Intel Fireface 800 Analog Inputs, Line Rear, Microphone / Line Front, Reference DBFS @ Headroom

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27. Analog Inputs

27.1 Line Rear

The Fireface has eight balanced Line inputs as 1/4" TRS jacks on the back of the unit. The elec- tronic input stage is built in a servo balanced design which handles unbalanced (mono jacks) and balanced (stereo jacks) correctly, automatically adjusting the level reference.

When using unbalanced cables with TRS jacks: be sure to connect the 'ring' contact of the TRS jack to ground. Otherwise noise may occur, caused by the unconnected negative input of the balanced input.

One of the main issues when working with an AD-converter is to maintain the full dynamic range within the best operating level. Therefore the Fireface 800 internally uses hi-quality elec- tronic switches, which allow for a perfect adaptation of all rear inputs to the three most often used studio levels.

The 'standardized' studio levels do not result in a (often desired) full scale level, but take some additional digital headroom into consideration. The amount of headroom is different in different standards, and again differently implemented by different manufacturers. Because of this we decided to define the levels of the Fireface in the most compatible way.

Reference

0 dBFS @

Headroom

Lo Gain

+19 dBu

15 dB

+4 dBu

+13 dBu

9 dB

-10 dBV

+2 dBV

12 dB

With +4 dBu selected, the according headroom meets the latest EBU recommendations for Broadcast usage. At -10 dBV a headroom of 12 dB is common practice, each mixing desk op- erating at -10 dBV is able to send and receive much higher levels. Lo Gain is best suited for professional users who prefer to work balanced and at highest levels. Lo Gain provides 15 dB headroom at +4 dBu nominal level.

The above levels are also found in our ADI-8 series of AD/DA converters, the Multiface, and even in our Mic-Preamps QuadMic and OctaMic. Therefore all RME devices are fully compati- ble to each other.

27.2 Microphone / Line Front

The balanced microphone inputs of the Fireface 800 offer an adjustable gain of 10 to 60 dB. The soft switching, hi-current Phantom power (48 Volt) provides a professional handling of con- densor mics. The mic preamp's discreet Class-A front end guarantees a superior sound quality.

With the balanced Line input, which can be used alternatively or at the same time as the micro- phone, the Fireface 800 becomes even more flexible. 10 kOhm input impedance, stereo TRS jack and adjustable input sensitivity in a range of 50 dB – this all guarantees that the front-side Line inputs can be used perfectly with keyboards, sampler, active guitars and much more.

The Line inputs handle levels from –28 dBu up to +22 dBu. Two LEDs display a present signal (from –45 dBFS on) and warn against overload (-2 dBFS).

Channels 7/8 can be switched between Line rear, microphone, and Line/microphone simultane- ously in the Settings dialog. The front Line input can be used simultaneously with the micro- phone input. This way, up to three different sound sources (Line rear, Line front, microphone) may be recorded at the same time on one channel.

