User's Guide Fireface 802 A legend reborn! ™ TotalMix 24 Bit / 192 kHz 9 ™ SyncAlign ZLM ™ ™ SyncCheck ™ SteadyClock USB 2.
Important Safety Instructions ..................................6 General 1 2 3 4 5 Introduction ...............................................................8 Package Contents .....................................................8 System Requirements ..............................................8 Brief Description and Characteristics.....................8 First Usage - Quick Start 5.1 Connectors – Controls - Display .............................9 5.2 Quick Start .......................................
Installation and Operation - Mac OS X 13 Hardware, Driver and Firmware Installation 13.1 Hardware and Driver Installation ......................... 30 13.2 De-installing the Drivers....................................... 30 13.3 Firmware Update ................................................. 31 14 Configuring the Fireface 14.1 Settings Dialog..................................................... 32 14.2 Clock Modes - Synchronization ........................... 33 15 Mac OS X FAQ 15.1 MIDI doesn't work ...
TotalMix FX 25 Routing and Monitoring 25.1 Overview ..............................................................52 25.2 The User Interface ...............................................54 25.3 The Channel.........................................................55 25.3.1 Settings ........................................................57 25.3.2 Equalizer ......................................................58 25.3.3 Dynamics .....................................................60 25.
Class Compliant Mode General..................................................................... 90 System Requirements ............................................ 90 Operation ................................................................. 91 31.1 Useful Hints.......................................................... 91 31.2 Class Compliant under Windows/Mac OS X ....... 93 32 Supported Inputs and Outputs.............................. 93 33 Operation at the Unit ........................................
Important Safety Instructions ATTENTION! Do not open chassis – risk of electric shock The unit has non-isolated live parts inside. No user serviceable parts inside. Refer service to qualified service personnel. Mains • The device must be earthed – never use it without proper grounding • Do not use defective power cords • Operation of the device is limited to the manual • Use same type of fuse only To reduce the risk of fire or electric shock do not expose this device to rain or moisture.
User's Guide Fireface 802 General User's Guide Fireface 802 © RME 7
1. Introduction Thank you for choosing the Fireface 802. This unique audio system is capable of transferring analog and digital audio data directly to a computer from practically any device. The latest Plug and Play technology guarantees a simple installation, even for the inexperienced user. The numerous unique features and well thought-out configuration dialog puts the Fireface 802 at the very top of the range of computer-based audio interfaces.
5. First Usage – Quick Start 5.1 Connectors – Controls – Display The front of the Fireface 802 features four instrument and microphone inputs, two stereo headphone outputs, six pots, a power switch, and several status LEDs. The Neutrik combo sockets of the four Mic/Line inputs provide XLR and 6.3 mm / 1/4" TRS connection. They have LEDs for Signal (SIG), Phantom power (48V) and activated TS input. The latter is high impedance and can be used as instrument input as well.
The rear panel of the Fireface 802 features eight analog inputs and outputs, the power socket, and all digital inputs and outputs: Balanced Line Level Inputs. 8 balanced analog inputs via 6.3 mm stereo TRS. Balanced Line Level Outputs. 8 balanced analog outputs, six via 6.3 mm stereo TRS, two via XLR. AES/EBU I/O. XLR. The Fireface 802 accepts the commonly used digital audio formats, SPDIF as well as AES/EBU. ADAT1 I/O. TOSLINK. Standard ADAT optical port, 8 channels. ADAT2 I/O. TOSLINK.
5.2 Quick Start After the driver installation (chapter 6 / 13) connect the TRS jacks or the XLR inputs with the analog signal source. The input sensitivity of the rear inputs can be changed in TotalMix (Input Channel Settings, Level), assuring the highest signal to noise ratio will be achieved. Also try to achieve an optimum input level by adjusting the source itself. Raise the source’s output level until the peak level meters in TotalMix reach about –3 dB.
User's Guide Fireface 802 © RME
User's Guide Fireface 802 Installation and Operation – Windows User's Guide Fireface 802 © RME 13
6. Hardware, Driver and Firmware Installation 6.1 Hardware and Driver Installation To simplify installation it is recommended to first install the drivers before the unit is connected to the computer. But it will also work the other way round. Insert the RME Driver CD into your CD-ROM drive. The driver installer is located in the directory \Fireface_USB or \Fireface_FW. Start rmeinstaller.exe and follow the instructions of the installer.
7. Configuring the Fireface 7.1 Settings dialog - General Configuration of the Fireface 802 is done via its own settings dialog.
Buffer Size The setting Buffer Size determines the latency between incoming and outgoing ASIO and WDM data, as well as affecting system stability (see chapter 9.1). Errors does not refer to buffer errors, but USB and FireWire transmission errors. The display will be reset on any start of a playback/record. More information can be found in chapter 35.3 / 35.4. Options DSP – EQ+D for Record Switches EQ and Dynamics of all input channels into the recording path.
