – Quad Speed ..........96 38.6 SteadyClock FS ........... 97 Diagrams 39.1 Block Diagram Digiface AES ....... 98 39.2 Connector Pinouts ..........99 Miscellaneous Accessories ............102 Warranty ..............102 Appendix ..............
Page 8: Introduction
1. Introduction Thank you for choosing the Digiface AES. This compact audio interface is capable of transferring analog and digital audio data from any source directly to Windows and Mac computers. Numerous unique features include flexible clocking, well thought-out Settings dialogs, Sample Rate Conver- sion and supreme analog circuitry.
Page 9: First Usage - Quick Start
5. First Usage – Quick Start 5.1 Connectors – Controls – Display The front of the Digiface AES features two line and microphone inputs, a stereo headphone out- put, a rotary encoder with push functionality, four buttons, a graphical colour display and two status LEDs.
Page 10 The rear panel of the Digiface AES features 2 analog outputs, AES I/O, SPDIF I/O coaxial and optical, a connector for the included MIDI breakout cable, USB and the power socket. Balanced Line Level Outputs. 2 balanced analog outputs via XLR male.
Page 11: Quick Start
5.3 Menu and Navigation The Digiface AES has a simple and clear menu structure, for fast and efficient operation directly at the device. In most cases, however, all settings will be done via the Settings dialog and TotalMix FX of the host computer. The operation on the device is typically limited to a direct adjustment of the monitoring volume (loudspeaker and headphones) and the microphone gain.
Page 12 The quick select buttons MIC/GAIN, USER, CHAN/MIX and SETUP are described in chapter 22.2. Navigation The Digiface AES has a simple and fast 1-button operation. Pressing the VALUE encoder switches between adjusting the pa- rameter and moving horizontally through the menu to moving ver- tically through the menu.
Page 14: Special Options
ADAT channels from the screen. Same function as press- ing the VALUE encoder for half a second. Scroll Type. cw up, cw down. Allows changing the scroll direc- tion when turning the encoder. User's Guide Digiface AES © RME...
Page 15: Installation And Operation - Windows
User's Guide Digiface AES Installation and Operation – Windows User's Guide Digiface AES © RME...
Page 16: Hardware, Driver And Firmware Installation
Control Panel, Software. Click on the entry 'RME MADIface'. 6.3 Firmware Update The Flash Update Tool updates the firmware of the Digiface AES to the latest version. It requires an already installed driver. Start the program fut_usb.exe. The Flash...
Page 17: Configuring The Digiface - Settings Dialog General
7. Configuring the Digiface – Settings Dialog 7.1 General Configuration of the Digiface AES is done via its own settings dialog. The panel Settings can be opened by clicking on the fire or hammer symbol in the Task Bar's system tray.
Page 18 (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.). User's Guide Digiface AES © RME...
Page 19: Option Wdm Devices
The screenshot to the right shows the ste- reo WDM devices available with the Digiface AES. Here the first 4 stereo de- vices have been activated. Any number can be activated. Also only higher numbered devices might be active. For example using...
Page 20 Windows sees their new properties. You can now assign any surround mode, from stereo to 7.1, in the Windows Sound control panel by se- lecting the playback device and clicking the Configure button. User's Guide Digiface AES © RME...
Page 21: Operation And Usage Playback
Note: Since Windows Vista the audio application can no longer control the sample rate under WDM. Therefore the driver of the Digiface AES includes a way to set the sample rate globally for all WDM devices within the Settings dialog, see chapter 7.1.
Page 22: Channel Count Under Wdm
* Playback only. 8.4 Multi-client Operation RME audio interfaces support multi-client operation. Several programs can be used at the same time. The formats ASIO and WDM can even be used on the same playback channels simultane- ously. But as WDM uses a real-time sample rate conversion (ASIO does not), all active ASIO software has to use the same sample rate.
Page 23: Analog Recording
Raise the source’s output level until the peak level meters in TotalMix reach about –3 dB. The level of the front-side analog inputs can also be optimized directly at the Digiface AES by the key Mic/Gain and the encoder. The multi-colour level meters shown on the display additionally provide useful information about the current level state.
Page 24: Clock Modes - Synchronization
A digital system can only have one master! If the Digiface’s clock mode is set to 'Master', all other devices must be set to ‘Slave’. The Digiface AES utilizes a very user-friendly, intelligent clock control, called AutoSync. In Auto- Sync mode, the system constantly scans the digital input for a valid signal. If any valid signal is found, the Digiface switches from the internal quartz (Clock Source –...
