RME Fireface 802 FireWire Audio Interface  From RME

60-Channel High-end 192 kHz USB/FireWire audio interface

RME

$1,999.00

Retail:  $2,199.00

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Manufacturer's Description from RME

The Fireface 802 is a highly integrated pro audio solution, a full-blown studio, all within a 19” enclosure. An interface designed for users who don’t want to make compromises in sound, stability and ultra-low latency operation, and who long for an unrivaled professional feature set. Once again a milestone interface from RME, including the best of the best and even a bit more.

Inputs and Outputs

The Fireface 802 provides 60 channels of audio: 30 input and 30 output channels.

All inputs and outputs can be used at the same time. Up to 12 analog and 18 digital channels can be recorded onto 30 tracks separately.

Analog I/O

The Fireface 802 has 12 analog I/Os.

12 Inputs - 8 balanced TRS on the back and 4 XLR inputs with Mic/Instrument preamps on the front.

12 Outputs - On the rear: 8 balanced TRS. On the front: Two hi-power TRS stereo phones outputs provide high volumes even with hi-impedance headphones (playback channels 9/10 and 11/12).

Sound Quality - Like other RME products before the Fireface 802 combines excellent analog circuit design with latest digital conversion technology. All balanced TRS & XLR I/Os as well as the two phones outputs offer outstanding low noise and distortion values. In best RME tradition and product philosophy converters and preamps don’t produce “sound”, they do not add or remove anything from the source signal, just capture it as it is.

Equipped with the latest A/D and D/A converter chips, all I/Os operate at up to 192 kHz and reach 118 dBA dynamic range on playback - even both headphone outputs. Their high power technology delivers high volume no matter if high or low impedance phones are used.

Due to its efficient jitter reduction, RME’s superior SteadyClock guarantees state-of-the-art AD/DA conversion, even when clocking to an external clock source.

Every input and output is individually switchable to these common professional studio levels: -10 dBV, +4 dBu, HiGain (equivalent to +2 dBV, +13 dBu and +19 dBu for digital full scale).

All outputs can be used for ASIO Direct Monitoring (ADM) purposes.

Preamps for Microphones and Instruments with Low Latency Conversion.

The 802 has four high-transparency preamps with four low latency converters.

Microphone and instrument preamps of the 802 use the classic technology of the OctaMic II, a high-end preamp for supreme sonic demands and critical applications, like the professional recording of classical concerts. The symmetrical preamp design impresses with extremely low distortion, excellent signal to noise ratio and a perfect linear frequency response. A premium solution for transmitting and amplifying any audio input truly unchanged, be it high-level stage or typical studio signals, lower level and high-impedance instruments, or dynamic, condenser and ribbon microphones.

The pot-controlled gain of up to 60 dB, adjustable over a range of 54 dB, is individually set for every preamp on the front of the 802.

The four inputs on the front use balanced XLR/TS combo sockets and operate alternatively as Hi-Z inputs. Directly plug in up to four guitars or other instruments - no other hardware required.

Each channel can be individually switched to 48V phantom power or instrument mode. LEDs for signal, clip, TS operation and activated phantom power provide overview on the unit's status.

The Fireface 802 follows RME's tradition of providing flexible and expandable audio systems. Adding additional preamplifiers or more analog inputs is easily done via the dual ADAT optical I/Os on the rear.

Digital I/O

AES/EBU: The Fireface 802 has one professional AES/EBU I/O operating at up to 192 kHz.

ADAT: Two 8-channel ADAT I/Os allow for a connection of two additional AD/DA converters or the insertion of effects devices and mixing consoles. Both I/Os support sample rates at up to 192 kHz (S/MUX4). Like AES/EBU, these 16 ADAT channels are available simultaneously with the analog channels. Using two external converters like the ADI-8 QS, the 802 will provide 28 analog inputs and outputs, 20 with a sample rate of 96 kHz, and still 16 at 192 kHz.

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

Word Clock & MIDI: A word clock input and output (BNC) with switchable termination and a MIDI I/O complete the list of connections, turning the Fireface 802 into a professional audio system with universal usability.

More Features

SteadyClock - RME'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 UFX 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 802 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 802 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 analyzes and displays audio in multiple ways, like stereo, multichannel, all channels, surround, spectral, and many more.

Power supply - The specially developed, internal hi-performance switch mode power supply lets the UFX operate in the range of 100V to 240V AC, thus can be operated all over the world. It is short-circuit proof, has an integrated line-filter, is fully regulated against voltage fluctuations, and suppresses mains interference.

