Intel Fireface 800 manual Submix View, Mute and Solo

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Please set Out 4 to a gain of around -20 dB and the pan close to center. Now click onto the routing field. You'll now see two checkmarks, one at 'AN 3+4', the other one at 'AN 7+8'. Click onto 'SPDIF'. The window disappears, fader and pan jump to their initial values, the signal can now be routed to the SPDIF output. You can continue like this until all entries have got a checkmark, i. e. you can send the signal to all outputs simultaneously.

You will certainly have noticed that the signal at the outputs 7/8 did not change while you were routing channel 4 to other outputs and setting different gain values for those. With all analog and most digital mixing desks, the fader setting would affect the level for every routed bus - not so for TotalMix. TotalMix allows for setting all fader values individually. Therefore the faders and the panpots jump to the appropriate setting as soon as another routing is chosen.

Sometimes you will want the routings not to be independent. Let's say you have sent a signal to several submixes, and now want to change the signal's volume a bit on all these submixes. Dragging the faders by use of the right mouse button activates Post Send mode and causes all routings of the current input or playback channel to be changed in a relative way. Please note that the fader settings of all routings are memorized. So when pulling the fader to the bottom (maximum attenuation), the individual settings are back when you right click the mouse and pull the fader up. The individual settings get lost in m.a. position as soon as the fader is clicked with the left mouse button. As long as no single level is at m.a. position, the left mouse button can be used to change the current routing's gain.

The checkmarks are un-checked by moving the fader to m.a. This setting deactivates the rout- ing...why route if there is no level? Click onto 'AN 7+8' in the routing window, pull the fader down, open the routing window again - the checkmark is gone.

The number of ADAT channels is reduced automatically when entering Double Speed mode (96 kHz). The display is adjusted accordingly, and all fader settings remain stored. Changing into Quad Speed mode (192 kHz) all ADAT channels vanish. TotalMix then displayes a total of only 12 channels.

31.5 Submix View

Such a wide range of possibilities make it difficult to maintain the overview. Because practically all hardware outputs can be used for different submixes, as shown (up to 14 completely inde- pendent stereo submixes, 7 4-channel submixes etc.). And when opening the routing windows you might see an army of checkmarks, but you don't get an overwiev, i.e., how the signals come together and where. This problem is solved by Submix View mode. In this mode, all routing fileds jump to the routing pair just being selected. You can then see immediately, which chan- nels, which fader and pan settings make a submix (for example 'AN 7+8'). At the same time the Submix View simplifies setting up the mixer, as all channels can be set simultaneously to the same routing destination with just one click.

Changing to a different destination (output channel) is done in any routing field, or by a click on the desired output pair in the bottom row.

31.6 Mute and Solo

Mute operates pre-fader, thus mutes all currently active routings of the channel. As soon as any Mute button is pressed, the Mute Master button lights up in the Quick Access area. It allows to switch all selected mutes off and on again. You can comfortably make mute-groups or activate and deactivate several Mutes simultaneously.

The same holds true for the Solo and the Solo Master buttons. As with conventional mixing desks, Solo operates only for the output defined as Monitor Main, as a solo-in-place, post fader. As soon as one Solo button is pressed, the Solo Master button lights up in the Quick Access area. It allows to switch all selected Solos off and on again. You can comfortably make solo-groups or activate and deactivate several Solos simultaneously.

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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 SteadyClockGeneral Installation and Operation WindowsInstallation and Operation Mac OS Stand-Alone Operation, Connections and TotalMix Technical Reference Mains Important Safety InstructionsInstallation Users Guide Fireface 800 RME General Package Contents Brief Description and CharacteristicsIntroduction System RequirementsConnectors and Front Panel First Usage QuickstartPart Number Description AccessoriesQuick Start Trademarks WarrantyAppendix Users Guide Fireface 800 RME ISO CE / FCC ComplianceRoHS Users Guide Fireface 800 RME Installation and Operation Windows Hardware Installation Driver InstallationDriver and Firmware Desktop ComputerFirmware Update Driver UpdateDeinstalling the Drivers Configuring the Fireface Settings dialog GeneralPhantom Power Buffer SizeInputs Limit BandwidthClock Mode Word Clock OutSyncCheck OptionsSettings dialog DDS Clock Modes Synchronization Application examplesAvailable Settings Limit BandwidthOperation and Usage PlaybackMultichannel DVD-Playback AC-3/DTSAC-3 / DTS Low Latency under MME Buffer Size Adjustment Fireface Analog 1+2 Fireface Analog 1+2 MMEASIO-Multiclient Multi-Client and Multi-Channel using WDMMulti-client Operation Digital Recording Operation under Asio Analog RecordingKnown Problems Common ProblemsOperation under Gsif Gigasampler Interface 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 Midi doesnt work Mac OS X FAQRound about Driver Installation Repairing Disk Permissions FireWire CompatibilitySupported Sample Rates 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 Analog Inputs Line RearMicrophone / Line Front Reference DBFS @ HeadroomSpeaker Emulation InstrumentDrive Line HeadphonesAnalog Outputs Spdif Digital ConnectionsAdat Special Characteristics of the Spdif Output MidiWord Clock Word Clock Input and OutputInput 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 PreferencesStereo Pan Law Editing the NamesMain Monitor Hotkeys Menu Options Level Meter TotalMix The Matrix Elements of the Matrix ViewAsio Direct Monitoring Windows only TotalMix Super-FeaturesAdvantages of the Matrix Delete Routings Selection and Group-based OperationCopy Routings to other Channels Recording a Subgroup Loopback Recording a Softwares playback Using external Effects DevicesMixing several input signals into one record channel MS Processing Midi Remote Control MappingElement Meaning in TotalMixSetup Preset 3 38 / 56 / #G Preset 5 3A / 58 / #ASimple Midi Control Monitor Main 3E / 62 / DLoopback Detection Meaning in Fireface Stand-Alone Midi ControlMackie Control Protocol Element Meaning in Fireface Simple Midi ControlUsers Guide Fireface 800 RME Technical Reference Tech Info Technical Specifications AnalogDA Stereo Monitor Output Phones DigitalDA, Line Out 1-8, rear Digital Inputs Adat OpticalTransfer Modes Resolution / Bits per Sample Windows only Digital OutputsTechnical Background Lock and SyncCheckLatency and Monitoring How much Zero is Zero?Oversampling Sample frequency kHz 44.1 88.2 176.4 192Core Audios Safety Offset FireWire AudioSafety Buffer Number of Channels and Bus Load Limit Bandwidth 48 kHz 96 kHz 192 kHz FW-KanäleQS Quad Speed Analog DS Signal PortDS Double Speed Byte Mode Bit Type AES3-1992 IECNoise level in DS / QS Mode SteadyClockBlock Diagram Fireface Connector Pinouts TRS jacks of analog input / outputXLR jacks of analog inputs 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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