Page 25: Operation Under Asio
The Digiface AES supports ASIO Direct Monitoring (ADM). The Digiface AES MIDI I/O can be used with both MME MIDI and DirectMusic MIDI. 9.2 Channel Count under ASIO At a sample rate of 88.2 or 96 kHz, the ADAT optical input and outputs operate in S/MUX mode, so the number of available channels per port is reduced from 8 to 4.
Page 26: Known Problems
Lock instead of Sync, the devices have not been set up properly. The same applies when using more than one Digiface AES - they all have to be in sync. Else a periodically repeated noise will be heard.
Page 27: Digicheck Windows
 Completely multi-client. Open as many measurement windows as you like, on any channels and inputs or outputs! DIGICheck is free but works only with RME interfaces. It is constantly improved and updated. The latest version is always available on our website www.rme-audio.com, section Downloads / Software. User's Guide Digiface AES © RME...
Page 28: Hotline - Troubleshooting
 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 Digiface AES has been selected as recording device in the audio applica- tion.
Page 29: Installation And Operation - Mac Os X
User's Guide Digiface AES Installation and Operation – Mac OS X User's Guide Digiface AES © RME...
Page 30: Hardware, Driver And Firmware Installation
Fireface USB.pkg. During driver installation the programs Totalmix (TotalMix FX) and Fireface USB Settings are copied to the Applications folder. They will automatically start into the dock if a Digiface AES is connected. A reboot of the computer is not required.
Page 31: Configuring The Digiface
Configuring the Digiface is done via its own settings dialog in the app Fireface USB Settings. The mixer app of the Digiface AES is called TotalMix FX. The Digiface’s hardware offers a number of helpful, practical functions and options to suit many different requirements.
Page 32: Clock Modes - Synchronization
A digital system can only have one master! If the Digiface’s clock mode is set to 'Master', all other devices must be set to ‘Slave’. The Digiface AES utilizes a very user-friendly, intelligent clock control, called AutoSync. In Auto- Sync mode, the system constantly scans the digital input for a valid signal. If any valid signal is found, the Digiface switches from the internal quartz (Clock Mode –...
Page 33: Mac Os X Faq
It is not possible to change the number of Core Audio channels without a reboot of the computer. Therefore whenever the Digiface changes into Double Speed (88.2/96 kHz) or Quad Speed mode (176.4/192 kHz) all channels stay present, but become partly inactive. User's Guide Digiface AES © RME...
Page 34: Various Information
Core Audio function Aggregate Devices, which allows to combine several devices into one. The current driver supports up to three Digiface AES. All units have to be in sync, i.e. have to receive valid sync information either via word clock or by feeding synchronized signals.
Page 35: Digicheck Mac
 Completely multi-client. Open as many measurement windows as you like, on any channels and inputs or outputs! DIGICheck is constantly updated. The latest version is always available on our website www.rme- audio.com, section Downloads / Software. User's Guide Digiface AES © RME...
Page 36: Hotline - Troubleshooting
 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 Digiface AES has been selected as recording device in the audio applica- tion.
Page 38: Analog Inputs
19. Analog Inputs The two balanced microphone inputs of the Digiface AES offer a digitally controlled gain of 75 dB, adjustable in steps of 1 dB. The soft switching, hi-current Phantom power (48 Volt), switchable per channel, provides a professional handling of condensor mics. Up to a level of +18 dBu the front XLR input can also be used as balanced and unbalanced Line input.
Page 39: Digital Connections
21.2 SPDIF (Coaxial, Optical) The Digiface AES has up to three SPDIF inputs and outputs: coaxial, optical and AES can be used simultaneously, with different audio signals. Note that at least two sources have to be syn- chronous, as the unit includes only one sample rate converter.
Page 40: Adat
To output SPDIF via the optical output, select Optical Out - ADAT in the Settings dialog. 21.4 MIDI Digiface AES offers one MIDI I/O via a breakout cable with two 5-pin DIN sockets. The MIDI ports are added to the system by the driver. Using MIDI capable software, these ports can be accessed under the name Digiface AES MIDI Port.
Page 41: Sample Rate Converter (Src)
Even if there are unformatted spots on the tape, or the DAT is being stopped or switched off, the Digiface AES receives a constant signal (which in this case does not contain audio information).
Page 44: Operation And Usage
22. Operation and Usage 22.1 General Using the rotary encoder, the four buttons and the clear colour display the Digiface AES can be configured and set up completely at the device. Additionally internal memory allows for the per- manent storage of six different states of the unit. Therefore the Digiface AES is able to operate fully stand-alone, without any connected computer.
