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RME presents the Fireface 800, the world's most powerful FireWire audio interface ever. Up to 56 channels record/playback, up to 192 kHz sample rate, and true FireWire 800 sum up to an unsurpassed high-end, high performance and high speed FireWire audio interface.
The Fireface 800 combines the latest and also
proven technologies of previous RME products with the fastest FireWire technology. Analog technology of the ADI-8 converters, microphone technology of
QuadMic and OctaMic, TotalMix technology of the Hammerfall DSP series, years of
experience in programming of efficient and reliable drivers, up to complete support from DIGICheck - only the best of the best, and even a bit more. The
Fireface 800 offers the best worked out instrument input that could ever be found in an audio interface, a high power headphone output and signal-to-noise
ratios of 119 dBA - typically RME!
RME's world-wide successful Multiface was the basis for the development of the Fireface 800.
Eight balanced line inputs and outputs with software controlled switching of the reference levels (-10 dBV, +4 dBu, HiGain), of course realized discretely in the
analog domain, guarantee highest dynamic range and highest fidelity. Apart from the levels of the microphone pre-amps and the headphone outputs, all device settings are software controlled. Equipped with the latest A/D and D/A converter
chips, all I/Os operate up to 192 kHz and reach 119 dBA dynamic range on playback - even the headphone output!
The front-sided headphone output in high power technology does not only deliver high volume with low-impedance
headphones, but represents the playback channels 9/10. Therefore the headphone
output can be used directly with ASIO Direct Monitoring.
On the front
side, the Fireface 800 has 4 discrete balanced microphone inputs with class-A
stage, separate activation of 48 V phantom power and separate XLR/TRS inputs,
where the latter can also be used as adjustable Line inputs with a gain range of
50 dB! Two of the four mic inputs are permanently available as channels 9 and
10, the other two can be used together with or alternatively to the inputs 7/8
on the back.
Two ADAT optical I/Os allow for a
connection and insertion of effect devices, mixing consoles or external
converters. Of course, these 16 channels are available simultaneously with the
analog channels. Using two additional ADI-8 DS, you'll get 26 analog inputs and
outputs, which remain still 18 at 96 kHz. The coaxial SPDIF I/O works up to 192
kHz, so that there are still 10 analog in- and outputs at the highest sample
rate, plus two digital ones. SPDIF optical, alternatively provided via the
second ADAT port, also operates up to 192 kHz - another RME-only feature.
All inputs and outputs can be used at the
same time! Up to 35 signal
sources can be connected to the Fireface 800 and recorded onto 28 separate
Thanks to the DSP-based TotalMix mixer, known from the Hammerfall DSP series, all inputs and outputs can be freely mixed, distributed and routed. Up to 14 completely independent stereo submixes are possible.
The Fireface 800 is equipped with SteadyClock, RME's unique sync
and clock technology. With this, the device becomes a sync reference for the whole studio. SteadyClock refreshes clock signals, removes jitter, and takes permanent care of optimal conversion quality, thus guarantees a sensational sound quality, completely independent from the reference clock's quality.
The Settings dialog includes a direct choice of the video and audio world's most often used sample rates.
Fireface 800 uses RME's own FireWire techology, heavily optimized for audio purposes. Lowest overhead, special hardware adaptations and
a new low latency buffer concept enable a performance and compatibility which has been thought of as impossible until now - at latencies of only one millisecond.
The Fireface 800 has a second port for hub functionality,
bi-lingual mode for full FireWire 400 compatibility, and an additional FireWire
400 port. Several Fireface 800 can be used in parallel and at the same time on
one FireWire port without any problem.
Input AD: 8 x 1/4 in. TRS, 4 x XLR Mic, 1/4 in. TRS Line, all servo-balanced. 1 x 1/4 in. TS unbalanced
Output DA: 8 x 1/4 in. TRS, servo-balanced, DC-coupled signal
path. 1 x 1/4 in. TRS unbalanced
Input Digital: 2 x ADAT optical or SPDIF
optical, SPDIF coaxial (AES/EBU compatible)
Output Digital: 2 x ADAT
optical or SPDIF optical, SPDIF coaxial (AES/EBU compatible)
range AD: 109 dB RMS unweighted, 112 dBA
THD AD: < -110 dB (<
THD+N AD: < -104 dB (< 0.00063 %)
> 110 dB
Dynamic range DA: 116 dB RMS unweighted, 119 dBA
THD DA: < -103 dB (< 0.0007 %)
THD+N DA: < -100 dB (< 0.001 %)
Crosstalk DA: > 110 dB
Input/Output level for 0 dBFS @ Hi Gain: +19 dBu
Input/Output level for 0 dBFS @ +4 dBu: +13 dBu
Input/Output level for 0 dBFS @ -10 dBV: +2 dBV
Sample rate internally: 32, 44.1, 48, 64, 88.2 kHz, 96 kHz, 128, 176.4, 192 kHz
Sample rate externally: 28 kHz - 200 kHz
Frequency response AD/DA, -0.1 dB: 5 Hz - 21,5 kHz (sf 48 kHz)
Frequency response AD/DA, -0.5 dB: < 5 Hz - 43.5 kHz (sf 96 kHz)
Frequency response AD/DA, -1 dB: < 5 Hz - 70 kHz (sf 192 kHz)
Windows 2000 SP4 or Windows XP:
Full ASIO multi-client operation of WDM, MME, GSIF 2.0 and ASIO 2.0.
WDM (DirectSound) with stereo and multi-channel support.
Up to 3 units operational.
Mac OS X (10.3. or up):
Core Audio, Core MIDI.
Up to 3 units operational.