Bandwidth (only for the FireWire driver) Allows to reduce the amount of bandwidth used on the FireWire bus. See chapter 35.4. All channels (default) activates all 30 input and output channels. Analog + AES + ADAT1 disables channels 23–30 (ADAT2). Analog + AES activates all 12 analog channels plus AES. Analog 1-8 activates only the first eight analog channels. 7.2 Settings Dialog - Pitch Usually soundcards and audio interfaces generate their internal clock (master mode) by a quartz.
8. Operation and Usage 8.1 Playback In the audio application being used, Fireface must be selected as output device. This can often be found in the Options, Preferences or Settings menus under Playback Device, Audio Devices, Audio etc. We strongly recommend switching all system sounds off (via >Control Panel /Sounds<). Also Fireface should not be the Preferred Device for playback, as this could cause loss of synchronization and unwanted noises.
8.2 DVD-Playback (AC-3/DTS) AC-3 / DTS When using popular DVD software players like WinDVD and PowerDVD, their audio data stream can be sent to any AC-3/DTS capable receiver using the Fireface's SPDIF output. For this to work, the WDM SPDIF device of the Fireface has to be selected in >Control Panel/ Sounds and Multimedia/ Audio< or >Control Panel/ Sound/Playback<. Also check 'use preferred device only'. The DVD software's audio properties now show the options 'SPDIF Out' or similar.
8.3 Notes on WDM The driver offers a WDM streaming device per stereo pair, like Analog 3+4 (Fireface 802). WDM streaming is Microsoft's current driver and audio system, directly embedded into the operating system. WDM streaming is hardly usable for professional music purposes, as all data is processed by the so called Kernel Mixer, causing a latency of at least 30 ms.
8.4 Channel Count under WDM The Fireface ADAT optical ports allow to record sample rates of up to 192 kHz using a standard ADAT recorder. For this to work single-channel data is spread to two or four ADAT channels using the Sample Multiplexing technique. This reduces the number of available ADAT channels from 8 to 4 or 2 per ADAT port. Whenever the Fireface changes into Double Speed (88.2/96 kHz) or Quad Speed mode (176.4/192 kHz) all devices no longer available vanish automatically.
8.6 Analog Recording For recordings via the analog inputs the corresponding record device has to be chosen (Fireface 802 Analog (x+y)). The input sensitivity of the rear inputs can be changed in two steps in TotalMix (Input Channel Settings, Level), assuring the highest signal to noise ratio will be achieved. Additionally a digital gain of 0 up to 12 dB can be applied. A further optimization can be achieved by adjusting the source itself.
8.8 Clock Modes - Synchronization In the digital world, all devices must be either Master (clock source) or Slave (clock receiver). Whenever several devices are linked within a system, there must always be a single master clock. A digital system can only have one master! If the Fireface’s clock mode is set to 'Master', all other devices must be set to ‘Slave’. The Fireface 802 utilizes a very user-friendly, intelligent clock control, called AutoSync.
9. Operation under ASIO 9.1 General Start the ASIO software and select ASIO Fireface USB as the audio I/O device or the audio driver. The Fireface 802 supports ASIO Direct Monitoring (ADM). The Fireface 802 MIDI I/O can be used with both MME MIDI and DirectMusic MIDI. 9.2 Channel Count under ASIO At a sample rate of 88.2 or 96 kHz, the ADAT optical input and outputs operate in S/MUX mode, so the number of available channels per port is reduced from 8 to 4. At a sample rate of 176.
9.3 Known Problems If a computer does not provide sufficient CPU-power and/or sufficient USB or PCI* bus transfer rates, then drop outs, crackling and noise will appear. Raising the buffer size in the Settings dialog of the Fireface 802 helps in most cases. It is also recommended to deactivate all PlugIns to verify that these are not the reason for such effects. Further information is found in chapter 35.3.
11. DIGICheck Windows The DIGICheck software is a unique utility developed for testing, measuring and analysing digital audio streams. Although this Windows software is fairly self-explanatory, it still includes a comprehensive online help. DIGICheck 5.75 operates as multi-client ASIO host, therefore can be used in parallel to any software, be it WDM or ASIO, with both inputs and outputs (!). The following is a short summary of the currently available functions: • Level Meter.
12. Hotline – Troubleshooting The newest information can always be found on our website www.rme-audio.com, section FAQ, Latest Additions. The 8 ADAT channels don’t seem to work • The optical output ADAT2 has been switched to AES/SPDIF. As can be seen in the block diagram, chapter 36.1, all channels and their assignments still exist, but the optical transmitter has been disconnected from ADAT2 and is now fed from the AES output (channels 13/14).
User's Guide Fireface 802 © RME
User's Guide Fireface 802 Installation and Operation – Mac OS X User's Guide Fireface 802 © RME 29
13. Hardware, Driver and Firmware Installation 13.1 Hardware and Driver Installation After the Fireface has been connected to the computer and switched on install the drivers from the RME Driver CD. The driver files are located in the folder \Fireface_USB and \Fireface_FW. Installation works automatically by a double-click on the file Fireface USB.pkg or Fireface.pkg. RME recommends downloading the latest driver version from the RME website.
