MADIface USB? He needs RoomEQ (and MADI). MADIface USB has no RoomEQ.
So the real options are either the UFX III, the MADIface XT II, or a newer version of the HDSPe MADI FX.
I would recommend the UFX III here, as it also has mic inputs for the measurement mic, talk back, etc.

I read a review about the Audient Oria here:
https://www.bonedo.de/artikel/audient-oria-test/

It can be used as a USB recording interface (USB2 connection) or as a standalone device via ADAT or Dante. When considering it for standalone use with an existing (RME) setup:

- ADAT: The unit has just two ADAT input ports, so you’re limited to 16 channels at single speed. The review also suggests the device might max out at 96 kHz, but I’d recommend looking into that further.

- Dante: If you use multiple sample rates in your mixing or mastering workflow, IP-based solutions like Dante (and AVB) don’t work like AES, SPDIF, ADAT, or MADI. They won’t automatically sync to the clock master’s sample rate. Instead, every device in the setup has to be manually reconfigured for the desired sample rate and the number of flows. This makes sense only for static setups locked to one sample rate.

I see no benefit in integrating Sonarworks into such a device. It is better to get products which are excellent in their specific role, see proposal below.

Here’s what I’d suggest instead

Get a UFX III paired with the new M-1620 Pro. Connect the M-1620 via optical MADI, which also gives you galvanic isolation. The UFX III adds RoomEQ, mic inputs, and full integration with TotalMix FX.

For Sonarworks, get it as a separate product and use the Sonarworks mic for measurement (by using the UFX III mic inputs). Then import the results into RoomEQ. In TotalMix FX, you can save RoomEQ settings with snapshots, allowing you to use different levels of room correction as needed. RoomEQ also supports port delay adjustments.

With the UFX III and M-1620 Pro, you can work at any sample rate from 44.1 to 192 kHz. Even at quad speed, you’ll still have 16 channels. And this setup gives you all the analog inputs you’ve asked for, along with a solid and highly flexible RME system in just two rack units.

Dolby Atmos: I’d recommend using the Atmos features in your DAW. I recently experimented with Dolby Atmos in Cubase after watching a tutorial, and it was fantastic—though I’m no expert. Still, the UFX III and M-1620 Pro combo should work great for Atmos projects.

The bonus with this setup? The M-1620 Pro’s 16 analog channels give you the same high-quality D/A converters. And if you’re working with multiple monitor pairs for A/B comparisons—or even a third pair—you can make good use of the UFX III’s extra analog outputs.

And finally, everything based on rock solid RME product with excellent quality, solid drivers, flexibilty of TM FX and the known very long driver support. I have doubts that the Audient solution delivers you the same advantages.

See also on Youtube

RoomEQ - https://www.youtube.com/watch?v=ja-qxkIqbWY&t=1s
Cubase Atmos example - https://www.youtube.com/watch?v=SlMN-bDyGy4

It’s the backbone of your studio. While I don’t run a professional recording studio, I do follow a few key principles that I consider essential.

One of those is avoiding mixing different brands wherever RME products are available. If an issue ever arises, it stays within RME’s ecosystem, where it can be thoroughly troubleshot and resolved "end-to-end". Moreover, RME’s attention to detail is unparalleled across every aspect. Why settle for anything less?

For me, the only compelling reason not to choose RME would be budget constraints.