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RME Fireface UCX 36-Channel USB and FireWire Audio Interface, New

Build your studio around a solid FireWire/USB interface. This half-rack FireFace packs in 2 mic pres, 8 analog I/O, pristine A/D converters, ADAT and S/PDIF. Rate and review this product
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This Half-Rack Interface is Packed with I/O and Flexible Routing

Cut back on size without skimping on I/O! The very compact half-rackspace RME Fireface UCX USB and FireWire audio interface provides 18 channels of I/O: 8 analog inputs and outputs including a pair of pro-quality mic preamps, S/PDIF and ADAT optical, plus MIDI I/O. With RME's high-performance converters and the TotalMix FX DSP engine built into the interface, it's just what you need for studio and live recording.

Flexible I/O

What can you do with 36 inputs and outputs? Lots! You can record up to 8 analog and 10 digital channels onto 18 separate tracks. As for inputs, you have four balanced TRS ins on the rear of the Fireface UCX, and on the front panel you have two XLR inputs with Mic/Line preamps (65 dB Gain) and two Hi-Z capable TRS Line/Instrument inputs.

The audio interface has six balanced TRS outputs on the rear, all available for ASIO Direct Monitoring, plus one additional TRS stereo headphones (playback channels 7/8) out on the front, which offers high volumes even with high-impedance headphones.

Hybrid FireWire/USB Interface

RME's updated Hammerfall-X-Core bus technology allows the Fireface UCX to include both FireWire 400 and USB connections, including support for high-speed USB 3.0, all in a space-saving half-rack format.

High-Performance Preamps and Converters

As you might expect from an RME interface, the Fireface UCX's high-performance AD/DA converters deliver 192 kHz resolution audio plus second-to-none S/N and THD specifications across a wide analog level range. RME's Hammerfall converters are designed to reduce the overall latency of timing critical applications in both live situations and in computer-based recording studios.

Enjoy tracking with two high-performance microphone and instrument preamps with digitally controlled gain and +48V phantom power. Built right in to the front panel, these pres are right where you want them so you can plug, play, and record with extremely low distortion, excellent signal-to-noise ratio, and a flat frequency response. These transparent preamps capture your audio signal exactly as it is without coloring it or changing it in any way, making the Fireface UCX an especially good choice for recording acoustic music.

RME's AutoSet overload protection feature provides dramatic gain reduction without the use of a limiter, so you always get clip-free audio.

TotalMix FX DSP for Latency-Free Processing, Monitoring, and FX

Thanks to its DSP-based TotalMix FX engine built into the interface, the Fireface UCX is able to use one DSP chip for monitor mixing and the other for latency-free effects and processing. The TotalMix mixer also supports fully independent routing and mixing of all 18 input and playback channels to all 18 physical outputs. And for even more routing flexibility and extra monitoring capabilities, you have up to 9 independent stereo submixes and a comprehensive Control Room section.

Each channel offers dedicated EQ and dynamics, along with reverb and delay processing, so you can work with just the FX and processing you need for the task at hand, without adding any latency to the mix.

Plenty of audio interfaces come with "DSP mixers" that run on your host computer -- but the Fireface UCX has DSP chips on board, so you can track with the effects you need without adding latency or weighing down your host computer's processors.

Digital I/O, Word Clock, and MIDI Onboard

The Fireface UCX provides a coaxial SPDIF I/O working at up to 192 kHz, plus one 8-channel ADAT I/O that expands the interface by 8 channels available simultaneously with the analog channels. For even more flexibility, the ADAT I/O can be used as optical SPDIF I/O. And for universal usability, the audio interface sports Word Clock in and out with switchable termination, plus MIDI I/O on a breakout cable.

Class Compliant Mode

As a Class Compliant interface, the Fireface UCX can be used with Windows, Mac OS X, and Linux-based systems, as well as your iPad or iPad 2 when you use the Camera Connection Kit.

