I keep hoping for an update where they include a purple color for the analyzer…please make it happen rme!
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I don’t see an update for mine yet but here is a link to what they added…new ver is DSP 35 for non-pro ADI DACS…
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This! It would get a proper spot on the desktop again if so! I’ve requested purple as well in email lol!
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Oh man I didn’t realize the ADI-2 FS was still getting updates. Glad to know RME is still on top of their stuff!
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Has anybody been able to update their RME to 35 yet? I still don’t see it on mine…using mine on Mac.
Edit: Nvm, I figured it out!
Yeah I updated mine already, but I am on Windows. The update went smoothly and the new firmware is in use after the reboot.
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Old thread I know.
I had the RME for about 5 days, got weary of the interface, and returned it. I really want eq and crossfeed, so I re-ordered. God help me!
Oh, I own an Audi…(manual tranny)
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This may be a dumb question and it seems like it is possible but couldn’t find an explicit yes in the manual so here is the question.
Can you have variable on one output (XLR - going to monitors) and fixed on the other (RCA - going to amps)?
You can definitely have it setup like that (simple as setting it to 0.0 when you want to use it fixed for RCA)…
But both XLR and RCA outputs act as one; they’re not independent of each other. Hope that answered your question…
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Rip. I was hoping they could be independent in the settings. I wanted to avoid being 0dB listening to rca then flip to monitors at 0dB because I forgot to turn it down.
Both RCA and XLR outputs are active at the same time. So switching between your monitors and your amp would require powering off the monitors (or zeroing their volume if they have their own controls) when not using them.
Also, there’s no true “fixed level” output. The volume control/output level is always enabled. If you set it to 0 dB then there’s no attenuation going on, however, at which point it is a true line-out.
Note that if you have the unit set to “Auto Ref Level: On”, then 0 dBr is going to be MUCH higher level than many consumer amplifiers can take without clipping their input stages. So you’ll probably want to turn off “Auto Ref Level” and pick an appropriate output level.
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Quick question for you…
In the manual under the ‘Operation in the Hi-Fi Environment’ section, it mentions that in a typical HiFi unit you’d set it at 2 V output level (equals +8dBu) which equals +7dBu/+1dB or +13dBu/-4.5dB.
Let’s say +7dBu is what I want it set at…is it suggesting I change the Vol to +1dB over 0.0dB? In other words, which is the “right” setting to use assuming I want a true line-out using an output of +7dBu?
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If you manually set the reference level, then the specified reference level is what output level you’ll get when the volume is set to 0 dB.
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Ah okay good to know. Might be easier to run a passive volume attenuator with a mute to bypass turning off and/or zeroing monitors? Scenario: I don’t turn monitors off and am not going to reach behind them to turn off or zero the volume.
I am getting RME ADI-2 PRO FS R BE to drive my HEDDphones in balanced mode, I already have the ADI-2 DAC, and I guess a smarter decision would have been to get a dedicated amplifier like THX789 or Topping A90, but I really need a single unit on my desk as I already have lots of stuff on in (I make YT videos so clutter doesn’t look good on camera), and the EQ settings don’t automatically switch between my Adam A5Xs (room correction) and the HEDDphones, so I don’t want a 3-4 step process whenever I switch between outputs. If RME could add ability to set different EQ’s to shortcut buttons on the remote, that would be amazing for people who use external amps with RME devices.
I am aware that ADI-2 Pro solution will always require a balanced cable if I need to power a headphone with higher than 1.5 watts @ 32ohm that SE mode on these devices offers, but I am guessing that other than that shortcoming, the balanced out on ADI-2 Pro will be good enough for most headphones.
I know some people call the amp too clinical or analytical, but with the NOS filter mode, I think it does take away some of the edge and artificial sharpness in the treble, and I also review headphones so I also wanted something that doesn’t alter the sound signature of the headphones by adding warmth (and ADI-2 Pro will also let me A/B headphones with identical amplification, which will be a huge help, at least for non HEDDphone-level demanding headphones).
@Torq 's description of ADI-2 Pro’s balanced mode not exhibiting any compression was quite helpful in making this decision, so I am hoping that the balanced out mode on ADI-2 Pro’s latest version will be as good as THX789 or maybe even Topping A90 (excluding the extra power that these amps have, which I just think is overkill for most cases as long as the nature of amplification sounds ‘correct’, in addition to getting the correct volume like Torq explained above). (I’d never have gone for something like the SPL Phonitor X as that’s just too big and expensive with features that I don’t need).
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Welcome to this community.
I was having an 
for the same all-in-one myself. However, instantly changed my mind when I discovered there’s no phantom power (48V) to drive condenser mics out of the box. 
If you already have an external mic pre, or a USB mic, then go for it. Otherwise, I’d revise the single unit plan.
Cheers. 
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There are no microphone inputs, period, unless you have a microphone that already has a line-level output (I own no such beasts).
Might want to look at one of the MOTU units. The UltraLite AVB is good, the new UltraLite MKV is probably even better, and the 624 is very nice as well. Need the computer/tablet based interface to get access to all the features, but it’ll do most of what the RME unit does, while having built-in microphone support, and much more connectivity, for a lower price. Not nearly as convenient, but more powerful.
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Ah yes, I was actually also hoping to plug in my XLR mics and electric guitar and just record and practice, but I also learned later that that won’t be possible.
I did read a discussion on ASR forums about why it didn’t have mic preamps, and I think Matthias responded with “Mic preamps indeed need more space and make the unit more expensive. Same for adding 48V. But there is no space left on the PCB. Point is most users don’t need that. And adding mic pres also would mean adding TotalMix for monitoring. That’s a different unit then.”
Still, having preamps would have been amazing for people who have the use case for it, but maybe they’d have to release it as a separate, higher end version. I personally do have a Focusrite interface which works well for mics + guitar, so I am fine with not needing to pay even more for that ADI-2 Pro, as it is already quite an expensive unit.
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Right. You could have a very good amp/DAC (combo) for much less, at the cost of desktop space, of course.
My 6i6 is actually driving a Liquid Platinum (differential amp). The front “Monitor” knob is used as volume attenuator.The balanced line outs are fed into the amp. Simple but effective.
Similar suggestions also apply to ADC. A good microphone will likely deliver more with an entry level ADC, than a TOTL ADC reading from a sh*ty microphone.
Good luck.
I’m personally curious on what will be the next gen audio interfaces. As of today, I have no major incentive in upgrading from my Scarlett 6i6 2nd gen. A USB-C connector is not a strong reason to do so, as USB is still stuck at class 2 for the current offerings.
Unless ADI-3-PRO with 48V is in the oven. 
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