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Contact RME support, they should be able to sort you out, hopefully with a new unit (in my experience they are quite accommodating). The repair is really easy for RME to carry out but, depending on your location, it could take a while before you get the interface back. Off-topic question, do...

That's gold. Thanks.

Yeah but it doesn't say "balanced". Actually, the SOS review of the V1 model says

Interesting, I wonder if the specs I was looking up was for the earlier V1 model. The thing is, I've just checked the user manual for V2 and, while it says the inputs are definitely balanced, it doesn't explicitly or implicitly state that the outputs are balanced. I'm not 100% sure the info in...

I need a 1U rack-mount mixer in my studio and I'm considering the BEHRINGER RX1602 V2, which is perfect for my needs but there is a slight snag: it has unbalanced outputs. However, the audio interface that it would be connected to (RME UCX II) has balanced inputs, so does that even matter? My...

Totally agree. It's the sort of thing most don't realise until they actually experience subwoofers themselves—myself included. That is fascinating stuff. Does that mean that a large driver moves more slowly (same frequency, just shorter throw) than a smaller driver trying to reproduce the same...

Neumann's KH 750 DSP (10") costs 1469 € and the Genelec 7360A (also 10") costs 1950 €. The 7360A gives a an extra 4 dB though, if that matters. So yeah it's more expensive. What would you consider to be the right price for this sub?

They are the Apple of monitors, sure they are overpriced. And to be honest the build quality isn't as good as people think... got mine with some manufacturing problems that I reported directly to Genelec and they basically asked me to accept them. The monitors sound good but Genelec products are...

The 8Cs go down to 30 Hz ±1 dB so you'll still need a subwoofer if you want access to the very low end. The following are Thomann prices: 2 x 8351B + 1 x 7370A = 10,719 € (though you can get them cheaper if you shop around and haggle, especially smaller dealers). The DD 8C Studio (pair) costs...

My 8351Bs go down to about 32 Hz as per the specs. With EQ I can coerce some extension out of it but a price is paid (harmonic distortion). I'm sure the same can be said for the 8Cs. Even if they go a bit lower, you'd still benefit from a separate subwoofer if I really need to go lower than 30...

It's been over a year since your reply, was wondering how you are liking your 7350A subs. Two weeks ago I was able to audition the 8351As with a single 7360A. Obviously Genelec recommend the 7370A but honestly I felt the 7360A was already overpowered for my needs, and then I could also get for...

Just because you can doesn't mean you should. If you are not using the interface you really should turn it off to save electrical power. The UCX II generates quite a bit of heat even when idle. Most of the heat comes from the op amps. This is one aspect of its design I don't entirely...

It's a soap-on-a-rope power supply, barely warm. Obviously there will be some kind of switching regulator within the interface but I doubt it'd be this inefficient.

Per the title, I've had many audio interfaces over the years, some ran nice and cool while others got pretty toasty, even while idling. For example, my RME BabyFace Pro barely gets warm, but my RME UCX II gets hot even with minimal onboard DSP resources in use. My former Fireface 400 could get...

Do you reckon the UFX III would be more expensive than the UFX II? If I remember correctly the original UFX price was similar to the UFX II. I contacted RME recently to ask if the UFX II had been discontinued and they said it hadn't but it was out of stock due to supply chain disrruptions so...

Well, under normal circumstances the release of a UFX III would probably be imminent, but things aren't looking good right now. I found a dealer that could do the UCX II for 1179 € inc. VAT and they asked me to pay 300 € in advance if I wanted to go ahead, which I did earlier today. They had a...

Not sure I agree: if keeping stock was the issue, surely manufacturers would only make 110 Ω cable and then they'd only have to keep stock of one type of cable that would work for both digital and analogue audio signals. I wondering if it's just a marketing trick to enable them to charge extra...

And that's why we can use AES cable for carrying analog signals. The question I'm trying to find an answer to is: does it cost more money to make, say, 110 Ω cable than regular microphone cable? Because if it doesn't, it'd be a lot easier to use 110 Ω cable for both, and then we'd be able to use...

That's disappointing... So is 110 Ω cable more expensive to make than, say, 75 Ω cable? I know the shielding in AES cable is usually better which makes the cable more expensive, but surely making a cable with a different characteristic impedance value is a trivial exercise, no? And yet I'm...

Yes indeed they look similar (if not identical). I know the theory about the characteristic impedance and all that, but if I gave you an unmarked cable and told you "this is either AES or microphone cable, which is it?", would you be able to answer confidently?