RME Babyface Pro FS Portable Interface Review

[Grooved]

Hi @Bern ,
first thing : if you think that your TotalMix setup was OK, did you check that there was no monitoring turned on in your DAW at the same time?
The guitar you don't want may come from that (added to what you set in TotalMix)

You need to also check that in TotalMix there are no other submix with this input link to a Babyface output, maybe check with the Matrix view.

 

[Bern]

Hi @Bern ,
first thing : if you think that your TotalMix setup was OK, did you check that there was no monitoring turned on in your DAW at the same time?
The guitar you don't want may come from that (added to what you set in TotalMix)

Thanks for the response, Grooved. I don't remember, though, how the monitoring was set in Logic, yet I'll remember taking that into consideration when I get to testing my setup soon. But just to be clear, since you write "the guitar you don't want," what I actually want is to have ONLY the guitar coming out of the BPFS outputs, and not the whole mix/all the instruments, as I wrote in my OP—guess it isn't clear?

 

[Grooved]

Thanks for the response, Grooved. I don't remember, though, how the monitoring was set in Logic, yet I'll remember taking that into consideration when I get to testing my setup soon. But just to be clear, since you write "the guitar you don't want," what I actually want is to have ONLY the guitar coming out of the BPFS outputs, and not the whole mix/all the instruments, as I wrote in my OP—guess it isn't clear?

Yes, I answered thinking "the guitar you don't want" instead "all except the guitar you want", sorry for that, but it's the same thing to follow, just that only this guitar should should be routed to a Babyface output.
And only the Babyface is used for monitoring, so Logic should act as a recorder only. Nothing should come back from Logic while you're recording.

I have an idea to be sure quickly: in Logic, add a big reverb (as insert in this case, not as aux send) on any other track but the guitar one. If what you hear now while recording has this reverb, it's that what you don't want to heart is coming back from Logic. If it doesn't have the reverb, the problem is in TotalMix.
It's sometimes easy to get lost in routing, you often discover it was a simple thing you forgot to change while thinking it was done.

 

[Bern]

Thanks again for the input, Grooved. Later today, I'm going to somewhat recreate that recording session, putting up a few mics including one with the guitar, and hit record. I understand using a reverb to make things obvious, while as I see it, when playing the recording while playing around in TotalMix, I'll hear it when the only thing that comes out of the BPFS outputs is the guitar track. And again, I'll take into consideration the input monitoring setting in Logic—thanks for the reminder.

 

[L5730]

@Bern,
I'd be inclined to use the matrix view and just route whatever items you want to whatever outputs, so input 3 (Guitar DI) to output AN1 (XLR 1).
You'll want to split the stereo inputs into discreet mono inputs probably, although not essential as panning the linked stereo pairs should take care of that anyway.


Ref: JK's review:
In my opinion I wanted hassle free, rock solid stable performance with low latency in Windows. RME seemed like the only product to more or less guarantee that based on internet searches and user posts. Price premium, yes. Missing dynamics processing and a few other little things, of course. But it's stable and long term support is expected.
Some folks have gotten lucky, or maybe it's other who are unlucky with other interfaces which are much cheaper. I had an M-Audio PCI card that was utterly fine, yet others had issues galore with theirs *shrug*.

I wonder what serial number range the change over from AKM to ESS chips is at.

 

[Bern]

L5730, I wasn't even aware of the Matrix view—I got the BPFS fairly recently and still learning. Fascinating.

So, if you care to take the time to answer this, how do you actually use it?

In any case, thanks for the input.

 

[L5730]

@Bern

I was recording in Logic a session of a trio I play in, using the BPFS mics and lines inputs coupled with an ADAT 8 pres unit. I play guitar in the trio, and I wanted to record the guitar into input 3 and 4, blending both its internal pickup ( going into input 3 ) and a Rode NT5 mic to add more of its natural sound ( going into an external preamp into input 4 ). So far, so good.

But then, I also needed to be amplified to match the volume of the 2 other instruments when we play. The obvious solution was to use one of the XLR outputs of the BPFS—which we didn't need—going into a Bose S1 I have. But I just couldn't find a way to have ONLY either the pickup or the mic input of my guitar coming out of the BFPS output. I tried everything I could think of, but all inputs/tracks kept coming out of it.

I understand that it is normal that all inputs of the BPFS are coming out of the outputs, but there must be a way in TotalMix to ouput a SINGLE input, in this case my guitar input. Since there are "submixes" that can be created in TotalMix, I take it that it must possible. Or there's an even better, simpler way to do that.

Any help would be appreciated. I have to find a way to do this, for that trio and other projects. Thanks.

If I understand you correctly you are saying you want this setup, with either the DI guitar or the mic'd guitar signal coming out?

Firstly, get your paper manual out or go here RME BFPro fs manual to download the pdf in English, page 65 "22 The Matrix" (if this was a Line6 product there would probably be some reference to Neo, being the funny folks that they are/were).

