Anafree, one of the benefits of the RME recording interfaces is the perceived zero latency recording.
Its one reason among many that drew me to RME as opposed many other lesser, more poorly supported manufacturers products.
The quality of assistance and guidance you have already received from the great people here, is a direct mirror reflection of the quality of support provided by this excellent manufacturer.
If my experience is anything to go by, provided you read the manuals, watch the video tutorials and ask for help if you get stuck, as we all do at times, you should do well with RME. It is a step up to a complete higher level. Altogether beyond what you are presently accustomed to.
If I may say so. There is a lot to be said for purchasing the best possible RME product from their range that you can afford, even if at this moment it might feel like a stretch. The thing is, doing so often saves money in the long run, because over time, our requirements inevitably grow along with our interest and then, extra features which we suddenly find needful, are already there.
That is just my opinion, but any of the superb RME interfaces will serve you well.
Despite the excellence of the RME systems with TotalMixFX.
It may be, that any difficulties, such as you experienced in regard to VST instruments lays with the configuration and implementation of your computing system.
Whilst such matters are not strictly the remit of a forum dedicated to RME equipment, I am continually astonished at the heart-warming generosity of the excellent people here, who regularly hand hold other RME users, through their non RME problems.
One thing you can do to help yourself right now despite the difficulties, is to record and print your VST instruments, immediately after you have tracked them. In other words, commit to the sound you want recorded, provided you are hearing that sound in the live room.
Years ago, professional recording engineers with a strictly limited number of channels and tracks to record to, HAD to commit themselves as the recording developed, and as they bounced tracks around to get more over dubs on to the limited resource’s they had available.
Despite that limitation, perhaps even because of it as they HAD to get creative, they were able to record some of the most acclaimed albums created throughout the entire history of recording. For instance, The Beatles Sgt. Peppers album was recorded on a J-37 Studer four track tape machine.
Often when the four tracks were full, they were transferred to another four-track but just using one or two tracks, using a process called "reduction". Then more tracks were added and so on. Heck, I can remember when all the tracks were used, one time overdubbing a lead guitar part, straight from the mixing console, while the reduction was taking place to a two track Studer mastering machine, for a particular album.
Later Studer multi-tracks could be rewired internally from standard as supplied to allow bouncing tracks within the machine, avoiding "reductions", typically allowing sixteen tracks with a single eight track, like an A-80.
Funnily enough, a producer that had been working with the Beach Boys in California, recording here showed how to do this in the early seventies, and it worked well, better than reduction.
The point is, people then didn’t have the luxuries and limitless tracks that people incorrectly seem to regard as being necessary today.
But possessed the confidence to commit what they had recorded and print it.
Quote: “I used to use "Render in place" option for each instrument track, and then disable the instrument track but that's totally unprofessional”
With respect, I trust the above comments will assist you to view the above statement in an altogether different light.
An RME interface will permit you to put your best foot forward regarding the issues that concern you.
A logical step towards enabling implementation of your desired work methodology.