13.3 Firmware Update The Flash Update Tool updates the firmware of the Fireface 802 to the latest version. It requires an already installed driver. Start the program Fireface USB Flash. The Flash Update Tool displays the current revision of the Fireface firmware, and whether it needs an update or not. If so, simply press the 'Update' button. A progress bar will indicate when the flash process is finished (Verify Ok). After the update the Fireface 802 needs to be reset.
Options DSP – EQ+D for Record Switches EQ and Dynamics of all input channels into the recording path. In case Loopback has been activated the EQ and Dynamics of the Output channel are within the recording path. See also chapter 27.5. ADAT2 Output This optical TOSLINK output can operate as ADAT or AES/SPDIF output. AES Input Source Defines the input for the AES (SPDIF) signal. 'AES' relates to the XLR socket, 'ADAT2' to the second optical TOSLINK input.
14.2 Clock Modes - Synchronization In the digital world, all devices must be either Master (clock source) or Slave (clock receiver). Whenever several devices are linked within a system, there must always be a single master clock. A digital system can only have one master! If the Fireface’s clock mode is set to 'Master', all other devices must be set to ‘Slave’. The Fireface 802 utilizes a very user-friendly, intelligent clock control, called AutoSync.
15. Mac OS X FAQ 15.1 MIDI doesn't work In some cases the applications do not show the MIDI port. The reason for this is usually visible within the Audio MIDI Setup. It displays no RME MIDI device, or the device is greyed out and therefore inactive. Mostly, removing the greyed out device and searching for MIDI devices again will solve the problem. The Fireface is class compliant. Therefore it comes without a driver.
15.5 Various Information The driver of the Fireface requires at least Mac OS 10.6. Programs that don't support card or channel selection will use the device chosen as Input and Output in the System Preferences – Sound panel. Via Launchpad – Other – Audio MIDI Setup the Fireface can be configured for the system wide usage in more detail. Programs that don't support channel selection will always use channels 1/2, the first stereo pair.
17. DIGICheck Mac The DIGICheck software is a unique utility developed for testing, measuring and analysing digital audio streams. Although the software is fairly self-explanatory, it still includes a comprehensive online help. DIGICheck 0.685 operates in parallel to any software, showing all input data. The following is a short summary of the currently available functions: • Level Meter. High precision 24-bit resolution, 2/8/30 channels.
18. Hotline – Troubleshooting The newest information can always be found on our website www.rme-audio.com, section FAQ, latest Additions. The unit and drivers have been installed correctly, but playback does not work: • Is Fireface 802 listed in the System Profiler? (Vendor ID 2613). • Has Fireface been selected as current playback device in the audio application? The 8 ADAT channels don’t seem to work • The optical output ADAT2 has been switched to AES/SPDIF.
User's Guide Fireface 802 © RME
User's Guide Fireface 802 Inputs and Outputs User's Guide Fireface 802 © RME 39
19. Analog Inputs 19.1 Line Rear The Fireface has eight balanced Line inputs as 1/4" TRS jacks on the back of the unit. The electronic input stage is built in a servo balanced design which handles unbalanced (mono jacks) and balanced (stereo jacks) correctly, automatically adjusting the level reference. When using unbalanced cables with TRS jacks: be sure to connect the 'ring' contact of the TRS jack to ground. Otherwise noise may occur, caused by the unconnected negative input of the balanced input.
TS The unbalanced TS Line inputs, which can be used alternatively, add even greater flexibility to the Fireface 802. With 800 kOhm input impedance (Hi-Z), TS jack and adjustable input gain over a range of 54 dB the front-side inputs can be used perfectly with keyboards, sampler, CD player, guitars and much more. These inputs handle levels from –33 dBu up to +21 dBu, turning them into full level Line inputs. Thus the unit can also be used as Line gain amplifier. The TS jacks are free of phantom power. 20.
In case the output should operate as line output, an adapter TRS plug to RCA phono plugs, or TRS plug to TS plugs is required. The pin assignment follows international standards. The left channel is connected to the tip, the right channel to the ring of the TRS jack/plug. 21. Digital Connections 21.1 ADAT The ADAT optical inputs of the Fireface 802 are fully compatible with all ADAT optical outputs.
Input Thanks to a highly sensitive input stage SPDIF coaxial can be fed too by using a simple cable adapter phono/XLR. To achieve this, pins 2 and 3 of a male XLR plug are connected individually to the two pins of a phono plug. The cable shielding is only connected to pin 1 of the XLR - not to the phono plug. In AES operation, identical signals are available at both the optical and the XLR output. An obvious use for this would be to connect two devices, i.e.
22. Word Clock 22.1 Word Clock Input and Output SteadyClock guarantees an excellent performance in all clock modes. Based on the highly efficient jitter suppression, the Fireface refreshes and cleans up any clock signal, and provides it as reference clock at the BNC output (see section 35.8). Input The Fireface's word clock input is active when Pref. Sync Ref in the Settings dialog has been switched to Word Clock, the clock mode AutoSync has been activated, and a valid word clock signal is present.