Features:

- Compact half-rack FireWire/USB audio interface
- 18 channels of audio I/O, with 8 analog inputs and outputs
- Low-latency mastering grade converters
- 2 Front-panel mic preamps with digitally controlled gain, 48V phantom power, and AutoSet overload protection
- Hammerfall-X-Core bus technology supports FireWire, USB 2.0, and USB 3 with low latency operation
- TotalMix FX DSP engine provides latency-free processing, effects, and monitor mixing
- Integrated DSP monitor controller
- DIGICheck metering and analysis toolbox for PC and Mac
- Support for RME's Advanced Remote Control
- Active jitter suppression technology
- Advanced standalone functionality
- Full 192 kHz operation for high-quality audio
- S/PDIF and ADAT optical I/O
- MIDI I/O
- Class Compliant mode lets you connect the interface to an iPad or iPad 2 via the Camera Connection Kit

The portable Fireface UCX offers a range of flexible routing options, and DSP chips on board so you can track with latency-free processing and monitoring -- all in a half rack space!

zZounds is an authorized dealer of RME products.
Connectivity:
- 18 Input / 18 Output channels
- 8 x Analog I/O
- 2 x Mic/ Line Preamps, digitally controlled
- 2 x Line / Instrument inputs, digitally controlled
- 1 x SPDIF I/O coaxial
- 1 x ADAT I/O (or 1 x SPDIF I/O optical)
- 1 x Word Clock I/O
- 2 x MIDI I/O (via breakout cable)
- 1 x FireWire 400
- 1 x USB 2.0 (USB 3 compatible)
- TotalMix FX (with UFX effects engine)

Drivers:
- Windows 7 / Vista / XP SP2 (32 & 64 bit)

System Requirements:

- USB: Computer with at least Pentium Core 2 Duo CPU
- FireWire: Computer with OHCI compatible FireWire Port 400 (1394a) or FireWire 800 port (via adapter cable sold separately).

Connections:

- AD, Line In 5-8, rear
- Signal to Noise ratio (SNR): 111 dB RMS unweighted, 114 dBA
- Frequency response @ 44.1 kHz, -0.1 dB: 10 Hz - 20.6 kHz
- Frequency response @ 96 kHz, -0.5 dB: 5 Hz - 45.3 kHz
- Frequency response @ 192 kHz, -1 dB: -1 dB: 5 Hz - 90 kHz
- THD: < -105 dB, < 0.0005 %
- THD+N: < -98 dB, < 0.0012%
- Maximum input level: +19 dBu
- Channel separation: > 110 dB
- Input: 6.3 mm TRS jack, electronically balanced
- Input sensitivity switchable to Lo Gain, +4 dBu, -10 dBV
- Input level for 0 dBFS @ Lo Gain: +19 dBu
- Input level for 0 dBFS @ +4 dBu: +13 dBu
- Input level for 0 dBFS @ -10 dBV: +2 dBV

- Line In 3-4, front As AD, but:
- Additional Gain stage: 0 up to +12 dB
- Maximum input level, Lo Gain, Gain 0 dB:
- Line +19 dBu, Inst +13 dBu
- Maximum input level, -10 dBV, Gain 12 dB, Line:
- -7,5 dBu, Inst: -13,5 dBu
- Input impedance Inst: 470 kOhm
- Input Gain Inst: +6 dB
- Input mode: Line balanced (TRS), Inst unbalanced (TS)
- CLIP LED: 0 dBFS
- SIG LED: -60 dBFS

- Microphone/Line 1-2, front as AD Line In 5-8, but:
- Input: Neutrik XLR/TRS Combo jack, electronically balanced
- Input impedance: XLR 2 kOhm, TRS 8 kOhm balanced
- Signal to Noise ratio (SNR): 112 dB RMS unweighted, 115 dBA
- Low Roll Off -0.5 dB: 18 Hz, -1 dB: 12 Hz
- Gain range: 0 dB, +10 up to +65 dB
- Maximum input level XLR, Gain 0 dB: +10 dBu
- Maximum input level XLR, Gain 65 dB: -55 dBu
- Maximum input level TRS, Gain +0 dB: +21 dBu
- Maximum input level TRS, Gain +65 dB: -44 dBu
- CLIP LED: 0 dBFS
- SIG LED: -60 dBFS

- DA, Line Out 1-6, rear
- Dynamic range (DR): 111 dB, 114 dBA @ 44.1 kHz (unmuted)
- Frequency response @ 44.1 kHz, -0.1 dB: 5 Hz - 20.4 kHz
- Frequency response @ 96 kHz, -0.5 dB: 5 Hz - 45 kHz
- Frequency response @ 192 kHz, -1 dB: 5 Hz - 90 kHz
- THD: -100 dB, < 0.001 %
- THD+N: -96 dB, < 0.0015 %
- Channel separation: > 110 dB
- Maximum output level: +19 dBu
- Output: 6.3 mm TRS jack, servo-balanced
- Output impedance: 75 Ohm
- Output level switchable: Hi Gain, +4 dBu, -10 dBV
- Output level at 0 dBFS @ Hi Gain: +19 dBu
- Output level at 0 dBFS @ +4 dBu: +13 dBu
- Output level at 0 dBFS @ -10 dBV: +2 dBV