Open the TotalMix window interface.
Hit 'X' or go to the Function menu, and choose Matrix. Remember 'M' gets you back to normal view as does selecting Mixer View in this menu.

As per the image above, you'd set the top section (inputs) with either INST 3 (Guitar DI) Pink and INST 4 (Mic'd guitar) Blue to 0.0 max output.
These are for the Out1 column, which is the routed output for XLR 1.

Also note that the big fader in TotalMix main mixer view is a monitor control and not a record level/pre-amp gain adjustment. That is what the gain radial knob and trim control do. So, once you change the settings in the matrix view, you should see these reflected in the mixer view.

At the bottom of each input in the mixer view is something like AN 1/2 or PH 3/4 written. Clicking that allows you to pick which outputs you want to monitor the incoming input signal directly to. So, you'd pick AN1/2 for your INSTR inputs, and pan both left.

For example:
Mixer Intr 3 and 4 both panned hard left. Big fader (direct monitor level) at 0.0, outputting to AN 1/2 (XLR 1/2 if you will).
Note, panning both hard left means both signals come out of XLR1.

Switching to matrix view shows that we've got both INSTR inputs feeding the first column. The outputs Main (XLR) take anything in column 1 and 2 and let you hear it in left and right.
If you had other music and other devices connected, make sure their big faders are down in the mixer view and that they don't show up in columns 1 and 2 in the matrix view.

In my example below, you'll see any software playing to 1/2 will also come out of the XLRs.

I hope this helps. It's tough to explain without having a conversation directly and kind of working over the shoulder with someone via a remote control session.

 

[Bern]

Great input, L5730. Thanks so much. I want to understand the Matrix more—and need to understand so much more. I have a practice session soon, so I'll look more into what you shared later.

"...working over the shoulder with someone via a remote control session." I've been considering that for a number of things, what with all the new gear I now have and a new live rig setup I have in mind. Who knows, we might hook up one day and do that together to move me along faster in making the best out of my BPFS and TotalMix.

 

[TheMoppel]

Does anyone know how can I check if I got the ESS Version or the AKM Version?

 

[Trell]

Does anyone know how can I check if I got the ESS Version or the AKM Version?

Ask RME support and give them the serial number of the device.

 

[tangucho]

Hello all, I was doing extensive market research thinking which will be my next interface, I was between Apollo Twin X, Apogee Symphony Desktop and Antelope Go. Just to let you know that finding this thread makes me decide to buy the RME Babyface Pro FS (will be my first RME interface). I hope it will be available soon....

 

[Trell]

A new video from RME on how to use TotalMix in recording interfaces with the RME ADI-2 DAC FS. Perhaps not so many of us that use both a RME recording interface and an ADI-2 DAC, bit it's a nice combo.

 

[FINFET]

Seems no one mentioned that RME released their Digiface AES audio interface several days ago. To me it looks like a (half) rack mount version of Babyface pro FS with better SNR/THD, or an ADI-2 pro wih ADAT, bus power and Totalmix support (but no DSD and less powerful headphone output stage). So it's basically a baby of Babyface pro fs and ADI-2 Pro. I was wondering if Amir can get one to test and compare its ADC/DAC and headphone amp with Babyface pro FS and ADI-2 Pro.
Manual here if anyone interested: https://www.rme-audio.de/downloads/dface_aes_e.pdf

 

[MC_RME]

This unit is a Babyface Pro FS without Instrument inputs, added digital I/Os including SRC and a display for full stand-alone operation. And those digital I/Os are the main point of it (hence it's name). It has been designed for specific broadcast needs and is most probably not very interesting for anyone else.

 

[BeerBear]

Nice. I think more digital I/O is going to be interesting to others too, especially with DSP-enabled speakers becoming more popular. A digital connection makes the most sense there.

The one thing that I'd still like to see is a more capable onboard EQ, like a 10-band parametric, for EQing headphones and speakers.

 

[Grooved]

Nice. I think more digital I/O is going to be interesting to others too, especially with DSP-enabled speakers becoming more popular. A digital connection makes the most sense there.

The one thing that I'd still like to see is a more capable onboard EQ, like a 10-band parametric, for EQing headphones and speakers.

But all versions of the ADI-2 Pro (standard, FS, FS R...) have AES I/O too, if it's the main thing you want to use

 

[BeerBear]

I was thinking of the various connectors on the box, even coax SPDIF. It's nice to not have to use adapters and breakout cables.
But anyway, that thing is too expensive.

 

[Digby]

This unit is a Babyface Pro FS without Instrument inputs, added digital I/Os including SRC and a display for full stand-alone operation. And those digital I/Os are the main point of it (hence it's name). It has been designed for specific broadcast needs and is most probably not very interesting for anyone else.