22.2 Technical Description and Usage In the analog domain one can connect any device to another device, a synchronization is not necessary. Digital audio is different. It uses a clock, the sample frequency. The signal can only be processed and transmitted when all participating devices share the same clock. If not, the signal will suffer from wrong samples, distortion, crackle sounds and drop outs. AES/EBU, SPDIF and ADAT are self-clocking, an additional word clock connection in principle isn't necessary.
22.3 Cabling and Termination Word clock signals are usually distributed in the form of a network, split with BNC T-adapters and terminated with resistors. We recommend using off-the-shelf BNC cables to connect all devices, as this type of cable is used for most computer networks. You will find all the necessary components (T-adapters, terminators, cables) in most electronics and/or computer stores. The latter usually carries 50 Ohms components.
User's Guide Fireface 802 Stand-Alone Operation User's Guide Fireface 802 © RME 47
23. Operation and Usage 23.1 General The Fireface 802 has internal memory for the permanent storage of six different states of the unit, which can be recalled via the optional Advanced Remote Control, ARC. This way the Fireface 802 is able to operate without any connected computer. In stand-alone operation it can transform into totally different devices by the simple click of a button. Furthermore TotalMix, and with this the application examples shown below, can also be controlled via MIDI, see chapter 28.
24. Examples 24.1 12-Channel AD/DA-Converter TotalMix' super-flexible routing functions make it easy to turn the 802 into a 12-channel AD/DA converter. It’s easy to build the setup. For a clean start perform a Total Reset from the Options menu. Then select the ADAT Output 1/2 in the third row, and pull up the faders of the Analog input 1/2 in the first row. Then select ADAT 3/4, pull up Analog 3/4 and so on until all 12 analog inputs are routed to the corresponding 12 (8+4) ADAT channels.
User's Guide Fireface 802 © RME
User's Guide Fireface 802 TotalMix FX User's Guide Fireface 802 © RME 51
25. Routing and Monitoring 25.1 Overview The Fireface 802 includes a powerful digital real-time mixer, the Fireface 802 mixer, based on RME’s unique, sample-rate independent TotalMix technology. It allows for practically unlimited mixing and routing operations, with all inputs and playback channels simultaneously, to any hardware outputs. TotalMix FX adds 3-band parametric Equalizer, Low Cut, Echo, Reverb, Compressor, Expander and Auto Level.
User's Guide Fireface 802 © RME 53
25.2 The User Interface The visual design of the TotalMix mixer is a result of its capability to route hardware inputs and software playback channels to any hardware output. The Fireface 802 has 30 input channels, 30 software playback channels, and 30 hardware output channels: TotalMix can be used in the above view (View Options 2 Rows).
25.3 The Channels A single channel can be switched between mono and stereo mode. The mode is set in the channel settings. Channel name. The name field is the preferred place to select a channel by a mouse click. A double click opens a dialog to assign a different name. The original name will be shown when activating the option Names in the View Options. Panorama. Routes the input signal freely to the left and right routing destination (lower label, see below).
The lowest field shows the current routing target. A mouse click opens the routing window to select a routing target. The list shows all activated routings of the current channel by arrows in front of the listed entries, the current one is shown in bold letters. An arrow is only shown with an activated routing. A routing is seen as activated when audio data is sent. As long as the fader is set to −∞ the current routing will be shown in bold letters, but not have an arrow in the front. Trim Gain.
25.3.1 Settings A click on the tool symbol opens the channel’s Settings panel with differing elements. For example the option Inst exists only in input channels 9-12, and the ADAT channels do not offer the phantom power option. Stereo. Switches the channel to mono or stereo mode. 48V. Activates phantom power at the corresponding input. Serves as power supply for high quality condenser mics. This option should stay off with other sources to prevent failure by spikes. Inst.
Besides Stereo/Mono, Phase L und Phase R the settings of the Hardware Outputs have further options: Level. Sets the reference levels of the 8 analog Line outputs. The available settings are -10 dBV, +4 dBu and HiGain. FX Return. The effect signal (Echo and Reverb) is mixed to the respective hardware output by the duo knob/small fader. Talkback. Activates this channel as receiver and output of the Talkback signal. This way Talkback can be sent to any outputs, not only the Phones in the Control Room section.
The frequency graphics give a precise overview of the filter results. Overlapping filters influence each other. This can be used to achieve more than 20 dB amplitude, or to generate difficult frequency response optimizations. Note: TotalMix has an internal headroom of 24 dB. Extreme boosts with overlapping filters can therefore cause an internal overload. In any case such an overload is displayed by the Over LED of the channel’s level meter. Preset.
25.3.3 Dynamics A click on D opens the Dynamics panel with Compressor, Expander and Auto Level. They are available in all input and output channels, and affects all routings of the respective channel. Dynamics. Activated by this button. Thresh. Threshold where Compressor or Expander start to work. The Compressor is adjustable from -60 dB to 0 dB, the Expander is adjustable from -99 dB to -20 dB. Ratio. Ratio of input to output signal. Defines the intensity of the signal processing. Adjustable from 1 to 10.
