Intel Fireface 800 manual Elements of a Channel, Tour de TotalMix

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31.3 Elements of a Channel

A single channel consists of various elements:

Input channels and playback channels each have a mute and solo button.

Below there is the panpot, realized as indicator bar (L/R) in order to save space.

In the field below, the present level is displayed in RMS or Peak, being updated about every half a second. Overs (overload) are indicated here by an additional red dot.

Next is the fader with a level meter. The meter shows both peak values (zero attack, 1 sample is enough for a full scale display) by means of a yellow line, and mathematically correct RMS values by means of a green bar. The RMS display has a relatively slow time constant, so that it shows the average loudness quite well.

Below the fader, the current gain and panorama values are shown.

The white area shows the channel name. Selecting one or more channels is done by clicking on the white label which turns orange then. A click in the third row with pressed Ctrl-key activates internal loopback mode, the label turns red. A right mouse click opens a dialog to type in a new name.

The black area (routing field) shows the current routing target. A mouse click opens the routing window to select a routing target. The list shows all currently activated routings by checkmarks in front of the routing targets.

31.4 Tour de TotalMix

This chapter is a practical guide and introduction on how to use TotalMix and on how TotalMix works.

Starting up TotalMix the last settings are recalled automatically. When executing the application for the first time, a default file is loaded, sending all playback tracks 1:1 to the corresponding hardware outputs with 0 dB gain, and activating phones monitoring.

Hold down Ctrl and click on preset button 1 to make sure that factory preset 1 is loaded. The faders in the top row are set to maximum attenuation (called m.a. in the following), so there is no monitoring of the input channels. The Submix View is active, therefore for improved over- view all outputs except Phones are greyed out. Additionally all faders are set to the routing tar- get Phones. All faders of the middle row are set to 0 dB, so no matter on which channels a playback happens, the audio will be audible via the Phones output. Just try it!

We will now create a submix on analog outputs 1/2. Please start a multitrack playback. In the third row, click on the channels of hardware output AN1 or AN2. The Submix View changes from Phones to AN1/AN2. Both the fader settings and the output levels of all other channels are still visible, but greyed out for improved orientation.

As soon as AN1/AN2 became active, all faders of the second row jumped to their bottom posi- tion – except those of playback channel 1/2. This is correct, because as mentioned above the factory preset includes a 1:1 routing. Click on AN 3/4 and the faders above are the only active ones, same for AN5/6 and so on.

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User's Guide Fireface 800 © RME

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Contents Most powerful FireWire audio interface ever TotalMix Bit / 192 kHz SyncAlignZLMSyncCheck SteadyClockInstallation and Operation Windows Installation and Operation Mac OSGeneral Stand-Alone Operation, Connections and TotalMix Technical Reference Important Safety Instructions InstallationMains Users Guide Fireface 800 RME General Introduction Package ContentsBrief Description and Characteristics System RequirementsConnectors and Front Panel First Usage QuickstartAccessories Quick StartPart Number Description Warranty AppendixTrademarks Users Guide Fireface 800 RME CE / FCC Compliance RoHSISO Users Guide Fireface 800 RME Installation and Operation Windows Driver and Firmware Hardware InstallationDriver Installation Desktop ComputerDriver Update Deinstalling the DriversFirmware Update Configuring the Fireface Settings dialog GeneralInputs Phantom PowerBuffer Size Limit BandwidthSyncCheck Clock ModeWord Clock Out OptionsSettings dialog DDS Clock Modes Synchronization Application examplesAvailable Settings Limit BandwidthOperation and Usage PlaybackDVD-Playback AC-3/DTS AC-3 / DTSMultichannel Low Latency under MME Buffer Size Adjustment Fireface Analog 1+2 Fireface Analog 1+2 MMEMulti-Client and Multi-Channel using WDM Multi-client OperationASIO-Multiclient Digital Recording Operation under Asio Analog RecordingOperation under Gsif Gigasampler Interface Known ProblemsCommon Problems Windows 2000/XPUsing more than one Fireface DIGICheck Hotline Troubleshooting 8 Adat channels don’t seem to workInstallation Diagrams Channel Routing Asio at 96 kHzChannel Routing MME at 96 kHz Users Guide Fireface 800 RME Mac OS X Installation and Operation Driver Firmware Update Configuring the Fireface Level Level OutAutoSync Ref Settings dialog DDS Clock Modes Synchronization Limit Bandwidth Mac OS X FAQ Round about Driver InstallationMidi doesnt work Supported Sample Rates Repairing Disk PermissionsFireWire Compatibility Various InformationMulticard Operation Possible causes for a Fireface not workingDiagram Channel Routing at 96 kHz Users Guide Fireface 800 RME Stand-Alone Operation, Connections and TotalMix Stand-alone Operation Microphone / Line Front Analog InputsLine Rear Reference DBFS @ HeadroomInstrument DriveSpeaker Emulation Headphones Analog OutputsLine Digital Connections AdatSpdif Special Characteristics of the Spdif Output MidiInput Word ClockWord Clock Input and Output OutputTechnical Description and Usage Cabling and Termination OperationTotalMix Routing and Monitoring OverviewUsers Guide Fireface 800 RME User Interface Elements of a Channel Tour de TotalMixUsers Guide Fireface 800 RME Submix View Mute and SoloQuick Access Panel PresetsPreset Preset BanksMonitor Panel PreferencesEditing the Names Main MonitorStereo Pan Law Hotkeys Menu Options Level Meter TotalMix The Matrix Elements of the Matrix ViewTotalMix Super-Features Advantages of the MatrixAsio Direct Monitoring Windows only Selection and Group-based Operation Copy Routings to other ChannelsDelete Routings Recording a Subgroup Loopback Using external Effects Devices Mixing several input signals into one record channelRecording a Softwares playback MS Processing Element Midi Remote ControlMapping Meaning in TotalMixSetup Simple Midi Control Preset 3 38 / 56 / #GPreset 5 3A / 58 / #A Monitor Main 3E / 62 / DLoopback Detection Stand-Alone Midi Control Mackie Control ProtocolMeaning in Fireface Element Meaning in Fireface Simple Midi ControlUsers Guide Fireface 800 RME Technical Reference Tech Info Technical Specifications AnalogDigital DA, Line Out 1-8, rearDA Stereo Monitor Output Phones Digital Inputs Adat OpticalTransfer Modes Resolution / Bits per Sample Windows only Digital OutputsTechnical Background Lock and SyncCheckOversampling Latency and MonitoringHow much Zero is Zero? Sample frequency kHz 44.1 88.2 176.4 192FireWire Audio Safety BufferCore Audios Safety Offset Number of Channels and Bus Load Limit Bandwidth 48 kHz 96 kHz 192 kHz FW-KanäleAnalog DS Signal Port DS Double SpeedQS Quad Speed Byte Mode Bit Type AES3-1992 IECNoise level in DS / QS Mode SteadyClockBlock Diagram Fireface XLR jacks of analog inputs Connector PinoutsTRS jacks of analog input / output TRS Phones jack

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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