Page 45: Examples
23.4 Digital Format Converter (Multitool) As TotalMix allows for any routing of the input signals, the Digiface AES can be used as ADAT to AES converter, ADAT to two SPDIF (splitter), AES to ADAT converter, and universal 1 to 3 dis- tributor and format converter.
Page 48: Routing And Monitoring
TotalMix FX adds 3-band parametric Equalizer and Low Cut. Here are some typical applications for TotalMix:  Setting up delay-free submixes (headphone mixes). The Digiface AES allows for up to 8 fully independent stereo submixes. On an analog mixing desk, this would equal 16 Aux sends.
Page 50: The User Interface
The visual design of the TotalMix mixer is a result of its capability to route hardware inputs and software playback channels to any hardware output. The Digiface AES has 14 input channels, 16 software playback channels, and 16 hardware output channels: TotalMix can be used in the above view (View Options 2 Rows).
Page 51: The Channels
The arrow symbol at the bottom minimizes the channel width to that of the level meters. Another click maximizes it again. A mouse click with held Ctrl key causes all channels to the right to en- large and minimize at once. User's Guide Digiface AES © RME...
Page 52 The gain (fader knob position) of the currently active routing (the submix selected in the third row) is shown as white triangle. Background: TotalMix has no fixed channel fader. In case of the Digiface AES there are 16 mono Aux sends, shown alternately as single fader within the channel strip.
Page 53: Settings
Loopback. Sends the output data to the driver as record data. The corre- sponding submix can be recorded then. This channel’s hardware input sends its data only to TotalMix, no longer to the recording software. User's Guide Digiface AES © RME...
Page 54: Equalizer
Note: TotalMix has an internal headroom of 24 dB. Extreme boosts with overlapping filters can therefore cause an internal overload. In any case such an overload is displayed by the Over LED of the channel’s level meter. User's Guide Digiface AES © RME...
Page 55 Presets have special names. For example Telephone (LC+EQ) will sound much better when the LC has been activated additionally to the EQ, as the LC is set to an unusual high frequency of 500 Hz here. User's Guide Digiface AES © RME...
Page 56: Section Control Room
(Speaker B), and up to four Phones outs. The output for the Cue signal, which is usually Main, can also be set to one of four Phones outputs. The setting Cue/PFL to also controls the PFL monitoring. User's Guide Digiface AES © RME...
Page 57: The Control Strip
FX - DSP Meter. Shows the DSP load caused by activated EQ and Low Cut. The DSP of the Digiface AES has been designed so that an overload cannot occur. The display therefore is for information purposes only.
Page 58: View Options
 RMS. The numerical level display in the channels displays peak or RMS. Show  FX. Not available for the Digiface AES.  Trim. 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 trim-pot in the hardware input.
Page 59: Snapshots - Groups
Instead signals can be muted on specific submixes by the push of a button. A solo group operates exactly like the global solo, signals outside the current routing are not affected. User's Guide Digiface AES © RME...
Page 60: Channel Layout - Layout Presets
A double click onto any line opens the edit field for the Name (User) column. Editing channel names in this dialog is quick, Enter jumps to the next line. The names of the channels in the Control Room section can only be changed this way. User's Guide Digiface AES © RME...
Page 61: Scroll Location Markers
When the TotalMix FX window is intentionally made small in width, so only a few channels are shown.  When some or all EQ or Dynamics panels are open. Then all relevant settings are always visible, but require a lot of space horizontally. User's Guide Digiface AES © RME...
Page 62: Preferences
FX settings. Used to suppress the mis- match message after using the unit stand-alone. Settings in the unit are lost.  Count MADI Channels per port. Not available with the Digiface AES.  Disable ASIO Direct Monitoring. Disables ASIO Direct Monitoring (ADM) for the Digiface AES within TotalMix FX.
Page 63: Store For Current Or All Users
The xml-file is updated on exit, so simply set up TotalMix as desired and exit it (right mouse click on the symbol in the notification area or Exit), then change the file attribute. User's Guide Digiface AES © RME...
Page 64: Settings
 Exclusive Solo/PFL Mode. Only a single Solo or PFL can be active at a time. Activating a different one automatically deactivates the previous one.  2-Row Mode with only Input in first row. The Software Playback channels are shifted to the lower row, beside the Hardware Outputs. User's Guide Digiface AES © RME...
Page 65: Midi Page
Note: When MIDI Out is set to NONE then TotalMix FX can still be controlled by Mackie Control MIDI commands, but the 8-channel block is not marked as remote target. User's Guide Digiface AES © RME...