- DA - Phones, 7/8, front As DA, but:
- Output: 6.3 mm TRS jack, unbalanced
- Output impedance: 30 Ohm

- Word Clock
- BNC, switch for internal termination 75 Ohm
- Apple Mac OS X 10.5 Intel or up (Core Audio)

Windows and Mac OS X drivers are completely identical in terms of features and functionality. *Some features in DIGICheck are not available in the Mac version.
Dimensions and Weight in Packaging
Base Item
Shipping Weight: 5 lbs
Shipping Dimensions: 14 x 8 x 4 in
RME Warranty ´╗┐RME offers a warranty of 2 years from original date of purchase from the dealer with proof of purchase.
If you have additional warranty questions, please contact the manufacturer at 330-259-0308

Product Description

An ultra-compact half-rack solution for your studio and live recordings, the Fireface UCX provides 36 channels of audio with 18 analog I/Os. With full mobile usability, the RME combines their most successful products into the Fireface UCX by improving existing features and characteristics plus adding sophisticated ones.

Inputs and Outputs

The UCX provides 36 channels of audio - 18 I/Os. All channels can be used at the same time. Up to 8 analog and 10 digital channels can be recorded onto 18 separate tracks. All outputs can be used for ASIO Direct Monitoring purposes.

Analog I/O

The UCX provides 8 analog I/O in a very flexible combination:

8 Inputs. On the rear: 4 balanced TRS. On the front: 2 XLR inputs with Mic/Line preamps (65 dB Gain) and 2 Hi-Z capable TRS Line/Instrument inputs..

8 Outputs. On the rear: 6 balanced TRS outputs. On the front: One additional TRS stereo phones (playback channels 7/8). The high power phones output offers high volumes even with high-impedance headphones.

Sound Quality
Equipped with a 2011 A/D and D/A high-performance converter design all I/Os operate at up to 192 kHz. The AD/DA conversion supersedes the outstanding technical specifications of the Fireface UC/400 with an impressive 114 dBA dynamic range on both record and playback. The advanced multi-bit converter architecture guarantees excellent S/N and THD specs across a wide analog level range. In the best RME tradition and product philosophy, the UCX converters and preamps have no characteristic "sound" of their own. They neither add nor remove anything, but capture the original signal just as it is.

Due to its efficient jitter reduction, RME's superior SteadyClockTM finalizes the state-of-the-art AD/DA conversion, even when clocking to an external digital source.

Low Latency Converters
All analog I/Os use a low latency converter design with impressive 14 samples for the ADC, and 7 samples for the DAC, independent of the used sample rate. These values are about a quarter of the Fireface UC/400 (43/28), and even outperform much more expensive devices. A technical breakthrough that reduces the overall latency of timing critical applications, in live situations, and in computer-based recording studios. The converter latency is so low (0.4 ms at 48 kHz) that it can be ignored, turning analog digital monitoring into real analog-style monitoring!

Professional Level Support
A great converter needs to support the common studio levels for the perfect adaptation to other analog equipment without loosing headroom. Like all other RME devices the UCX supports the common professional studio levels: -10 dBV, +4 dBu, Lo / HiGain. The software-controlled reference levels, realized discretely in the analog domain, ensure highest dynamic range and fidelity.

- Inputs 3 to 8: -10 dBV, +4 dBu and Lo Gain (adjustable in two groups - channels 3/4 and 5 to 8).
- Outputs 1 to 8: -10 dBV, +4 dBu and Hi Gain (adjustable in two groups - channels 1 to 6 and 7/8).

All outputs can be used for ASIO Direct Monitoring purposes.

Microphone/Instrument Preamps with AutoSet

The Fireface UCX provides two high-end mic and instrument preamps - built right into the front.

Like the famous UFX ones, both preamps use core technology of RME's Micstasy. A high-end preamp for supreme sonic demands and critical applications, like professional recordings of classical and acoustic music. The outstanding preamp design boasts extremely low distortion, excellent signal to noise ratio and a perfectly flat frequency response. A premium solution for transmitting and amplifying any audio source truly unchanged, be it high-level stage or typical studio signals, lower level and high-impedance instruments, or dynamic, condenser and ribbon microphones.

