The Fireface 802 renews RME’s reputation built on the legendary Fireface 800. 60 channels of audio, high-end microphone preamps, reference class converters, a complete effects section and operation at up to 192 kHz are the base for many more features
A legend Reborn
Ultra-low latency operation with USB or FireWire, combined with the legendary RME driver stability and maintenance. Active jitter suppression, individually switchable reference levels for all inputs and outputs, full stand-alone functionality, RME’s unique DIGICheck metering and analysis toolbox, and identical operation on Windows PC and Mac.
TotalMix FX, RME’s digital high-end mixer and signal router, driven by two powerful DSPs, with integrated EQ, Dynamics and Reverb/Echo effects at up to 192 kHz, plus a built-in monitoring controller.
The full-blown feature set also includes optional Class Compliant mode and operation with TotalMix FX for iPad, RME’s app to fully control the 802 from the iPad, without any computer. The easy to use app includes metering for all 90 channels plus effects bus, different setup screens, and complete control of all features.
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.
AVAILABLE I/OS (CHANNELS) WITH VARIOUS SAMPLE RATES:
|Sample Rate||Analog||AES/EBU||ADAT||Total In/Out|
The Fireface 802 has 12 analog I/Os.
8 balanced TRS on the back and 4 XLR inputs with Mic/Instrument preamps on the front.
On the rear: 8 balanced TRS. On the front: Two hi-power TRS stereo phone outputs provide high volumes even with hi-impedance headphones (playback channels 9/10 and 11/12).
Like other RME products before the Fireface 802 combines excellent analog circuit design with the 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 low latency 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.
For Microphones and Instruments with Low Latency Conversion. The 802 has four high-transparency preamps, also with 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 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 an overview of 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.
The Fireface 802 has one professional AES/EBU I/O operating at up to 192 kHz.
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.
The second ADAT I/O can be used as optical SPDIF I/O, making the Fireface 802 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.
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 802 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.
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.
The 802 comes with RME´s unique software toolbox 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.
The specially developed, internal hi-performance switch mode power supply lets the 802 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.
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
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
2 x XLR, transformer-balanced, galvanically isolated, according to AES3-1992
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: -110 dB, < 0.00032 %
- THD+N: -104 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
- 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
- BNC, switchable termination