User's Guide Fireface 800 The most powerful FireWire audio interface ever! TotalMix ™ 24 Bit / 192 kHz ü ® SyncAlign ® ® ZLM SyncCheck ™ SteadyClock FireWire 800 / 400 Digital I/O System 10 + 16 + 2 Channels Analog / ADAT / SPDIF Interface 24 Bit / 192 kHz Digital Audio 56 x 28 Matrix Router MIDI I/O Stand-Alone Operation
Inhalt 1 2 3 4 5 6 Introduction............................................................ 4 Package Contents .................................................. 4 System Requirements............................................ 4 Brief Description and Characteristics................... 4 Hardware Installation ............................................. 5 Driver Installation 6.1 Windows 2000/XP ................................................. 5 6.2 Driver Update...........................................
18 TotalMix: Routing and Monitoring ...................... 34 18.1 Elements of the Surface .................................... 35 18.2 Tour de TotalMix ............................................... 36 18.3 Submix View ..................................................... 37 18.4 Mute and Solo ................................................... 37 18.5 Hotkeys ............................................................. 37 18.6 Quick Access Panel........................................... 38 18.
1. Introduction Thank you for choosing the Fireface 800. 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 800 at the very top of the range of computer-based audio interfaces.
. Hardware Installation Desktop Computer • Use the power cord to connect the Fireface with any suitable power outlet. • Connect computer and Fireface using the supplied 6-pin FireWire cable (IEEE1394a). In case your computer does not have any FireWire port, PCI-cards providing multiple FireWire ports can be added easily. FireWire cards are available in your local computer shop. • Power on the computer. Switch on the Fireface when Windows shows the desktop.
.2 Driver Update RME's driver updates often include a new fireface.inf file. To prevent Windows 2000/XP from using an old fireface.inf, or to copy some of the old driver files, be sure NOT to let Windows search for the driver! Instead tell Windows what to do. Under Control Panel /System /Device Manager /Sound, Video and Game Controllers /RME Fireface 800/Properties /Driver you'll find the 'Update Driver' button.
. First Usage - Quick Start Connect the TRS-jacks or the XLR connectors with the analog signal source. The input sensitivity of the rear inputs can be changed in the Settings dialog (Input Level), assuring the highest signal to noise ratio will be achieved. Try to achieve an optimum input level by adjusting the source itself. Raise the source’s output level until the level meters in TotalMix reach about –3 dB. The analog line inputs of the Fireface 800 can be used with +4 dBu and -10 dBV signals.
. Configuring the Fireface 8.1 Settings dialog - General Configuration of the Fireface 800 is done via its own settings dialog.
Buffer Size The setting Buffer Size determines the latency between incoming and outgoing ASIO and GSIF data, as well as affecting system stability (see chapter 11). Under Windows MME this setting determines the DMA buffer size (see chapter 9.4). Inputs Input selection for the channels 1, 7 and 8. Channel 1 can be the front Instrument input, or the rear TRS jack, or both simultaneously. Channel 7/8 can be the front microphone input, or the rear TRS jack, or both simultaneously.
SyncCheck SyncCheck indicates whether there is a valid signal (Lock, No Lock) for each input (Word clock, ADAT1, ADAT2, SPDIF), or if there is a valid and synchronous signal (Sync). The AutoSync Ref display shows the input and frequency of the current sync source. Options Check Input verifies the current digital input signal against the settings in the record program. When de-activated a recording will always be allowed, even with non-valid input signals. Check Input is valid for MME only.
8.2 Settings dialog - DDS Usually soundcards and audio interfaces get their internal clock (master mode) from a quartz. Therefore the internal clock can be set to 44.1 kHz or 48 kHz, but not to a value in between. SteadyClock, RME's sensational Low Jitter Clock System is based on a Direct Digital Synthesizer (DDS). This superior circuitry can generate nearly any frequency with highest precision.