The digitally controlled gain of up to 65 dB, adjustable in steps of 1 dB over a range of 55 dB, is individually set for each preamp with the encoder knob on the front or in TotalMix FX on the host computer. All level settings are 100% reproducible and can also be adjusted using a MIDI remote controller.

Each channel can be individually switched to 48V phantom power. LEDs for signal, clip and activated phantom power give a complete overview on the unit's status.

The two TRS inputs on the front will alternatively operate as Hi-Z inputs. Directly plug in up to two guitars or other instruments - no other hardware is required.

AutoSet
The UCX offers a unique RME feature which was previously available only in the high-end microphone preamp Micstasy and the UFX. Usually a limiter is used during the recording to prevent clipping of the A/D converter stage. But analog processing would not only spoil the excellent technical specifications of the UCX mic preamps but also alter the original sound.

Thanks to digitally controlled gain the UCX can reduce the gain automatically, thus providing perfect protection from overload with no degradation of the audio signal, which does not have to pass any additional electronic circuitry. Additionally AutoSet does not cause any of the control noises known from usual limiters. SNR and THD stay completely unchanged.

Example: In a recording session, the recording engineer asks the vocalist or guitarist to sing or play a reference part and sets the UCX preamp gain to an unusual high level (e. g. 50 dB). AutoSet will automatically reduce the gain when the level reaches -6 dBFS. The reduction is done in a musical way, based on the intensity and duration of the input signal. Manual gain adjustment becomes obsolete most of the time, but the gain can still be set manually. AutoSet can be switched on for each of the 4 front panel mic and instrument preamp channels individually.

Digital I/O, Word Clock and MIDI

SPDIF: The UCX provides a coaxial SPDIF I/O working at up to 192 kHz.

ADAT: One 8-channel ADAT I/O expands the UCX by 8 channels available simultaneously with the analog channels. They can be used to connect an 8-channel AD/DA converter, a mixing console, or to insert an effect device. The ADAT I/O supports sample rates with up to 192 kHz (S/MUX4). Using an external converter like the ADI-8 QS, the UCX will provide 16 analog inputs and outputs, 12 with a sample rate of 96 kHz, and still 10 at 192 kHz.

SPDIF: The ADAT I/O can be used as optical SPDIF I/O, making the UCX connections even more flexible.

Word Clock and MIDI: A word clock input and output (BNC) with switchable termination plus two MIDI I/Os on a breakout cable complete the I/O list and turn the Fireface UCX into a professional audio system with universal usability.

TotalMix FX

The UCX provides the complete effects engine of the Fireface UFX - all effects are available at all sample rates.

Features/Differences to classic TotalMix:
- Unique design and improved usability
- Improved Control Room section for the main output (studio monitors) and phones. Cue for quick listening to other outputs. Separated monitor panel.
- Four mute, solo and fader groups each.
- Switchable mono and stereo channel view
- Different channel options: Stereo Width, MS Processing, Phase L/R
- Trim Mode: Adjusts the volume for all routed signals of a channel. This option allows to modify the volume of all sends of a channel simultaneously, equalling a hardware's trim functionality.
- Unlimited Undo and Redo
- FX Sends and Returns: One send bus for every input/playback channel with Reverb/Echo
- Expandable channel view for channel settings, EQ and Dynamics setup
- Slim channel mode for selected or all channels, to save space or give a meter bridge view
- 2-Row Mode: reduces the height of the mixer to two rows for smaller displays
- Extended Matrix window with mono/stereo mode, Undo/Redo, display of phase and mute

The DSP-based TotalMix mixer supports fully independent routing and mixing of all 18 input and playback channels to all 18 physical outputs. Up to 9 totally independent stereo submixes plus a comprehensive Control Room section offer unrivalled monitoring capabilities and unsurpassed routing flexibility.

And there is more: TotalMix FX delivers hardware mixing/routing with lots of features and a highly improved usability.

Every input and output channel comes with a luxury feature set, comparable to a full-scale digital console. The effects per channel include 3-band parametric EQ, adjustable Low Cut, Auto Level, Compressor, Expander, MS Processing and phase reversal. The Reverb and Echo effects unit is available for all channels by way of a stereo send and return bus. The UCX easily surpasses the competition by offering all these effects even at 192 kHz operation.

