Intel Fireface 800 manual Selection and Group-based Operation, Copy Routings to other Channels

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33.2 Selection and Group-based Operation

Click on the white name label of channel 1 and 2 in TotalMix. Be sure to have channel 3's fader set to a different position and click on its label too. All three labels have changed to the colour orange, which means they are selected. Now moving any of these faders will make the other faders move too. This is called 'building a group of faders', or ganging faders, maintaining their relative position.

Building groups or ganging can be done in any row, but is limited to operate horizontally within one row. If you usually don't need this, you can at least gang the analog outputs. The advan- tage over holding the Alt-key is that Alt sets both channels to the same level (can be handy too), while grouping via selection will retain any offset (if you need one channel to be louder all the time etc.).

Note: The relative positions are memorized until the faders are pulled down so that they reach upper or lower maximum position and the group is changed (select another channel or deselect one of the group).

33.3 Copy Routings to other Channels

TotalMix allows to copy complete routing schemes of inputs and outputs.

Example 1: You have input 1 (guitar) routed within several submixes/hardware outputs (= headphones). Now you'll get another input with keyboards that should appear in the same way on all headphones. Select input 1, open the menu Edit. It shows 'Copy In 1'. Now select the desired new input, for example In 8. The menu now shows 'Paste In 1 to In 8'. Click on it - done. If you are familiar with this functionality just use Ctrl-C and Ctrl-V. Else the self updating menu will always let you know what actually will happen.

Tip: Have the Matrix window open as second window when doing this. It will show the new rout- ings immediately, so copying is easier to understand and to follow.

Example 2: You have built a comprehensive submix on outputs 4/5, but now need the exact same signal also on the outputs 6/7. Click on Out 4, Ctrl-C, click on Out 6, Ctrl-V, same with 5/7 - you're done!

The Matrix shows you the difference between both examples. Example 1 means copying lines (horizontally), while example 2 means copying rows (vertically).

Example 3: Let's say the guitarist finished his recording, and you now need the same signal again on all headphones, but this time it comes from the recording software (playback row). No problem, you can even copy between rows 1 and 2 (copying between row 3 and 1/2 isn't possi- ble).

But how to select while a group is active? De-selecting the group first? Not necessary! TotalMix always updates the copy and paste process with the last selection. This way you don't have to de-activate any group-selections when desiring to perform a copy and paste action.

33.4 Delete Routings

The fastest way to delete complex routings: select a channel in the mixer view, click on the

menu entry Edit and select Delete. Or simply hit the Del-key. Attention: there is no undo in To- talMix, so be careful with this function!

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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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