Application examples DDS allows for a simultaneous change of speed and tune during record and playback. From alignment to other sources up to creative effects – everything is possible.. DDS allows to intentionally de-tune the complete DAW. This way, the DAW can match instruments which have a wrong or unchangeable tuning. DDS allows to define a specific sample rate. This feature can be is useful in case the system randomly changes the sample rate – for unknown reasons.
If several digital devices are to be used simultaneously in a system, they not only have to operate with the same sample frequency but also be synchronous with each other. This is why digital systems always need a single device defined as ‘master’, which sends the same clock signal to all the other (‘slave’) devices. RME’s exclusive SyncCheck technology (first implemented in the Hammerfall) enables an easy to use check and display of the current clock status.
9. Operation and Usage 9.1 Connectors The front of the Fireface 800 features an Instrument input, microphone inputs and Line inputs with Gain pots, a stereo headphone output with volume pot, and several status LEDs. MIDI/I indicates MIDI data received by the MIDI input. MIDI/O indicates MIDI data sent to the MIDI output. The Clock Input State LEDs (WC, SPDIF, ADAT, TCO) indicate separately for each digital input a valid input signal.
9.2 Playback The Fireface 800 can play back audio data in supported formats only (sample rate, bit resolution). Otherwise an error message appears (for example at 22 kHz and 8 bit). 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<).
9.3 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 800 (MME is not supported by every software) has to be selected in 'Control Panel/Sounds and Multimedia/Audio'. Also check 'use preferred device only'.
Note 2: The DVD player will be synced backwards from the Fireface. This means when using AutoSync and/or word clock, the playback speed and pitch follows the incoming clock signal. Note 3: In WinDVD 5 and 6, a channel-seperated 5.1 playback using the Fireface requires a change in the registry. Start regedit, go to HKEY_CURRENT_USER / Software / InterVideo / DVD5 (or 6) / AUDIOCHAN, and set its value to 4 (hexadecimal). Additionally select 'Waveout' as Audio Renderer in the Audio configuration dialog.
9.5 Notes on WDM The driver offers two devices per stereo pair, like Fireface Analog (1+2) and Fireface Analog (1+2) MME. Fireface Analog (1+2) The devices having no MME at the end are WDM Streaming Devices. WDM Streaming is Microsoft's current driver and audio system, directly embedded into the operating system. WDM Streaming is nearly unusable for professional music purposes, as all data is processed by the so called Kernel Mixer, causing a latency of at least 30 ms.
9.6 Multi-client Operation RME audio interfaces support multi-client operation. This means several programs can be used at the same time. Also all formats, like ASIO, MME and GSIF can be used simultaneously. The use of multi-client operation requires to follow two simple rules: • Multi-client operation requires identical sample rates! I.e. it is not possible to use one software with 44.1 kHz and the other with 48 kHz. • Different software can not use the same channels at the same time.
9.7 Digital Recording Unlike analog soundcards which produce empty wave files (or noise) when no input signal is present, digital interfaces always need a valid input signal to start recording. Taking this into account, RME have included three unique features in the Fireface 800: a comprehensive I/O signal status display showing sample frequency, lock and sync status in the Settings dialog, status LEDs for each input, and the protective Check Input function.
9.8 Analog Recording For recordings via the analog inputs the corresponding record device has to be chosen (Fireface Analog (x+x)). Apart from the three reference levels, the Fireface has no means to change the input level. This would make no sense for the digital inputs, but also for the analog inputs one can do without it.
11. Operation under ASIO 2.0 11.1 General We will use Steinberg’s Cubase VST as an example throughout this chapter. All information provided can easily be adaptated to other programs. Start the ASIO software and select ‘System’ from the Audio menu. Select 'ASIO Fireface' as the audio I/O device. The 'ASIO system control' button opens the Fireface's Settings dialog (see chapter 8, Configuration).