25.4 Section Control Room In the section Control Room the menu Assign defines the Main Out which is used for listening in the studio. For this output the functions Dim, Recall, Mono, Talkback, External In and Mute FX are automatically applied. Additionally the channel will be shifted from the Hardware Outputs into the Control Room section, and renamed Main. The same happens when assigning Main Out B or the Phones. The original name can be displayed by the function Names in the View Options at any time.
25.5 The Control Strip The Control Strip on the right side is a fixed element. It combines different functions that are either required globally, or constantly used, and therefore should not be hidden in a menu. Device selection. Select the unit to be controlled in case more than one is installed on the computer. FX - DSP Meter. Shows the DSP load caused by activated EQ, Low Cut, Compressor, Auto Level, Echo and Reverb. The DSP of the Fireface 802 has an automatic load limiter.
25.5.1 View Options The field Show combines different functions of routing, the level meters and the mixer view. Routing Mode ¾ Submix. The Submix view (default) is the preferred view and delivers the quickest overview, operation and understanding of TotalMix. The click on one of the Hardware Output channels selects the respective submix, all other outputs are darkened. At the same time all routing fields are set to this channel.
25.5.2 Snapshots - Groups Snapshots. Snapshots include all mixer settings, but no graphical elements like window positions, window size, number of windows, visible EQs or Settings, scroll states, Presets etc. Only the state wide/narrow of the channels is registered. Moreover the Snapshot is only temporarily stored. Loading a Workspace causes the loss of all stored Snapshots, when these all had not been saved before in a Workspace, or separately via File / Save Snapshot as.
Hidden channels in Mixer/Matrix are still fully functional. An existing routing/mixing/FX processing stays active. But as the channel is no longer visible it can not be edited anymore. At the same time the hidden channels are removed from the list of remote controllable channels, to prevent them from being edited unnoticed. Hidden channels in MIDI Remote x are removed from the list of remote controllable channels. Within an 8-channel block of a Mackie compatible control they are skipped.
25.5.4 Scroll Location Markers Another feature to improve overview and working with TotalMix FX are scroll location markers (TotalMix view only). These are displayed automatically when the horizontal size of the TotalMix FX window is smaller than the channel display requires. Shown on the right side of the scrollbar of each row they have four elements: ¾ ¾ ¾ ¾ Arrow to the left. A left mouse click let the channels scroll to the very first one, or most left. 1. Marker number 1.
25.6 Reverb and Echo A click on FX in the View Options / Show brings up the Output FX panel. Here all parameters for the effects Reverb and Echo are adjusted. Reverb. Activated by the On button. Type. Lists different reverb algorithms for selection. Available are: ¾ Rooms 1 - 4. Algorithm for room simulation with different tonal colours. Room 1 and 2 sound dry and small, Room 3 and 4 brilliant and a bit bigger. ¾ Envelope.
Special Settings for Envelope and Gated High Cut. Low-pass filter after the reverb generation. A reduction of the treble often lets the reverb sound more natural. Adjustable from 5 kHz up to 20 kHz. Attack. Length of time for the volume increase of the reverb signal. Also called rise time. Adjustable from 5 ms up to 400 ms. Hold. Length of time for the fixed volume part of the reverb signal. Adjustable from 5 ms up to 400 ms. Release. Length of time for the volume decrease of the reverb signal.
Preset. Settings of the Reverb and the Echo can be stored, loaded, and copied between channels at any time. A click on Preset opens a menu with several entries: ¾ Recall: Presets stored before by the user can be selected and loaded ¾ Save to: There are 16 storage places available (Reverb/Echo Preset 1 to 16) ¾ Import: Loads a previously stored TM FX Reverb file (.tmrv) or a TM FX Echo file (.tmeo) ¾ Export: Stores the current state as TM FX Reverb file (.tmrv) or as TM FX Echo file (.
25.7 Preferences The dialog Preferences can be opened via the Options menu or directly via F2. Level Meters ¾ Full scale samples for OVR. Number of consecutive samples to trigger an over detection (1 to 10). ¾ Peak Hold Time. Hold time of the peak value. Adjustable from 0.1 up to 9.9 s. ¾ RMS +3 dB. Shifts the RMS value by +3 dB, so that full scale level is identical for Peak and RMS at 0 dBFS. Mixer Views ¾ FX Send follows highest Submix. Locks the FX Send knob to the channel fader.
Snapshots ¾ Do not load Main volume/balance. The values stored in the Snapshot are not loaded for the Main Out, so the current setting is not changed. Device Handling ¾ Always init DSP devices with TotalMix FX settings. Used to suppress the mismatch message after using the unit stand-alone. Settings in the unit are lost. ¾ Count MADI Channels per port. Not available with the Fireface 802. ¾ Disable ASIO Direct Monitoring. Disables ASIO Direct Monitoring (ADM) for the Fireface 802 within TotalMix FX.