Stand Alone Operation with Setup Recall - The Fireface 802 can be set up and configured directly via iPad, MIDI remote and ARC. Additionally 6 memory slots are present where the current configuration can be stored permanently. This way the 802 operates independently from a computer. In stand-alone operation it can turn itself into different devices by the simple push on a button.

RME

About Manufacturer

RME is a young German team of developers with a robust vision of creating innovative, user friendly, and high-quality digital audio solutions for less money. Founded in 1996, RME quickly earned their stripes as a premiere industry provider, expanding rapidly into mainstream international markets. Each developer on the RME team is either a musician or sound engineer - besides being a specialist in hardware and software development. Additionally, to give their designs a persistent competitive edge in today's market, RME developers regularly network with other industry specialists to exchange knowledge and information - truly designing a line of products with superior quality, and affordable, mass-market appeal. RME has had a consistent string of successful product releases, earning awards and accolades from the press and the public alike. The enthusiastic response and worldwide support the RME product line has generated ranks them one of the top audio device companies in the industry.

Specifications

AD, Line In 1-8, rear
  • Resolution AD: 24 bit
  • Signal to Noise ratio (SNR): 113 dB RMS unweighted, 116 dBA
  • Frequency response @ 44.1 kHz, -0.1 dB: 5 Hz - 20.8 kHz
  • Frequency response @ 96 kHz, -0.5 dB: 5 Hz - 45.8 kHz
  • Frequency response @ 192 kHz, -1 dB: 5 Hz - 92 kHz
  • THD: < -110 dB, < 0.00032 %
  • THD+N: < -104 dB, < 0.00063 %
  • Channel separation: > 110 dB
  • Input: 6.3 mm TRS jack, electronically balanced
  • Input sensitivity: 8 kOhm unbalanced, 12 kOhm 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
Microphone In 9-12, front
As AD, but:
  • Input: XLR, electronically balanced
  • Input impedance: 3.4 kOhm
  • Signal to Noise ratio (SNR): 112 dB RMS unweighted, 116 dBA
  • Gain range: 54 dB
  • Maximum input level, Gain +6 dB: +10 dBu
Instrument In 9-12, front
As AD, but:
  • Input: 6.3 mm TS jack, unbalanced
  • Input impedance: 800 kOhm
  • Signal to Noise ratio (SNR): 112 dB RMS unweighted, 115 dBA
  • Maximum input level, Gain +6 dB: +21 dBu
 
DA, Line Out 1-8, rear
  • Dynamic range (DR): 115 dB RMS unweighted, 118 dBA
  • Frequency response @ 44.1 kHz, -0.5 dB: 5 Hz - 20.8 kHz
  • Frequency response @ 96 kHz, -0.5 dB: 5 Hz - 45 kHz
  • Frequency response @ 192 kHz, -1 dB: 5 Hz - 89 kHz
  • THD: -104 dB, < 0.00032 %
  • THD+N: -100 dB, < 0.00063 %
  • Channel separation: > 110 dB
  • 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 - Stereo Monitor Output Phones (9-12)

As DA, but:

  • Output: 6.3 mm TRS stereo jack, unbalanced
  • Maximum output level at 0 dBFS, High: +16.8 dBu
  • Maximum output level at 0 dBFS, Low: +2 dBV
  • Output impedance: 30 Ohm

AES/EBU

  • 2 x XLR, transformer-balanced, galvanically isolated, according to AES3-1992

ADAT Optical

  • 2 x TOSLINK I/O, format according to Alesis specification
  • Standard: 2 x 8 channels 24 bit, up to 48 kHz
  • Double Speed (S/MUX): 2 x 4 channels 24 bit 96 kHz
  • Quad Speed (S/MUX4): 2 x 2 channels 24 bit 192 kHz
  • Quad Speed Windows USB: 1 x 2 channels 24 bit 192 kHz

SPDIF optical (via ADAT2)

  • 1 x optical, according to IEC 60958

Word Clock

  • BNC, switchable termination

Driver Support

  • Windows 8 / 7 / Vista / XP SP2 (32 & 64 bit)
  • Apple Mac OS X 10.6 or up (Core Audio)

Windows and Mac OS X drivers are completely identical in terms of features and functionality, as far as this is possible on the respective platform. 

Some features in DIGICheck are not available in the Mac version.