Another common source of trouble is incorrect synchronization. ASIO does not support asynchronous operation, which means that the input and output signals not only have to use the same sample frequency, but also have to be in sync. All devices connected to the Fireface 800 must be properly configured for Full Duplex operation. As long as SyncCheck (in the Settings dialog) only displays Lock instead of Sync, the devices have not been set up properly! 12.
13. Stand-alone Operation The Fireface 800 has an internal memory to permanently store all configuration data. These are: Settings dialog Sample rate, clock mode Master/Slave, configuration of the channels and the digital I/Os. TotalMix The complete mixer state. The Fireface loads those settings directly after power-on. A simple, yet useful application is to store the correct clock mode, avoiding wrong clocking and noise disturbances in a complex setup, caused by wrong synchronization.
14. Analog Inputs 14.1 Line Rear The Fireface has 8 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 the XLR breakout cable: be sure to connect the 'ring' contact of a stereo TRS jack, and pin 3 of a XLR jack, to ground.
14.3 Instrument The instrument input of the Fireface 800 has been optimized especially for guitar and bass. A soft clipping function limits the level from –10 dBFS on, and offers tube-like distortion at full overload. The extra Drive stage adds even more distortion and also increased sustain. The Speaker Emulator gently shapes the sound for an optimal recording experience. LIM The distortion caused by the clipping function of the instrument input is audible.
15. Analog Outputs 15.1 Line The 8 short circuit protected, low impedance line outputs are available as 1/4" TRS jacks on the back of the unit. The electronic output stage is built in a servo balanced design which handles unbalanced (mono jacks) and balanced (stereo jacks) correctly.
16. Digital Connections 16.1 ADAT The ADAT optical inputs of the Fireface 800 are fully compatible with all ADAT optical outputs. RME's unsurpassed Bitclock PLL prevents clicks and drop outs even in extreme varipitch operation, and guarantees a fast and low jitter lock to the digital input signal. A usual TOSLINK cable is sufficient for connection. More information on Double Speed (S/MUX) can be found in chapter 30.1.
Special Characteristics of the SPDIF Output Apart from the audio data itself, digital signals in SPDIF or AES/EBU format have a header containing channel status information. False channel status is a common cause of malfunction. The Fireface 800 ignores the received header and creates a totally new one for the output signal. Note that in record or monitor modes, set emphasis bits will disappear.
17. Word Clock 17.1 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 24). Input The Fireface's transformer isolated word clock input is active when Pref.
17.2 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.
17.3 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.
17.4 Operation The green Lock LED on the front (DIGITAL STATE) will light up as soon as a word clock signal is detected. To change to word clock as clock source, active clock mode AutoSync and switch Pref. Sync Ref to Word Clock. The status display AutoSync Ref changes to Word as soon as a valid signal is present at the BNC jack. This message has the same meaning as the green Lock LED, but appears on the monitor, i.e.
18. TotalMix: Routing and Monitoring The Fireface 800 includes a powerful digital real-time mixer. RME’s unique TotalMix technology allows for nearly unlimited mixing and routing with all inputs and playback channels simultaneously.
18.1 Elements of the Surface The visible design of the TotalMix mixer is mainly determined by the architecture of the Fireface 800: • Upper row: hardware inputs. The level shown is that of the input signal, i. e. Fader independent. Per fader and routing window, any input channel can be routed and mixed to any hardware output (third row). • Middle row: playback channels (playback tracks of the software).
18.2 Tour de TotalMix In the following chapters we will explain all functions of the mixer surface step by step. 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. The faders in the upper row are set to maximum attenuation (called m.a.
18.3 Submix View Such a wide range of possibilities make it difficult to maintain the overview. Because practically all hardware outputs can be used for different submixes, as shown (up to 14 completely independent stereo submixes, 7 4-channel submixes etc.). And when opening the routing windows you might see an army of checkmarks, but you don't get an overwiev, i.e., how the signals come together and where. This problem is removed by the view mode 'Submix'.
