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