Is there any chance of you releasing something a bit more budget minded in the future? The original Babyface used to be available for under £500, the current Babyface model costs more like £800. I think there is a gap in the market for something a bit cheaper, but with RME's usual stability and quality.

 

[mike7877]

This is a review and detailed measurements of the RME Babyface Pro FS Portable professional audio interface (ADC, DAC, headphone and digital I/O). It was kindly sent to me by the company. The Babyface Pro FS Costs US $899. It is an upgrade to the non-FS version of the same product.

The Babyface Pro FS makes a hugely positive impression the minute you take it out of its nice hard case:

View attachment 56587​

Machined out of a solid chunk of aluminum, it is quite heavy and sits still even with heavy XLR cables pulling on it.

The LED displays are bright and cheery and hard buttons are easy to figure out (I did not even bother with the manual).

The side panel has provision for external power but it is not needed. Despite all of its functionality and LED bar graph, the Babyface Pro FS is entirely "bus powered" via USB 2.0:

View attachment 56588​

The only reason to use an external power supply is for stand-alone operation or with a tablet. The DC connector is the great locking one that is used in higher-end ADI-2 Pro range of products.

Here is the other side showing two analog inputs and headphone out:

View attachment 56589​

Love the rear mount XLR ports so the cables can nicely go back to the end of the desk:

View attachment 56590​

For this review, I only used the XLR connections above and the headphone out. The input connectors are for microphone and hence high gain. I dialed down the gain using the rotary control and ran with it.

I was very pleased that the ASIO driver package was just 10 kBytes (yes, kilobytes) with no bloatware. Reliability was rock solid which is more than I can say for some other interfaces.

DAC Audio Measurements
Let's start testing each subsystem independently starting with USB In and XLR Out as if we just have a simple DAC:

View attachment 56591

I adjusted the output to 4 volts. I was pleasantly surprised that despite being USB powered, the unit could push out over 6 volts at max volume!

At this voltage, measured SINAD of 107 dB is much better than specified 102 dB. No, this is not state-of-the-art performance. For that you need to go to higher up the line units. There is a ton of functionality here in a portable unit so performance is somewhat relaxed:

View attachment 56593

Signal to noise ratio falls in the same targeted place:
View attachment 56594

"FS" stands for high-performance clocking in RME parlance and we see that reflected in the jitter test:

View attachment 56595

Nothing rises above the noise floor represented at -150 dB here.

Linearity is perfect in one channel but a bit off in the other:

View attachment 56596

IMD performance is good:

View attachment 56597

32-tone signal at 192 kHz sampling shows similar results:

View attachment 56598

THD+N versus frequency measured with 90 kHz wide bandwidth shows nice, organized response indicating no out of band garbage:

View attachment 56599

Analog to Digital Converter (ADC) Performance Measurement
Starting with our dashboard we get:

View attachment 56600

Nearly identical peformance as the DAC, placing the unit above average in our list of interfaces tested so far:

View attachment 56601

Frequency response is more than wide enough for what you want to capture for high-resolution music:

View attachment 56602

The Babyface Pro FS easily leaves high-end consumer cards on noise and distortion:

View attachment 56603

Feeding the ADC the same J-test signal we use for DACs allows us to see intrinsic jitter performance:

View attachment 56605

The blue is my non-FS version of ADI-2 Pro which has some low frequency jitter. Babyface Pro FS has none of that.

Headphone Amplifier Audio Measurements
Let's start with the all important power versus distortion and noise into 300 ohm load:

View attachment 56606

I like to see 100 milliwatts here so that any headphone can be driven and we are not there. But what is there is very low noise and distortion.

Performance with a much lower load impedance of 33 ohm is not as good though:

View attachment 56607

There is not a lot of power there and the reason is high output impedance:
View attachment 56608

So the output is really for high impedance headphones that are not impossible to drive.

EDIT: specs show that the 3.5mm jack has near zero output impedance so above is not an issue in practice.

Conclusions
RME sets the performance bar at "very competent" and easily meets that with Babyface Pro FS. Yes, it would be great to have state-of-the-art performance but what is there is sufficient for its target application. The headphone output is good for casual monitoring but doesn't have the horsepower to drive difficult or low impedance headphones.

The hardware/mechanical packaging is a delight as it the ability to use it without an external power supply.

There is a ton of functionality here that I have not included in my testing. Nor other important factors such as low-latency capture and monitoring. So there is a lot more here than a simple desktop DAC/ADC.

Overall, I am happy to recommend the RME Babyface Pro FS.

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As always, questions, comments, recommendations, etc. are welcome.

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Correction: you normalized the 32 tone tones to +10 instead of 0dB, giving 17 to 18 bit accuracy instead o

 

[Music1969]

Correction: you normalized the 32 tone tones to +10 instead of 0dB, giving 17 to 18 bit accuracy instead o

His plot states the same that you write, 17 to 18 bits ?

But its probably more... +10dB + 100 dB = 110 dB range = over 18 bits