Review: RME Babyface

Over recent years RME’s department of unnatural selection has turned its focus inward. After Apple’s disastrous decision to abandon their reliable Firewire implementation for a cheaper and less stable alternative, it became clear that future interfaces could no longer rely on the consistency of third-party technology. Twelve months ago RME revealed the first of these new hybrids, the Fireface UC (AT 72). Falling short of a completely new species, the UC was in fact a Fireface 400 employing a proprietary USB 2.0 implementation rather than the pre-existing Firewire interface. While the development of the UC core, based around an FPGA, was a significant and promising mutation, in the end it merely scratched the surface of potential developments leaving plenty of room for future evolution.

For at least six months now the RME stork has been flapping overhead as company boffins tweaked and due dates drifted by. Finally this week we were able to celebrate the arrival of a bouncing Babyface.

IT’S A… BOY?

Weighing in at one pound, one ounce (0.5kg) this baby blue bundle of audio is the runt of the RME litter. The compact and stylish form factor is something new for the German company, traditionally known for its professional rack and half-rack solutions. Housed in a robust and sleek chassis that’s carved from solid blocks of aluminium, the Babyface is smaller than a pulp paperback and only 25mm thick. While a fresh design approach for RME, the Babyface bears some resemblance to Apogee’s Duet (though not so Apple-conscious in its styling).

Like the Duet, the vast majority of the Babyface’s I/O is accessed via a 25-pin breakout cable. RME’s sister company, ALVA, provides the 30cm long main breakout along with a 1m Dsub-to-Dsub extension. The two fit together cleverly within an enclosed plastic hood, somewhat avoiding the ugly standard VGA/serial cable appearance. It’s intended that you’ll use the extension to banish all connections to the floor but I preferred to have them within easy reach most of the time. The accessory list is completed by a shortish USB 2.0 cable and a fairly swanky padded handbag, which features three compartments for safe transport of the Babyface and its leads.

Although the Babyface makes use of the now taken for granted USB 2.0 protocol it does so in a very RME-like manner, extracting the maximum performance from a communications bus long maligned by pro audio manufacturers and customers alike. While the unit will run identically on a Windows machine (at least XP SP2) and a Mac (OSX 10.5 or later) the system requirements do specify a minimum Core2Duo CPU. This has very little to do with processing power and everything to do with the poor USB implementation on older motherboards. You may indeed find the Babyface functions with older machines but it’s far more likely to be limited in its stable performance. It’s entirely bus-powered, and while a power adapter input is provided there’s no current evidence to suggest it’s required. Indeed, no factory power pack is even supplied. While the packaged USB Y-cable does feature a second connector for bus power reinforcement this is provided primarily as a precaution for systems that fail to meet the expected standards.

GOOD BREEDING

While much about the Babyface is new, its bloodlines can be traced to earlier RME progeny. The Babyface features two analogue inputs and four outputs, with support for up to 24-bit/192k recording and playback. This number can be expanded via ADAT to 10 in/12 out at up to 48k and also supports higher ADAT resolutions via SMUX. The A/D converters in the Babyface have been taken from the Fireface 800 (AK5383) while the D/A is from the M32DA (TI PCM4104) ensuring that existing RME standards have not been compromised. In addition, you get all the usual RME staples, like support for both internal and external clock sources, DDS – RME’s version of varispeed pitch control – and rock solid performance at low latencies. Using an additional ADI8 DS converter I was able to comfortably record six channels of 24-bit/96k audio, error free with a buffer size of 96 samples (1ms latency).

The top of the Babyface is dominated by a large stepped continuous jog-wheel and two 10-segment LED meters. Using the smaller Select button the rotary encoder can be switched to edit Input gain and Output level for both stereo analogue channels (the second doubling as headphone level). By depressing the wheel you can select individual channels for parameter setting and alternately engage the Dim function (a user-configurable output level pad). Each of these selections is reflected by Mode status LEDs and also the meters themselves. Single LEDs are supplied at the base of each meter to indicate the active state of the 48V phantom supply. The Recall button allows users to save their own preferred monitor level which can then, as the name suggests, be instantly recalled. Depressing the button for two seconds stores the current Main Output level. While the detented multi-function wheel is well suited to the configuration of Input gain on the preamp/instrument channels – which varies in baby steps of 3dB – some users may yearn for that solid pot or fader control over their main output.

The breakout cable features two balanced XLR outputs, two XLR inputs for the excellent onboard mic pres (shared with the Fireface UC), a headphone socket, which doubles as unbalanced analogue outputs 3&4 and MIDI I/O. The rear also accommodates a pair of optical TOSLINK connectors for either ADAT of S/PDIF (selectable within the driver window). The side of the unit provides a second headphone output, sharing both its channel and amplifier with the breakout socket, and a selectable Hi-Z (470kΩ) instrument input, which shares analogue channel 2.

BABY MONITOR

If that wasn’t enough the Babyface incorporates a brand new routing and mix environment called TotalMix FX. Ralf Männel (co-founder of RME whose initials comprise the company name) has returned to design the FPGA for the Babyface and upgrade the long-serving DSP mixer. Unlike many other devices, this is located entirely within hardware and thus has no effect on CPU load. While existing RME users will welcome the significant user interface overhaul and the availability of settings configurations previously located within the driver, it’s the processing power of the custom FPGA that delivers the biggest wow factor.

Every input and every output channel comes equipped with thee-band parametric EQ and a high-pass filter which can be switched into the record path. Stereo channels feature width control and MS processing, and all channels offer 180-degree polarity inversion. An effects bus containing a range of high-resolution reverb and echo options expands the possibilities even further. Add to this multiple monitor submixes, an enhanced router matrix, parameter grouping, MIDI control, and a range of snapshot and recall options and you’re faced with the possibility of a whole new way of working deserving of an article in its own right. RME’s next release, the Fireface UFX, makes even greater use of these advances and will allow a deeper exploration of TotalMix in coming issues of AT.

TEETHING

When it comes to affordable portable devices, compromises based on either cost or space seems almost inevitable, and unfortunately the Babyface is no exception. While not faults per se, the following is a list of things worth noting. Unlike other RME external interfaces, the Babyface does not work standalone, the main XLR outputs are not servo-balanced (which means you’ll need to custom wire connectors to any unbalanced equipment), and the balanced and unbalanced analogue outputs have a maximum output of only +15dBU and +7dBU respectively – the latter reduced even further when connecting high powered headphones to the duplicate side panel socket. This last issue will also affect levels when two sets of headphones are used, although I found this to be minimised by less demanding (high-impedance) cans. 

In addition to the cutbacks, potential buyers should note that the Babyface – like any bus powered interface – is susceptible to audio interference from the computer, generally as a result of poor earthing within your machine. These problems tend to be a subtle nuisance more than anything but it’s still worth doing some testing before you commit to any new device. In the case of a laptop the solution is often (as it was in this case) to disconnect the charger during critical listening and run off battery alone.

BABY LOVE

Previously, I’ve always considered this type of device to be a luxury, hidden away in the cupboard for that odd live gig or location recording. Not so with this baby; the RME Babyface provides a level of performance and flexibility that belies its diminutive appearance. The possibility for expansion, when partnered with an ADAT-compatible converter, means it could easily stand alone within a small project studio. RME is set to make a host of adoptive parents very happy and I guarantee no-one will put this baby in the corner.