25.8 Settings The dialog Settings can be opened via the Options menu or directly via F3. 25.8.1 Mixer Page On the mixer page some typical settings for the mixer operation are set, like Talkback source, Dim amount when Talkback is active, the stored main volume or the input used for the External Input function. Talkback ¾ Input. Selects the input channel of the Talkback signal (microphone in control room). Default: None. ¾ Dim. Amount of attenuation of the signals routed to the Phones in dB.
25.8.2 MIDI Page The MIDI page has four independent settings for up to four MIDI remote controls, using CC commands or the Mackie Control protocol. Index Select one of four settings pages and thus remote controls. Settings are remembered automatically. To activate or deactivate any of the four remote controls check or uncheck ‘In Use’. MIDI Remote Control ¾ MIDI In. Input where TotalMix receives MIDI Remote data. ¾ MIDI Out. Output where TotalMix sends MIDI Remote data. ¾ Disable MIDI in background.
25.8.3 OSC Page The OSC page has four independent settings for up to four MIDI remote controls via Open Sound Control (OSC). This is a network based remote protocol that can be used for example by Apple’s iPad with the app TouchOSC or Lemur to wirelessly remote control TotalMix FX running on a Mac or Windows computer. Index Select one of four settings pages and thus remote controls. Settings are remembered automatically. To activate or deactivate any of the four remote controls check or uncheck ‘In Use’.
25.8.4 Aux Devices The RME OctaMic XTC is a highly flexible hi-quality 8-channel microphone, line and instrument preamp with integrated AD-conversion to ADAT, AES/EBU and MADI, plus 4 channels of DAconversion for monitoring. It can be used as universal front-end for the Fireface 802 and other interfaces. To simplify operation the most important parameters of the XTC (gain, 48V, phase, mute, AutoSet) can be controlled directly from the TotalMix FX input channels.
25.9 Hotkeys and Usage TotalMix FX has many hotkeys and mouse/hotkey combinations to speed up and simplify the usage. The Shift key enables a fine-tuning of the gain with all faders and in the Matrix. On all knobs it will speed up the setting. A click on a fader with held down Shift key adds the fader to the temporary fader group. A click in the fader path with held down Ctrl key will let the fader jump to 0 dB, at the next click to −∞. Same function: Double click of the mouse.
25.10 Menu Options Deactivate Screensaver: When active (checked) any activated Windows screensaver will be disabled temporarily. Always on Top: When active (checked) the TotalMix window will always be on top of the Windows desktop. Note: This function may result in problems with windows containing help text, as the TotalMix window will even be on top of those windows, so the help text isn't readable. Enable MIDI /OSC Control: Activates external MIDI control of the TotalMix mixer.
Store current state into device. The unit can store up to 6 setups (the current state) in its own memory. This function has been developed especially for the stand-alone mode operation, where there are no playback channels. Therefore using it under Windows, Mac or iOS will result in incomplete setups. The setups stored into the unit can be recalled both via simple MIDI notes (see chapter 28.6) as well as the optional Advanced remote Control (keys A to F). Enable Stand-Alone MIDI.
26. The Matrix 26.1 Overview The mixer window of TotalMix looks and operates similar to mixing desks, as it is based on a conventional stereo design. The matrix display presents a different method of assigning and routing channels, based on a single channel or monaural design. The matrix view of the Fireface 802 has the look and works like a conventional patchbay, adding functionality way beyond comparable hardware and software solutions.
The Matrix not always replaces the mixer view, but it significantly enhances the routing capabilities and - more important - is a brilliant way to get a fast overview of all active routings. It shows you in a glance what's going on. And since the Matrix operates monaural, it is very easy to set up specific routings with specific gains. 27. Tips and Tricks 27.1 ASIO Direct Monitoring (Windows) Programs that support ADM (ASIO Direct Monitoring - Samplitude, Sequoia, Cubase, Nuendo etc.
27.5 Recording a Submix - Loopback TotalMix includes an internal loopback function, from the Hardware Outputs to the recording software. Instead of the signal at the hardware input, the signal at the hardware output is sent to the record software. This way, submixes can be recorded without an external loopback cable. Also the playback from a software can be recorded by another software. The function is activated by the Loopback button in the Settings panel of the Hardware Outputs.
Recording a Software's playback In real world application, recording a software's output with another software will show the following problem: The record software tries to open the same playback channel as the playback software (already active), or the playback one has already opened the input channel which should be used by the record software. This problem can easily be solved.
28. MIDI Remote Control 28.1 Overview TotalMix can be remote controlled via MIDI. It is compatible to the widely spread Mackie Control protocol, so TotalMix can be controlled with all hardware controllers supporting this standard. Examples are the Mackie Control, Tascam US-2400 or Behringer BCF 2000. Additionally, the stereo output faders (lowest row) which are set up as Main Out in the Control Room section can also be controlled by the standard Control Change Volume via MIDI channel 1.