Page 66: Osc Page
 Number of faders per bank. Available choices are 8 (default), 12, 16, 24, 32 and 48. Note that when working in underperforming networks, especially wireless, a higher number of fad- ers might not work as smooth as expected. User's Guide Digiface AES © RME...
Page 67: Aux Devices
ADAT, AES/EBU and MADI, plus 4 channels of DA-conversion for moni- toring. It can be used as universal front-end for the Digiface AES and other interfaces. To simplify operation the most important pa- rameters of the XTC (gain, 48V, phase, mute, AutoSet) can be controlled directly from the TotalMix FX input channels.
Page 68: Hotkeys And Usage
DIGICheck). The dialog Preferences is opened with F3. Alt-F4 closes the current window. Alt and number keys 1 to 8 (not on the numeric keypad!) will load the corresponding Workspace from the Workspace Quick Select feature (hotkey W). User's Guide Digiface AES © RME...
Page 69: Menu Options
In most cases mono hardware outputs will break ADM. Mono inputs are in most cases compatible. If not wrong panning might occur.  Total Reset. Playback routing 1:1 with mixdown to Main Out. Switches off all other functions. User's Guide Digiface AES © RME...
Page 70: Menu Window
The matrix display presents a different method of assigning and rout- ing channels, based on a single channel or monaural design. The matrix view of the Digiface AES has the look and works like a conventional patchbay, adding functionality way beyond comparable hardware and software solutions.
Page 71: Operation
The outputs now always send out the same signals, but their main volume (fader) and the EQ and Dynamics set- tings stay fully independent. User's Guide Digiface AES © RME...
Page 72: Delete A Submix
TotalMix. Therefore TotalMix can be used to route this input signal to any hardware output. Using the subgroup recording, the input can still be recorded on a different channel. User's Guide Digiface AES © RME...
Page 73: Ms Processing
Expander, Compressor or Delay. The most basic application is the manipulation of the stereo width: a change of the level of the side channel allows to manipulate the stereo width from mono to stereo up to extended. User's Guide Digiface AES © RME...
Page 74: Midi Remote Control
Snapshot 1 - 8 select Main Out F10 - F12 select Cue Phones 1 - 3 *Tested with Behringer BCF2000 Firmware v1.07 in Mackie Control emulation for Steinberg mode and with Mackie Control under Mac OS X. User's Guide Digiface AES © RME...
Page 75: Setup
Mackie compatible remote. Setting the main remote as number 2 and the extender as number 1 will cause the extender to be on the left side. Using this function the remotes will be shown as one fader block and navigate as one. User's Guide Digiface AES © RME...
Page 76: Midi Control
16 Controller numbers are used: 102 up to 117 (= hex 66 to 75). With these 16 Controllers (= faders) and 4 MIDI channels each per row, up to 64 faders can be controlled per row (as required by the HDSPe MADI). User's Guide Digiface AES © RME...
Page 77: Stand-Alone Midi Control
Input Gain control is available via CC9, value range as the gain itself (up to 65). The MIDI chan- nel determines the controlled channel, from 1 to 16 (Digiface AES: 5/6). For this to work, Enable MIDI Control in the Options menu has to be activated.
Page 78 Setup 6: 3B / 59 / B 3 Loading the Setups stored in the device enables a quick configuration change of the UFX. With this any possible operation state can be activated by the push of a button at any time. User's Guide Digiface AES © RME...
Page 79: Loopback Detection
Several useful, advanced features are still available in TotalMix FX in DAW mode:  Talkback, External Input  Phones definition and handling with Talkback  Speaker A / B  All FX (EQ, Dynamics, Echo, Reverb)  Mute and Solo  Cue / PFL User's Guide Digiface AES © RME...
Page 80: Totalmix Remote
TotalMix Remote is a remote control for TotalMix FX v1.50 and up, to control the hardware mixer and effects in RME audio interfaces. TotalMix Remote mirrors the current state of the host system on the iPad and Windows/Mac computers - the entire mixing state, the complete routing, all FX settings, up to the level meters, and everything in real-time.
Page 81 • State. Is shown in the upper right corner (offline or connected), or the Mac/Windows title bar. Downloads Remote Windows http://www.rme-audio.de/downloads/tmfx_win_remote.zip Remote Mac http://www.rme-audio.de/downloads/tmfx_mac_remote.zip iPad From the Apple App Store, search for 'TotalMix Remote'. This app is free. User's Guide Digiface AES © RME...
Page 84: General
CC firmware is loaded. The natively available features will be limited in comparison to those provided by the RME driver for the Digiface AES. For example there will be no hardware settings, no (Total) Mix and no settings for the effects. However, on the iPad (iOS) the Digiface AES can be fully controlled by the optional app TotalMix FX for iPad.