Two DSPs ensure an impressive performance even in extreme applications. As usual with RME, TotalMix is available with all channels at all sample rates, completely unlimited. The second dedicated DSP only renders effects, and therefore always has sufficient resources. For example, at 48 kHz 36 EQs, 36 Low Cuts, 26 Compressors and Echo can be activated. With activated Reverb and Echo still 36 EQs, 36 Low Cuts and 16 Compressors are available.

The FX-DSP uses automatic overload surveillance. As soon as no effect can be added anymore the TotalMix surface will clearly signal this condition. When changing to higher sample rates the UCX automatically deactivates all effects that exceed the DSP's performance - the DSP will never be overloaded. This also prevents any possible damage to loudspeakers due to distortion.

The complete effects section not only adds a lot of flexibility to the recording chain, but makes latency burdened software dispensable. TotalMix can easily replace any external mixer, e. g. to create different latency-free monitoring mixes with EQ and Reverb for the main studio monitors and the headphone of the vocalist(s) in the recording room.

Furthermore, the DSP hardware calculates RMS and Peak levels for all 54 level meters, so there is zero CPU load on the host.

The main functions of TotalMix can be remote controlled via MIDI with any Mackie Control compatible controller.

Hammerfall-X-Core: USB and FireWire


RME is the only manufacturer that doesn't use a third party USB or FireWire audio technology, but its own, self-developed Hammerfall Audio Core with an outstanding performance and uncompromised pro audio features. RME integrated the most sophisticated version of RME's bus technology, the Hammerfall-X-Core - combining both, USB 2.0 and FireWire - within one half-rack sized interface.

USB 2.0
Like other RME USB 2.0* interfaces the Fireface UCX has been optimized for highest performance under Windows and Mac OS. It uses a special customized firmware for each operating system, and provides revolutionary ultra-low latencies even with multiple channels.

* The Fireface UCX is compatible to USB 3 chipsets.

FireWire
The completely redesigned FireWire technology of the HFX-Core provides the UCX with the same exceptional compatibility and performance as RME's USB solution. The UCX does not have any FireWire chip inside - the complete bus technology is programmed into the FPGA and remains under direct control. If ever necessary, it can be updated anytime by a simple firmware update.

Class Compliant Mode

The Fireface UCX is the first fully professional audio interface with the option to be used as Class Compliant interface.

The Class Compliant mode is a standard that is natively supported by operating systems like Windows, Mac OSX and Linux distributions. No proprietary drivers are required, the device will be directly recognized when the CC mode is activated by the button on the front panel.

The Class Compliant mode allows for connecting the UCX to an Apple iPadTM or iPad2!

The iPad is not only an attractive mobile music creation and recording platform, but a closed hard- and software system without common driver problems and interferences from 3rd party hardware, like graphic or network cards. It provides stability, a good realtime performance and an easy handling.

The UCX provides the iPad with the professional analog I/O connections it lacks. Superb microphone preamps with EQ, dynamics, even with the AutoSet feature, in addition to professional balanced line outputs, and a hi-power headphone output that also excels with high impedance headphones. Plus level adjustments, reverb, echo, zero latency monitoring, digitally via USB, without any limitation in quality, at up to 96 kHz and 24 bit.

The UCX adds another special feature: Instead of using the jitter-prone USB clock, it works with its own internal SteadyClock. Many USB audio devices extract clock for DA conversion from the USB data packets, running in slave mode (adaptive mode), with comparably high jitter values, especially since most won't offer active jitter suppression. The UCX works in clock mode master (asynchronous mode), both during recording and playback, thus achieving the exact same sound quality with an iPad as under Windows and Mac OSX.

Supported Inputs and Outputs
When connected to an iPad, the analog mic/line input 1 works with mono apps, inputs 1 and 2 with stereo apps (both dual mono and stereo), and all 8 analog inputs with 8-channel applications, like MultiTrack DAW and Music Studio.

Playback will use analog outputs 1 and 2 (there is no app supporting 8-channel playback at this time). The output signal 1/2 will be copied to outputs 7/8, SPDIF and ADAT, and can be processed independently (Volume/EQ/Dyn/FX Return).

Audio Routing and Processing
The UCX is also a very powerful tool in CC mode, and can even be pre-configured via TotalMix FX under Windows/Mac. Apart from the current configuration up to 6 previously saved configurations can be loaded from the setup memory, allowing for a quick reconfiguration without a connected host PC/Mac.

The input signal will pass through all activated functions of the TotalMix FX input channel, namely settings, EQ, and Dynamics, and is then sent to the iPad. Like under Windows and Mac, the input fader controls direct monitoring to any output. The FX send control for echo/reverb is also active. The iPad's output signal passes through all activated functions of the TotalMix FX hardware outputs, namely settings, EQ, and dynamics. The third row's fader sets the output level.