28.3 Setup Open the Preferences dialog (menu Options or F3). Select the MIDI Input and MIDI Output port where your controller is connected to. When no feedback is needed select NONE as MIDI Output. Check Enable MIDI Control in the Options menu. 28.4 Operation The channels being under Mackie MIDI control are indicated by a colour change of the name field, black turns to brown. The 8-fader block can be moved horizontally and vertically, in steps of one or eight channels. Faders can be selected to gang them.
28.5 MIDI Control The hardware output which is set up as Main Out can be controlled by the standard Control Change Volume via MIDI channel 1. With this, the main volume of the Fireface is controllable from nearly any MIDI equipped hardware device. Even if you don't want to control all faders and pans, some buttons are highly desired to be available in 'hardware'. These are mainly the Talkback and the Dim button, and the monitoring options (listen to Phones submixes).
Examples for sending MIDI strings: - Set input 1 to 0 dB: B0 66 68 - Set input 17 to maximum attenuation: B1 66 0 - Set playback 1 to maximum: B4 66 7F - Set Output 16 to 0 dB: B8 75 68 Note: Sending MIDI strings requires to use programmer's logic for the MIDI channel, starting with 0 for channel 1 and ending with 15 for channel 16.
In stand-alone mode the unit always operates in View Submix mode. Only this way the routing destination can be changed, and several mixdowns/submixes can be set up quickly and easily. If the current TotalMix setup is transferred into the Fireface via 'Flash current mixer state', the currently selected submix output is also pre-configured in the hardware for stand-alone MIDI remote operation.
28.7 Loopback Detection The Mackie Control protocol requires feedback of the received commands, back to the hardware controller. So usually TotalMix will be set up with both a MIDI input and MIDI output. Unfortunately any small error in wiring and setup will cause a MIDI feedback loop here, which then completely blocks the computer (the CPU). To prevent the computer from freezing, TotalMix sends a special MIDI note every 0.5 seconds to its MIDI output.
User’s Guide Fireface 802 Class Compliant Mode User's Guide Fireface 802 © RME 89
29. General The Fireface 802 operates in three different modes: driver-based USB 2, stand-alone mode, and Class Compliant mode. The latter describes a standard that is natively supported by operating systems like Windows, Mac OS X and Linux. No proprietary drivers are required, the device will be directly recognized when the CC firmware is loaded. The natively available features will be limited in comparison to those provided by the RME driver for the 802.
31. Operation Activation of the Class Compliant mode is done in two ways. Via TotalMix FX: The interface is connected to Mac or PC and can be controlled by TotalMix FX. Check the entry Activate CC mode on disconnect in TotalMix FX Options. As soon as the connection to the computer is interrupted, the Fireface 802 boots into Class Compliant mode. Upon reconnection to the computer the CC mode is automatically disabled.
* Having tested several chinese replicas of the Apple Camera Connection Kit, from 2-in-1 to 5-in-1 adapters, we strongly recommend purchasing the original for use with the 802! All adapters seemed to work for the simple application of copying photos. Attempting to run the 802 with USB Audio 2.0 was when the problems started. Some of the tested adapters would not work at all, others only with short cables, and only one adapter came close to the quality of the original.
31.2 Class Compliant Mode under Windows and Mac OS X On a Windows PC, Class Compliant mode is indicated by a missing “RME“ in the device name shown in the Device Manager. In the correct mode and with installed drivers, the full name including RME is shown, without serial number. In real-world this case should never come up as TotalMix FX resets the unit to normal mode whenever it detects CC mode. This is also true for Mac OS X.
User's Guide Fireface 802 © RME
User's Guide Fireface 802 Technical Reference User's Guide Fireface 802 © RME 95
34. Technical Specifications 34.1 Analog AD, Line In 1-8, rear • Resolution AD: 24 bit • Signal to Noise ratio (SNR): 113 dB RMS unweighted, 116 dBA • Frequency response @ 44.1 kHz, -0.1 dB: 5 Hz – 20.8 kHz • Frequency response @ 96 kHz, -0.5 dB: 5 Hz – 45.8 kHz • Frequency response @ 192 kHz, -1 dB: 5 Hz – 92 kHz • THD: < -110 dB, < 0.00032 % • THD+N: < -104 dB, < 0.00063 % • Channel separation: > 110 dB • Maximum input level: +19 dBu • Input: 6.
DA, Line Out 1-8, rear • Resolution: 24 bit • Dynamic range (DR): 115 dB RMS unweighted, 118 dBA • Frequency response @ 44.1 kHz, -0.5 dB: 5 Hz – 20.8 kHz • Frequency response @ 96 kHz, -0.5 dB: 5 Hz – 45 kHz • Frequency response @ 192 kHz, -1 dB: 5 Hz - 89 kHz • THD: < -110 dB, < 0.00032 % • THD+N: < -104 dB, < 0.00063 % • Channel separation: > 110 dB • Maximum output level: +19 dBu • Output: 6.