User's Guide Fireface 800 © RME

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Contents TotalMix Bit / 192 kHz SyncAlignZLMSyncCheck SteadyClock Most powerful FireWire audio interface everInstallation and Operation Mac OS Installation and Operation WindowsGeneral Stand-Alone Operation, Connections and TotalMix Technical Reference Installation Important Safety InstructionsMains Users Guide Fireface 800 RME General System Requirements Package ContentsBrief Description and Characteristics IntroductionFirst Usage Quickstart Connectors and Front PanelQuick Start AccessoriesPart Number Description Appendix WarrantyTrademarks Users Guide Fireface 800 RME RoHS CE / FCC ComplianceISO Users Guide Fireface 800 RME Installation and Operation Windows Desktop Computer Hardware InstallationDriver Installation Driver and FirmwareDeinstalling the Drivers Driver UpdateFirmware Update Settings dialog General Configuring the FirefaceLimit Bandwidth Phantom PowerBuffer Size InputsOptions Clock ModeWord Clock Out SyncCheckSettings dialog DDS Application examples Clock Modes SynchronizationLimit Bandwidth Available SettingsPlayback Operation and UsageAC-3 / DTS DVD-Playback AC-3/DTSMultichannel Low Latency under MME Buffer Size Adjustment Fireface Analog 1+2 MME Fireface Analog 1+2Multi-client Operation Multi-Client and Multi-Channel using WDMASIO-Multiclient Digital Recording Analog Recording Operation under AsioWindows 2000/XP Known ProblemsCommon Problems Operation under Gsif Gigasampler InterfaceUsing more than one Fireface DIGICheck 8 Adat channels don’t seem to work Hotline TroubleshootingInstallation Channel Routing Asio at 96 kHz DiagramsChannel Routing MME at 96 kHz Users Guide Fireface 800 RME Mac OS X Installation and Operation Driver Firmware Update Configuring the Fireface Level Out LevelAutoSync Ref Settings dialog DDS Clock Modes Synchronization Limit Bandwidth Round about Driver Installation Mac OS X FAQMidi doesnt work Various Information Repairing Disk PermissionsFireWire Compatibility Supported Sample RatesPossible causes for a Fireface not working Multicard OperationDiagram Channel Routing at 96 kHz Users Guide Fireface 800 RME Stand-Alone Operation, Connections and TotalMix Stand-alone Operation Reference DBFS @ Headroom Analog InputsLine Rear Microphone / Line FrontDrive InstrumentSpeaker Emulation Analog Outputs HeadphonesLine Adat Digital ConnectionsSpdif Midi Special Characteristics of the Spdif OutputOutput Word ClockWord Clock Input and Output InputTechnical Description and Usage Operation Cabling and TerminationOverview TotalMix Routing and MonitoringUsers Guide Fireface 800 RME User Interface Tour de TotalMix Elements of a ChannelUsers Guide Fireface 800 RME Mute and Solo Submix ViewPresets Quick Access PanelPreset Banks PresetPreferences Monitor PanelMain Monitor Editing the NamesStereo Pan Law Hotkeys Menu Options Level Meter Elements of the Matrix View TotalMix The MatrixAdvantages of the Matrix TotalMix Super-FeaturesAsio Direct Monitoring Windows only Copy Routings to other Channels Selection and Group-based OperationDelete Routings Recording a Subgroup Loopback Mixing several input signals into one record channel Using external Effects DevicesRecording a Softwares playback MS Processing Meaning in TotalMix Midi Remote ControlMapping ElementSetup Monitor Main 3E / 62 / D Preset 3 38 / 56 / #GPreset 5 3A / 58 / #A Simple Midi ControlLoopback Detection Mackie Control Protocol Stand-Alone Midi ControlMeaning in Fireface Simple Midi Control Element Meaning in FirefaceUsers Guide Fireface 800 RME Technical Reference Tech Info Analog Technical SpecificationsDA, Line Out 1-8, rear DigitalDA Stereo Monitor Output Phones Adat Optical Digital InputsDigital Outputs Transfer Modes Resolution / Bits per Sample Windows onlyLock and SyncCheck Technical BackgroundSample frequency kHz 44.1 88.2 176.4 192 Latency and MonitoringHow much Zero is Zero? OversamplingSafety Buffer FireWire AudioCore Audios Safety Offset Limit Bandwidth 48 kHz 96 kHz 192 kHz FW-Kanäle Number of Channels and Bus LoadDS Double Speed Analog DS Signal PortQS Quad Speed Type AES3-1992 IEC Byte Mode BitSteadyClock Noise level in DS / QS ModeBlock Diagram Fireface TRS Phones jack Connector PinoutsTRS jacks of analog input / output XLR jacks of analog inputs

Fireface 800 specifications

The Intel Fireface 800 is a powerful audio interface celebrated for its high-performance capabilities and versatility in both studio and live settings. Designed to cater to the needs of musicians, producers, and sound engineers, it stands out with its rich feature set and reliable technology.

One of the defining features of the Fireface 800 is its support for an impressive 26 input and 28 output channels. This extensive I/O configuration facilitates seamless integration with a wide variety of audio production setups, allowing users to record multiple instruments simultaneously or create complex routing scenarios. The unit also boasts top-notch analog and digital converters, ensuring pristine sound quality with a dynamic range that captures the nuances of any audio source.

In terms of connectivity, the Fireface 800 is equipped with both FireWire and USB ports, making it compatible with a range of computers and devices. The device utilizes the FireWire 800 protocol, which delivers higher data transfer rates compared to its predecessor. This efficient transfer capability is crucial for maintaining audio fidelity and reducing latency, making it an ideal choice for real-time monitoring and recording.

The Fireface 800 also features standalone operation capabilities, functioning independently of a computer when needed. This is particularly useful for live performances, where reliability and reduced setup complexity are essential. Users can easily connect microphones, instruments, and other equipment directly to the Fireface 800, making it a versatile tool for a variety of scenarios.

With its low-latency driver technology, the Fireface 800 ensures smooth performance even when handling demanding audio tasks. Its advanced ADAT and S/PDIF digital inputs and outputs provide further flexibility for connecting other gear, such as additional preamps and effects processors.

Another noteworthy characteristic of the Fireface 800 is its robust build quality. Designed for regular use in professional environments, the unit features a rugged metal chassis that can withstand the rigors of transport and daily use. This ensures longevity and consistent performance for audio professionals who depend on reliable equipment day in and day out.

In summary, the Intel Fireface 800 is a versatile and powerful audio interface that caters to a wide spectrum of audio production needs. With its extensive I/O capabilities, high-quality converters, reliable connectivity options, and robust design, it continues to be a popular choice among audio professionals striving for excellence in their work.
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