Additional Features

SteadyClockRME's unique jitter suppression technology guarantees perfect sound quality throughout, making the device completely independent from the quality of external clock signals. Due to the highly efficient jitter reduction, the UCX converters operate independently from the quality of the external clock signal, as if they are working with internal clock all the time - guaranteeing a pristine sound quality!

SteadyClock allows the Fireface UCX to control the sample rate freely on its own. The settings dialog includes a direct choice of the video and audio world's most often used sample rates.

ICC
Intelligent Clock Control not only displays every clock status, but will also retain the last valid input sample rate in case of failure of the external source. Other renowned RME technologies like SyncCheck offer a quick detection of clock problems.

DIGICheck
The UCX comes with RME's unique software tool box for metering, testing, measuring and analyzing digital audio streams. It provides a multi-track recorder, calculates the level meters peak and RMS in hardware and is able to analyze and display playback data from any software, no matter which format the software uses.*

Stand Alone Operation with Setup Recall
Additionally internal memory allows for the permanent storage of six different states of the unit. Therefore the Fireface UCX is able to operate fully stand-alone, without any connected computer. In stand-alone operation it can transform into totally different devices by the simple click of a button. Furthermore, in this mode TotalMix FX can also be controlled via MIDI. Application examples include: 8-channel AD/DA converter, 4-channel mic preamp, monitor mixer, digital format converter, analog/digital routing matrix.

Features:

- Low Latency mastering grade converters with outstanding specifications.
- Two mic preamps with the premium technology from RME's high-end recording bestsellers Micstasy and UFX, including the AutoSet overload protection.
- A recently developed Hammerfall audio core, supporting USB and FireWire with the maximum performance and ultra-low latency operation, combined with the legendary RME driver stability and maintenance, on both bus protocols.
- TotalMix FX with the complete Fireface UFX DSP engine, including all effects up to 192 kHz.
- Monitoring Controller: combining the impressive flexibility of the TotalMix FX monitoring tool set and the optional RME Remote Control.
- RME's unique DIGICheck metering and analysis toolbox for Windows PC and Mac.
- Plus support for RME's Advanced Remote Control, active jitter suppression technology, professional reference level support, advanced stand-alone functionality, full 192 kHz operation, and last but not least two high speed MIDI I/Os.
- On top of it: The Fireface UCX is the first professional audio interface with Class Compliant mode to work with Apple's iPad, for perfect stereo up to 8 channel recording and playback, and the addition of truly professional I/Os.
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zZounds has received multiple Bizrate® Circle of Excellence Platinum awards, placing us in the top 0.7 percent of Bizrate‘s network of 5,200 retailers. Our success in meeting the needs of our customers -- since 1996, we‘ve satisfied over 1,000,000 people -- is due in large part to the fact that zZounds only hires experienced musicians to answer your calls and emails, and they are never paid a commission.

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Available on
orders $249+
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Need it now but short of cash? All we need is the first payment up front and the rest in easy monthly payments!

Fast approval.
We approve everyone, with very few exceptions, as long as we can verify your identity.
No interest. Ever.
It's just as if you paid the whole amount up front!
No paperwork. Nothing to track.
No application to mail or fax, no bills to pay. We automatically charge the payments to your credit card.

We'll wait on your money so you don't have to wait for your gear!

When you checkout, just click the Play as you Pay checkbox to indicate which installment plan you wish to use.

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on most orders $29+

Just $1.99 on
smaller orders

Really heavy stuff might cost you a
little more

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Why fight traffic and pushy salesmen when we'll bring your gear straight to your home, free of charge?

zZounds free shipping is really free!
No hidden charges or hassles on returns.
Fast, reliable delivery
We have warehouses on both coasts, so most shipments arrive in 3 days or less.
We don't collect sales tax. Bonus!
Only NJ residents pay tax during checkout.
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A guarantee so solid, you never have to worry about price when shopping at zZounds

We'll beat any price
Simply click the Seen it for less? link next to the gear you want or call us at 800-zZounds (800-996-8637)
Got a coupon from another site?
Use it with us - we'll beat those prices, too!
Find a better price after buying from us?
No problem. We'll refund you the difference for 45 days, so you'll never regret buying from zZounds.

You'll still get the trustworthy service you've come to expect from zZounds, without paying more for your gear!