34.4 Digital Inputs AES/EBU • 1 x XLR, transformer-balanced, galvanically isolated, according to AES3-1992 • High-sensitivity input stage (< 0.3 Vpp) • SPDIF compatible (IEC 60958) • Accepts Consumer and Professional format • Lock range: 27 kHz – 200 kHz • Jitter when synced to input signal: < 1 ns • Jitter suppression: > 30 dB (2.
34.5 Digital Outputs AES/EBU • XLR, transformer-balanced, galvanically isolated, according to AES3-1992 • Output level Professional 4.5 Vpp, Consumer 2.
35. Technical Background 35.1 Lock and SyncCheck Digital signals consist of a carrier and the data. If a digital signal is applied to an input, the receiver has to synchronize to the carrier clock in order to read the data correctly. To achieve this, the receiver uses a PLL (Phase Locked Loop). As soon as the receiver meets the exact frequency of the incoming signal, it is locked. This Lock state remains even with small changes of the frequency, because the PLL tracks the receiver's frequency.
35.2 Latency and Monitoring The term Zero Latency Monitoring has been introduced by RME in 1998 for the DIGI96 series of audio cards. It stands for the ability to pass-through the computer's input signal at the interface directly to the output. Since then, the idea behind has become one of the most important features of modern hard disk recording.
AD/DA Offset under ASIO and OS X: ASIO (Windows) and Core Audio (Mac OS X) allow for the signalling of an offset value to correct buffer independent delays, like AD- and DA-conversion or the Safety Buffer described below. An analog loopback test will then show no offset, because the application shifts the recorded data accordingly. Because in real world operation analog record and playback is unavoidable, the drivers include an offset value matching the Fireface's converter delays.
¾ ¾ ¾ Connect the Fireface to a USB port Start the Device Manager, View set to Devices by Connection Select ACPI x86-based PC, Microsoft ACPI-Compliant System, expand PCI Bus This branch normally includes two entries of a USB2 Enhanced Host Controller. A USB Root Hub can be seen, which then connects all USB devices, including the Fireface. By reconnecting to a different port this view immediately shows at which of the two controllers the Fireface is connected.
To use FireWire as efficiently as possible, the Fireface allows to reduce the number of transferred channels. Limit Bandwidth provides four options, limiting the transmission internally to 30, 22, 14 or 8 channels. This limitation is independent from the sample rate. As can be seen in the following table, in 96/162 kHz mode there is no difference between the setting All Channels and An.+AES+ADAT1 as the Fireface 802 offers only 18 channels in Quad Speed mode anyway.
35.7 Noise level in DS / QS Mode The outstanding signal to noise ratio of the Fireface 802 AD-converters can be verified even without expensive test equipment, by using record level meters of various software. But when activating the DS and QS mode, the displayed noise level will rise from -113 dB to -105 dB at 96 kHz, and –79 dB at 192 kHz. This is not a failure. The software measures the noise of the whole frequency range, at 96 kHz from 0 Hz to 48 kHz (RMS unweighted), at 192 kHz from 0 Hz to 96 kHz.
36. Diagrams 36.
36.2 Connector Pinouts TRS jacks of analog input / output The stereo 1/4" TRS jacks of the analog inputs and outputs are wired according to international standards: Tip = + (hot) Ring = – (cold) Sleeve = GND The servo balanced input and output circuitry allows to use monaural TS jacks (unbalanced) with no loss in level. This is the same as when using a TRS-jack with ring connected to ground.
User's Guide Fireface 802 © RME
User's Guide Fireface 802 Miscellaneous User's Guide Fireface 802 © RME 109
37. Accessories RME offers several optional components for the Fireface 802: Part Number Description Standard FireWire 400 cable, both sides 6-pin male: FWK660100BL FWK660300BL FWK660400BL FireWire cable IEEE1394a 6M/6M, 1 m (3.3 ft) FireWire cable IEEE1394a 6M/6M, 3 m (9.9 ft) FireWire cable IEEE1394a 6M/6M, 4 m (13 ft) FireWire 400 cable, 4-pin male to 6-pin male (4-pin sockets are found on most laptops): FWK460100BL FWK460300BL FWK460400BL FireWire cable IEEE1394a 4M/6M, 1 m (3.
39. Appendix RME news, driver updates and further product information are available on our website: http://www.rme-audio.com Distributor: Audio AG, Am Pfanderling 60, D-85778 Haimhausen, Tel.: (49) 08133 / 918170 Manufacturer: IMM Elektronik GmbH, Leipziger Strasse 32, D-09648 Mittweida Trademarks All trademarks, registered or otherwise, are the property of their respective owners. RME, DIGICheck and Hammerfall are registered trademarks of RME Intelligent Audio Solutions.
40. CE / FCC Compliance CE This device has been tested and found to comply with the limits of the European Council Directive on the approximation of the laws of the member states relating to electromagnetic compatibility according to RL2004/108/EG, and European Low Voltage Directive RL2006/95/EG. FCC This device complies with Part 15 of the FCC Rules.