Using the hotkeys I, O and P the complete row each of Input, Playback and Output channels can be toggled between visible and invisible. Hotkey S switches Submix view on/off. Those four hotkeys have the same functionality as the buttons in the View section of the Quick Access Panel. The Level Meter Setup dialog can be opened via F2 (as in DIGICheck). Hotkey M toggles Mute Master on/off (and with this performs a global mute on/off).
18.7 Presets TotalMix includes 8 factory presets, stored within the program. But the presets can be changed at any time, because TotalMix stores and reads the changed presets form the files preset11.mix to preset81.mix. These files are found in the hidden directory Documents and Settings, , Local Settings, Application Data, RME TotalMix. The first number indicates the current preset, the second number the current card/system.
18.8 Menu Options Always on Top: When active (checked) the window of TotalMix 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. Deactivate Screensaver: When active (checked) any activated Windows screensaver will be disabled temporarily. Ignore Position: When active, the windows size and position stored in a file or prest will not be used.
18.9 Level Meter The Fireface 800 calculates all the display values Peak, Over and RMS in hardware, in order to be capable of using them independent of the software in use, and to significantly reduce the CPU load. The level meters integrated in TotalMix - considering their size - cannot be compared with DIGICheck (chapter 21). Nevertheless they already include many useful functions. Peak and RMS is displayed for every channel.
19. The Matrix 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 800 looks and works like a conventional patchbay, adding functionality way beyond comparable hardware and software soutions.
19.3 Advantages of the Matrix 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 on 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.
20.2 Selection and Group-based Operation Click on the white name label of channel 1 and 2 in TotalMix. Be sure to have channel 3's fader set to a different position and click on its label too. All three labels have changed to the colour orange, which means they are selected. Now moving any of these faders will make the other faders move too. This is called 'building a group of faders', or ganging faders, maintaining their relative position.
20.5 Recording a Subgroup (Loopback) TotalMix supports a routing of the subgroup outputs (=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 complete submixes can be recorded without an external loopback cable. Also the playback of a software can be recorded by another software. To activate this function, click on the white label in the third row while holding down the Ctrlkey.
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.
22. Hotline – Troubleshooting 22.1 General The newest information can always be found on our website www.rme-audio.com, section FAQ, Latest Additions. The input signal cannot be monitored in real-time • ASIO Direct Monitoring has not been enabled, and/or monitoring has been disabled globally. The 8 ADAT channels don’t seem to work • The optical output ADAT2 has been switched to SPDIF.
22.2 Installation After the driver installation the Fireface 800 is found in the Device Manager (>Settings/Control Panel/System<), category 'Sound, Video and Gamecontroller'. A double click on 'RME Fireface 800' starts the properties dialog. The well known entry 'Resources' does not exist, becuase the Fireface is an external device connected to the FireWire Controller. The latter can be used to check interrupt and memory range.
24. SteadyClock The SteadyClock technology of the Fireface 800 guarantees an excellent performance in all clock modes. Thanks to a highly efficient jitter suppression, the AD- and DA-conversion always operates on highest sonic level, being completely independent from the quality of the incoming clock signal. SteadyClock has been originally developed to gain a stable and clean clock from the heavily jittery MADI data signal (the embedded MADI clock suffers from about 80 ns jitter).
26. TECH INFO Not all information to and around our products fit in a manual. Therefore RME offers a lot more and detailed information in the Tech Infos. The very latest Tech Infos can be found on our website, section News & Infos, or the directory \rmeaudio.web\techinfo on the RME Driver CD. These are some of the currently available Tech Infos: Synchronization II (DIGI96 series) Digital audio synchronization - technical background and pitfalls. Installation problems Problem descriptions and solutions.
27. Warranty Each individual Fireface 800 undergoes comprehensive quality control and a complete test at RME before shipping. The usage of high grade components allow us to offer a full two year warranty. We accept a copy of the sales receipt as valid warranty legitimation. If you suspect that your product is faulty, please contact your local retailer.
