Intel Fireface 800 manual MS Processing

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Unfortunately, very often it is not possible within the record software to assign a different input channel to an existing track 'on the fly'. The loopback mode solves this problem elegantly. The routing scheme stays the same, with the input channel 10 sent to any output via TotalMix, to the Compressor, from the Compressor back to any input. Now this input signal is routed directly to output 10, and output 10 is then switched into loopback mode via Ctrl-mouse.

As explained in chapter 33.5, the hardware input of channel 10 now no longer feeds the record software, but is still connected to TotalMix (and thus to the Compressor). The record software receives the signal of submix channel 10 instead – the Compressor's return path.

33.7 MS Processing

The mid/side principle is a special positioning technique for microphones, which results in a mid signal on one channel and a side signal on the other channel. These information can be trans- formed back into a stereo signal quite easily. The process sends the monaural mid channel to left and right, the side channel too, but phase inverted (180°) to the right channel. For a better understanding: the mid channel represents the function L+R, while the side channel represents L-R.

During record the monitoring needs to be done in 'conventional' stereo. As TotalMix can invert the phase, it also offers the functionality of a M/S-decoder. The menu Options includes a macro to simplify the setup. First select the two input channels, in the picture to the right Analog In 3 and 4, having the current routing destination Analog Out 1+2. Now the string MS Processing In 3+4 to AN 1+2 On is shown in Options.

After a mouse click TotalMix sets gains and pans correctly. Of course these settings can also be performed manually. Repeat the last step to remove all routings (menu Options ...Off).

The M/S-Processing automatically operates as M/S encoder or decoder, depending on the source signal format. When processing a usual stereo signal, all monaural information will be shifted into the left channel, all stereo information into the right channel. Thus the stereo signal is M/S encoded. This yields some interesting insights into the mono/stereo contents of modern music productions. Additionally some very interesting methods of manipulating the stereo base and generating stereo effects come up, as it is then very easy to process the side channel with Low Cut, Expander, Compressor or Delay. The most basic application is already available di- rectly in TotalMix: Changing the level of the side channel allows to manipulate the stereo width from mono to stereo up to extended, stepless and in real-time.

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 Windows Installation and Operation Mac OSGeneral Stand-Alone Operation, Connections and TotalMix Technical Reference Important Safety Instructions InstallationMains Users Guide Fireface 800 RME General Brief Description and Characteristics Package ContentsIntroduction System RequirementsFirst Usage Quickstart Connectors and Front PanelAccessories 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 Installation Hardware InstallationDriver and Firmware Desktop ComputerDriver Update Deinstalling the DriversFirmware Update Settings dialog General Configuring the FirefaceBuffer Size Phantom PowerInputs Limit BandwidthWord Clock Out Clock ModeSyncCheck OptionsSettings dialog DDS Application examples Clock Modes SynchronizationLimit Bandwidth Available SettingsPlayback Operation and UsageDVD-Playback AC-3/DTS AC-3 / DTSMultichannel Low Latency under MME Buffer Size Adjustment Fireface Analog 1+2 MME Fireface Analog 1+2Multi-Client and Multi-Channel using WDM Multi-client OperationASIO-Multiclient Digital Recording Analog Recording Operation under AsioCommon Problems Known ProblemsOperation under Gsif Gigasampler Interface Windows 2000/XPUsing 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 Mac OS X FAQ Round about Driver InstallationMidi doesnt work FireWire Compatibility Repairing Disk PermissionsSupported Sample Rates Various InformationPossible 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 Line Rear Analog InputsMicrophone / Line Front Reference DBFS @ HeadroomInstrument DriveSpeaker Emulation Headphones Analog OutputsLine Digital Connections AdatSpdif Midi Special Characteristics of the Spdif OutputWord Clock Input and Output Word ClockInput OutputTechnical 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 PanelEditing the Names Main MonitorStereo Pan Law Hotkeys Menu Options Level Meter Elements of the Matrix View TotalMix The MatrixTotalMix 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 Mapping Midi Remote ControlElement Meaning in TotalMixSetup Preset 5 3A / 58 / #A Preset 3 38 / 56 / #GSimple Midi Control Monitor Main 3E / 62 / DLoopback Detection Stand-Alone Midi Control Mackie Control ProtocolMeaning in Fireface Simple Midi Control Element Meaning in FirefaceUsers Guide Fireface 800 RME Technical Reference Tech Info Analog Technical SpecificationsDigital DA, Line Out 1-8, rearDA Stereo Monitor Output Phones Adat Optical Digital InputsDigital Outputs Transfer Modes Resolution / Bits per Sample Windows onlyLock and SyncCheck Technical BackgroundHow much Zero is Zero? Latency and MonitoringOversampling Sample frequency kHz 44.1 88.2 176.4 192FireWire Audio Safety BufferCore Audios Safety Offset Limit Bandwidth 48 kHz 96 kHz 192 kHz FW-Kanäle Number of Channels and Bus LoadAnalog DS Signal Port DS Double SpeedQS Quad Speed Type AES3-1992 IEC Byte Mode BitSteadyClock Noise level in DS / QS ModeBlock Diagram Fireface TRS jacks of analog input / output Connector PinoutsXLR 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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