thank you

appreciate your reply :-)

I would first ask how many additional analog ports are needed and whether all the devices you want to connect via analog are located near the rack housing the UFX III and the AD/DA converter that you still need to acquire.

MADI allows you to daisy-chain one or more devices and connect the last device back to the UFX III.
This allows you to connect all devices in a serial fashion and create something like a "ring-structure."
With fiber optic cables, you can cover distances of up to 2 km between each device.
It’s easy to use this to connect devices across multiple rooms.

OM3/OM4 multimode cables are available as pre-assembled patch cables (with connectors) in lengths ranging from 0.5 m to 30 or even 50 m. There are also shops that can produce custom-length cables.

This opens up the possibility of placing one or more MADI devices close to the analog devices, minimizing the length of analog patch cables, which are more expensive than fiber optic cables.

Even in a mastering setup, where you do not have multiple rooms, but many external devices to your left and right, it could be worth considering getting two devices with 16x analog I/O and positioning them on each side, rather than having a single 32-channel converter on one side and then running all the analog cables from there.

If you’ve already set up the analog wiring using TRS/TRS cables and don’t want to rewire everything, you might opt for devices that support TRS connections. For example, Ferrofish converters might meet your requirements; specifically, the Ferrofish Pulse 16M offers 16x analog I/O with TRS connections on the back.

If your chosen analog converter has DB25 connectors on the back, you can always use a breakout cable, as previously mentioned. However, this might result in cables that are all the same length, which could mean some are unnecessarily long or too short that you need extension cables.

Another option would be using breakout boxes from RME, although these cost around €327 each.
https://www.rme-shop.com/acatalog/RME_B … boxes.html
This seems to me like the most robust solution, and you can then get XLR-to-XLR cables of appropriate lengths to keep cable clutter to a minimum. I regard XLR cables as the best choice since they lock (TRS do not).

IMHO a breakout box offers the advantage that a DB-25 to DB-25 connection cable is more durable and easier to replace, whereas with a breakout cable, individual wires are more prone to damage/failure and repairs are likely more challenging.

In addition to multimode cabling (preferably with OM4 patch cables), some external MADI devices require a transceiver. The UFX III has one built in, but other devices need an SFP module with compatible (“neutral”) firmware and the correct wavelength (1310nm wave length). If you want to ensure compatibility, RME and Ferrofish offer suitable transceivers for their products using SFP modules.

When purchasing patch cables, make sure to select OM4 multimode cables with the correct connectors. Devices like the UFX III require SC connectors, while devices such as the RME M-1620 Pro or the Ferrofish Pulse 16M use LC connectors which have smaller plugs. I recommend buying so-called duplex cables with two fibers. This way, one fiber is used for sending and the other for receiving, making them suited perfectly for connecting a single MADI device.

While we are at it, RME just released this new AD/DA converter which has 16x AD and DA.
https://rme-audio.de/de_m-1620-pro.html
I’m also looking forward to these new devices because I find it convenient when they provide the same number of AD and DA channels. With 16 channels, it’s theoretically possible to use up to 192 kHz on a single MADI bus, should one wish to, utilizing all 64 channels of one MADI bus (-> channel multiplexing to achieve quad speed). For my purposes, the excellent quality at single speed is still more than sufficient.

When purchasing RME products, you can trust in their quality. For setup and MADI routing on the devices, some basic operations may need to be performed directly on the display (e.g., setting the MADI format to 64 channels). However, most configurations can be easily managed through a web browser, so it’s recommended to connect the converter to your LAN.

[ Edited for better English and add-on information ]

Although I understand your point regarding HiFi and TRS plugs, if you ask for my opinion, I would suggest staying with RME. They consistently deliver a well-balanced package that represents excellent value for money.

As an RME customer for many years (and familiar with other brands), I’ve been impressed by their commitment to improving their products and maintaining long-term driver and firmware updates—some lasting over two decades. The second-hand market reflects this reliability, with even older RME equipment, including FireWire-based models, retaining strong resale value.

When discussing audio quality, it’s important to note that the converter alone doesn’t define the sound (differences between converters are often only subtle). The analogue stages around the digital components also play a crucial role. Here, I trust RME’s approach to delivering high-quality solutions that focus on what truly matters, without unnecessary features. This is paired with excellent support and comprehensive documentation, which further enhances the user experience.

For these reasons, I tend to prefer RME over other brands. Their products offer genuine value and remain a solid investment. For your situation, the qualities that make RME ideal in a studio setting will also perform well in a HiFi context.

With Ferrofish products, I have no hands-on experience. However, I recommend them in cases where budget plays a significant role.

Since the release of the M-1620 Pro, this unit might become a game changer, as it offers 16x AD and DA in one device, along with two additional headphone outputs, which can be very useful. The unit supports AVB as an option, and if you prefer or require Dante, there is also a Dante version available.

The M-1620 Pro supports a combination of MADI and AVB, while the M-1620 Pro D includes support for MADI, AVB, and Dante.

Additionally, these devices can act as bridges between MADI and AVB (or Dante, in the case of the Dante version), allowing older MADI-only equipment to be integrated into an AVB network, further demonstrating the flexibility of these units.

If you are working with different sample rates (as well for music playback), MADI is the better choice, as only MADI allows the devices to automatically follow the clock master’s sample rate. In this setup, the music player sets the sample rate, the driver adjusts the sample rate for the UFX III, and the rest of the environment automatically synchronizes via MADI. You only need to ensure during setup that all devices use 96k MADI frames. For this reason, the basic version of the M-1620 Pro (without Dante) will likely be sufficient for you.

AVB and Dante, by contrast, are best suited for environments with structured LAN cabling, where a consistent sample rate is maintained. Adjusting the sample rate in these networks requires reconfiguring the audio streams on each device—the more devices involved, the greater the effort required for every sample rate change.

Yet again very well put,

I agree with everything said in your last post, RME is always my first choice everytime never disappointed. Its a shame mine is a hobby and not profit making, but do take onboard it is an investment when purchasing RME kit

thank you for the info, appreciated