The RME Fireface 800 FireWire Computer Recording Interface offers 8 balanced line I/Os with software-controlled switching of the levels in the analog domain. All levels are under software control exce... Read More
The RME Fireface 800 FireWire Computer Recording Interface offers 8 balanced line I/Os with software-controlled switching of the levels in the analog domain. All levels are under software control except the mic pre-amps and the headphone outputs. High-level A/D and D/A converter chips, I/Os that operate up to 192kHz, and 119 dBA dynamic range on playback speak to the stellar level of sound quality.
The front features 4 balanced mic inputs with class-A stage, 48V phantom power and individual jack and XLR inputs, which can also be used as additional line inputs. 2 of the 4 mic inputs are available permanently as channels 9 and 10, while the other 2 can be used together with or instead of inputs 7 and 8 on the rear.
A hi-Z instrument input for guitar and bass includes a soft-limiter, custom-tuned for musical instruments, that affords overload protection of the A/D-converter. The limiter's harmonic distortion can be used for tube-like distortions. A special circuit delivers fuzz-box-type guitar distortions. A multi-stage filter hi- and low-frequency filter lets you clean up the sound as desired.
The FireWire 800's digital I/Os include 2 ADAT I/Os for connecting and inserting effect devices, mixers, or external converters. The 192kHz SPDIF-I/O works concurrently with 10 analog in- and outputs at the highest sample rate, plus 2 digital ones. All inputs and outputs are active at the same time. For example, the instrument input can be used either instead of, or together with, the line input on the back. The jack and the XLR sockets of the mic inputs can even be used simultaneously. To summarize, up to 35 signal sources can be connected to the Fireface 800 and recorded to 28 separate tracks.
The DSP-based TotalMix mixer derives from the popular Hammerfall DSP series, with all inputs and outputs having the ability to be freely mixed, distributed and routed. Up to 14 completely independent stereo submixes are possible. The internal flash memory enables all settings including TotalMix to be recalled on startup. The device also works stand-alone as a submixer, A/D and D/A converter, headphone mixer, format converter, instrument or mic pre-amp, and monitor mixer.
The SteadyClock sync and clock technology enable the unit to be used as a sync reference for your whole studio. SteadyClock refreshes clock signals and removes jitter. A time code option (TCO) for synchronizing to LTC, video and VITC can be added with the insert slot on the back.
The Fireface 800 has a second port for hub functionality, a bi-lingual mode for full FireWire 400 compatibility, and an additional FW 400 port. With the multi-ports, several Fireface 800s can be used in parallel and at the same time with no problems.
Reviewed by 4 customers
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I must say that I am happy with the quality of the RME fireface 800. It has more options on it than I need and it seems a little difficult to understand at first glance. I have joked to others that you need a degree in electrical engineering to get operate the 800. When it shipped it had a bad firewire cable. They sent a nice long 13 foot cable with it. I contacted the comnpany and they quickly sent me a replacement cable at no charge. I had a few small issues with setting this up to work with Sonar 8.5 producer with 24 bit recording in a windows 7 64bit environment. Between the support from RME and Cakewalk I had no problems. The pre-amps seem good and the A to D and D to A conversions are great. I was running everything through a mackie mixer and RCA into a lexicon lambda. There is no comparison. If you are looking for a great interface this is the one.
Just picked the FF 800 up about a week ago and was amazed. I had been using Focusrite pre's and was not satisfied at all. As soon as I started using this I decided to start from scratch on my solo album. Works really well with cardiod condenser mics, and plugging in directly with a guitar sounds better than through a mic with most other units. You can get a great mix setup with the provided software. The only problem for me was setting up my defaults between windows, Cubase, and the preamp, but once if you've ever used firewire, that won't be a problem. I'm 100% satisfied with the sound - just as good as a pro studio.
The RME Fireface800 has outstanding quality. The preamps give good color and life and sound fantastic. These pre-amps offer the best sound quality out of any other interface, and that makes it worth every cent. I, unfortunately do not own one, but it would be so worth it to save up for it. Once I have this interface, why would I need another... NOTHING BEATS IT! The pre's are just the best and give great color to your inputs. I recommend this interface to anyone, beginner and definitely a pro. Don't make the mistake of getting another interface that you can afford, get the Fireface and be done with it... It's by far the best in its class and you will imediately hear the difference in the microphone pre-amps on this bad boy. Have Fun!
The RME Fireface 800 is the best deal out for firewire recording interfaces. You have two firewire 400 and one 800 port for ultimiate connectability. Add a pair of ADAT connections, 10 in, 8 out analog I/Os and then the 4 mic pre-amps are gravy on this excellent interface. I have recorded live bands with this, daisy-chaning ithe inputs from the main board into the fireface and then to a laptop. The sound is excellent, the synchronization options outstanding. My next step would be to get a set of great pre-amps and ADAT them in to my Fireface to expand the I/O. It is more expensive than the competition, but you get great flexibility and value. The fireface is the kind of gear you don't need to replace with something better, cause there really isn't much better out there.