Page 85: Operation
32. Operation Activation of the Class Compliant mode Remove USB cable from the Digiface AES. Press SETUP so that the page Options is shown in the display. Turn the encoder until Hardware/Diagnosis appears in the display. Pushing the en- coder the knob symbol changes into a double arrow symbol. Now turn the encoder to move the cursor vertically through the menu page.
Page 86: Class Compliant Under Windows/Mac Os X
All outputs can be pro- cessed independently (volume/EQ/LC). Configuring the Digiface AES is ideally done via the app TotalMix FX for iPad, otherwise by load- ing Setups. These are written into the unit while operated with PC/Mac via TotalMix FX, also storing control clock mode master or AutoSync and the current sample rate.
Page 87: Front Panel Operation
 The input effects EQ/LC will always be active in the recording path The Digiface AES can be pre-configured for CC mode via TotalMix FX under Windows/Mac by saving up to 6 configurations into its setup memory, see next chapter.
Page 88: Setups
SPDIF coaxial, ADAT 1/2 → Monitoring via Phones Out This preset can be quickly adjusted via the Mix to menu (press key Channel twice) and saved as a custom setup via SETUP, Load/Store all Settings. Clear Mix: Deletes all routings. User's Guide Digiface AES © RME...
Page 90: Technical Specifications
 Signal to Noise Ratio (SNR) @ Low: 114 dB (AES17), 116.5 dBA  Output impedance: 5 Ohm  Max output power per channel, 32 Ohm load, 0.1% THD: 160 mW  THD+N @ 32 Ohm load: -108 dB, 0.0004 % User's Guide Digiface AES © RME...
Page 91: Midi
 THD+N: -139 dB  Signal to Noise Ratio (SNR): 139 dB (AES17), 142 dBA  Latency: 109 samples, 2.47 ms @ 44.1 kHz, 1.14 ms @ 96 kHz, 0.57 ms @ 192 kHz User's Guide Digiface AES © RME...
Page 92: Digital Outputs
 Dimensions (WxHxD): 215 x 44 x 130 mm (8.5" x 1.73" x 5.1")  Weight: 880 g (1.94 lbs)  Temperature range: +5° up to +50° Celsius (41° F up to 122°F)  Relative humidity: < 75%, non condensing User's Guide Digiface AES © RME...
Page 93: Technical Background
PLL tracks the receiver's frequency. If an ADAT or SPDIF signal is applied to the Digiface AES, the corresponding input field starts flashing. The unit indicates LOCK, i. e. a valid input signal (in case the signal is also in sync, the filed is constantly lit, see below).
Page 94: Latency And Monitoring
RME's Zero Latency Monitoring. The term describes the digital path of the audio data from the input of the interface to its output. The digital receiver of the Digiface AES can't operate un-buffered, and together with TotalMix and the output via the transmitter, it causes a typical delay of 3 samples.
Page 95: Usb Audio
USB devices, including the Digiface AES. By reconnecting to a different port this view shows at which of the two controllers the Digiface AES is connected. With multiple devices it can be checked if they are connected to the same controller.
Page 96: Ds - Double Speed
Because the ADAT interface does not allow for sampling frequencies above 48 kHz (a limitation of the interface hardware), the Digiface AES automatically uses Sample Multiplexing in DS mode. One channel's data is distributed to two channels. As the transmission of double rate signals is done at standard sample rate (Single Speed), the ADAT outputs still deliver a 44.1 kHz or 48 kHz...
Page 97: Steadyclock Fs
20 Hz to 20 kHz in each case. At 50 Hz, approximately 210 ps can be detected, corre- sponding to a jitter suppression of > 65 dB. This is simply fantas- tic for such low frequencies. User's Guide Digiface AES © RME...
Page 99: Connector Pinouts
TRS plug to TS plugs is re- quired. 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. User's Guide Digiface AES © RME...
Page 102: Accessories
Audio AG does not accept claims for damages of any kind, especially consequential damage. Liability is limited to the value of the Digiface AES. The general terms of business drawn up by Audio AG apply at all times.
Page 103: Appendix
For this the device has to be sent free to the door to: Audio AG Am Pfanderling 60 D-85778 Haimhausen Germany Shipments not prepaid will be rejected and returned on the original sender's costs. User's Guide Digiface AES © RME...
Page 104: Declaration Of Conformity
Synthax United States, 6600 NW 16th Street, Suite 10, Ft Lauderdale, FL 33313 T.:754.206.4220 Trade Name: RME, Model Number: Digiface AES 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.

RME Audio Digiface AES User Manual

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