29. Technical Specifications 29.1 Analog AD, Line In 1-8, rear • Resolution AD: 24 bit • Signal to Noise ratio (SNR): 110 dB RMS unweighted, 113 dBA • Frequency response @ 44,1 kHz, -0.1 dB: 5 Hz – 21.5 kHz • Frequency response @ 96 kHz, -0.5 dB: 5 Hz – 45.3 kHz • Frequency response @ 192 kHz, -1 dB: 5 Hz - 74 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): 116 dB, 119 dBA @ 44.1 kHz (unmuted) • Frequency response @ 44,1 kHz, -0,1 dB: 1 Hz – 21.1 kHz • Frequency response @ 96 kHz, -0.5 dB: 1 Hz – 43.5 kHz • Frequency response @ 192 kHz, -1 dB: 1 Hz - 70 kHz • THD: -103 dB, < 0.0007 % • THD+N: -100 dB, < 0.0001 % • Channel separation: > 110 dB • Maximum output level: +19 dBu • Output: 6.
29.3 Digital Inputs AES/EBU - SPDIF • 1 x RCA, transformer-balanced, galvanically isolated, according to AES3-1992 • High-sensitivity input stage (< 0.3 Vss) • SPDIF compatible (IEC 60958) • Accepts Consumer and Professional format, copy protection will be ignored • Lock Range: 27 kHz – 200 kHz • Jitter when synced to input signal: < 1 ns • Jitter suppression: about 30 dB (2.
29.4 Digital Outputs AES/EBU - SPDIF • 1 x RCA, transformer-balanced, galvanically isolated, according to AES3-1992 • Output level Professional 2.5 Vpp, Consumer 1.
30. Technical Background 30.1 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.
30.2 Latency and Monitoring The term Zero Latency Monitoring was 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.
30.3 DS - Double Speed When activating the Double Speed mode the Fireface 800 operates at double sample rate. The internal clock 44.1 kHz turns to 88.2 kHz, 48 kHz to 96 kHz. The internal resolution is still 24 bit. Sample rates above 48 kHz were not always taken for granted, and are still not widely used because of the CD format (44.1 kHz) dominating everything. Before 1998 there were no receiver/transmitter circuits available that could receive or transmit more than 48 kHz.
30.5 AES/EBU - SPDIF The most important electrical properties of 'AES' and 'SPDIF' can be seen in the table below. AES/EBU is the professional balanced connection using XLR plugs. The standard is being set by the Audio Engineering Society based on the AES3-1992. For the 'home user', SONY and Philips have omitted the balanced connection and use either Phono plugs or optical cables (TOSLINK). The format called S/P-DIF (SONY/Philips Digital Interface) is described by IEC 60958.
31. Diagrams 31.
31.2 Channel Routing ASIO at 96 kHz This diagram shows the signal paths in ASIO double speed mode (88.2 / 96 kHz). The devices available via the ASIO driver have been designed to avoid conflicts in normal operation, which is why the second ADAT device has been omitted. Signal routing is identical for record and playback.
31.3 Channel Routing MME at 96 kHz This diagram shows the signal paths in MME double speed mode (88.2 / 96 kHz). The devices available via the MME wave driver have been designed to avoid conflicts in normal operation, which is why the second ADAT device has been omitted. Signal routing is identical for record and playback.
31.4 Connector Pinouts TRS jacks of analog input / output The stereo ¼" 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.
32. CE / FCC Compliance Statements CE This device has been tested and found to comply with the EN55022 class B and EN50082-1 norms for digital devices, according to the European Council directive on counterpart laws in the member states relating to electromagnetic compatibility (EMVG). FCC This device has been tested and found to comply with the requirements listed in FCC Regulations, part 15 for Class ‘B’ digital devices.