The Fireface 802 FS is a highly integrated pro audio solution for live and studio use, all within a 19” enclosure. An interface designed for users who don’t want to make compromises in sound, stability and ultra-low latency operation, and who long for an unrivaled professional feature set. Once again a milestone interface from RME, including the best of the best and even a bit more. 60 channels of audio, high-end microphone preamps, reference class converters, a complete effects section and operation at up to 192 kHz are the base for many more features.
Enhance Your Recording Setup - Discover Unmatched Flexibility
Ultra-low latency operation with RME USB 2 technology, combined with the legendary RME driver stability and maintenance. SteadyClock FS jitter suppression, individually switchable reference levels for all inputs and outputs, full stand-alone functionality and identical operation on Windows PC and Mac completes the package.
The Fireface 802 FS is based on a newly developed analog and digital board. While the analog board offers, for example, DC-coupled analog outputs as well as new AD and DA converters, the digital board also enables interesting new features thanks to updated high-tech components.
The front panel of the Fireface 802 FS provides four high-performance XLR/TRS combo inputs for microphone, instrument and line signals and two stereo headphone jacks with +17 dBu output level, to provide high volumes even with hi-impedance headphones.
The rear panel reveals the full connectivity of the Fireface 802 FS. Besides MIDI and Word Clock I/O, the two optical ADAT I/Os, an AES/EBU I/O, and eight balanced analog inputs and outputs with line level are available. With the new Multi-Mode, the two ADAT I/Os can be used as separate optical SPDIF inputs and outputs in addition to the AES I/O. Users will also find a USB A port for connecting directly the optional available ARC USB.
Powerful Applications for Mixing, Monitoring and Measurement included
The Fireface 802 FS comes with the TotalMix FX DSP mixer offering comprehensive routing and monitoring options, as well as the DigiCheck Analyzer allowing to measure and analyze the digital data feed in both directions with maximum precision. TotalMix FX can completely replace an external mixer, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs, incl. main monitors and headphone mixes for musicians.
The additional TotalMix Remote is a remote control for TotalMix FX, to control the hardware mixer and effects in RME audio interfaces. TotalMix Remote mirrors the current state of the host system on the iPad and Windows/Mac computers - the entire mixing state, the complete routing, all FX settings, up to the level meters, and everything in real-time. Easily adjust all the mixer and FX settings from a distance, via Ethernet and WiFi.
USB 2 Class Compliant Audio
The Fireface 802 FS operates in two different modes: driver-based USB 2 and Class Compliant. The Class Compliant mode is a standard that is natively supported by operating systems like Windows, Mac OSX and Linux distributions. No proprietary drivers are required, the device will be directly recognized when the CC firmware is loaded. The alternative CC mode can be activated via a recessed pushbutton switch directly at the back of the interface.
The Fireface 802 FS offers full USB 2.0 support in Class Compliant Mode. This makes all channels available in driverless operation for Linux, Mac and iPadOS. An iPad Pro with USB C can manage up to 60 channels for recording and playback in TotalMix FX for iPad and on system level.
DC-Coupled Outputs - CV/Gate Voltage Control
Most audio interfaces are traditionally designed with what is called 'AC-coupled outputs', where capacitors are used to filter out any extreme low frequencies.
Whilst these frequencies are generally considered undesirable for audio - eating into headroom and potentially causing damage to other equipment - one instance where DC-coupling remains desirable is the world of modular synthesizers, where static or slow-moving signals are used for control over various parameters such as pitch note values or LFOs.
All of the Fireface 802 FS line-level outputs are fully DC-coupled, allowing for the sending of control voltages (CV) or Gate information to modular synthesizers (such as the popular Eurorack and Moog/MOTM/Synthesizers formats) and other studio hardware.
ARC USB Remote Control - Plug’n Play Plus
The optional available ARC USB connects to your computer via USB, and talks to TotalMix FX directly. It has 15 freely assignable and illuminated buttons, one encoder wheel, and a TS jack to connect a foot switch.
The ARC USB is a USB 1.1 MIDI remote control for the Fireface 802 FS. Thanks to operating as a UAC 1 class device, it is natively compatible to Windows and Mac OS X. As soon as it is present in the operating system, TotaIMix FX will automatically detect the ARC USB, and communicate with it via simple MIDI remote commands to control the 802 FS.
Experience Uncompromising Audio Quality
Like other RME products before the Fireface 802 FS combines excellent analog circuit design with latest digital conversion technology. All balanced TRS & XLR I/Os as well as the two phones outputs offer outstanding low noise and distortion values. In best RME tradition and product philosophy converters and preamps don’t produce “sound”, they do not add or remove anything from the source signal, just capture it as it is.
Equipped with the latest low latency A/D and D/A converter chips, all I/Os operate at up to 192 kHz and reach high dynamic range on playback - even both headphone outputs. Their high power technology delivers high volume no matter if high or low impedance phones are used. Due to its efficient jitter reduction, RME’s superior SteadyClock FS guarantees state-of-the-art AD/DA conversion, even when clocking to an external clock source.
Every input and output is individually switchable to these common professional studio levels: -10 dBV, +4 dBu, HiGain (equivalent to +2 dBV, +13 dBu and +19 dBu for digital full scale). All outputs can be used for ASIO Direct Monitoring (ADM) purposes.
Professional high-transparency Preamps
For Microphones and Instruments with Low Latency Conversion. The 802 FS has four high-transparency preamps, also with low latency converters. Microphone and instrument preamps of the 802 FS use the classic technology of the OctaMic II, a high-end preamp for supreme sonic demands and critical applications, like the professional recording of classical concerts. The symmetrical preamp design impresses with extremely low distortion, excellent signal to noise ratio and a perfect linear frequency response. A premium solution for transmitting and amplifying any audio input truly unchanged, be it high-level stage or typical studio signals, lower level and high-impedance instruments, or dynamic, condenser and ribbon microphones.
The four inputs on the front use balanced XLR/TS combo sockets and operate alternatively as Hi-Z inputs. Directly plug in up to four guitars or other instruments - no other hardware required. Each channel can be individually switched to 48V phantom power or instrument mode. LEDs for signal, clip, TS operation and activated phantom power provide overview on the unit's status.
The Fireface 802 FS follows RME's tradition of providing flexible and expandable audio systems. Adding additional preamplifiers or more analog inputs is easily done via the dual ADAT optical I/Os on the rear.
Stand Alone Operation with Setup Recall
The Fireface 802 FS can be set up and configured directly via iPad, MIDI remote and ARC USB. Additionally 6 memory slots are present where the current configuration can be stored permanently. This way the 802 FS operates independently from a computer. In stand-alone operation it can turn itself into different devices by the simple push on a button.
ICC - Intelligent Clock Control
Not only displays every clock status, but will also retain the last valid input sample rate in case of failure of the external source. Other renowned RME technologies like SyncCheck offer a quick detection of clock problems.
SPECIFICATIONS
Analog
AD, Line In 1-8, rear
- Input: 6.3 mm TRS, electronically balanced
- Signal to Noise ratio (SNR) @ LoGain: 116 dB (AES17), 118 dBA
- Signal to Noise ratio (SNR) @ +4 dBu: 115 dB (AES17), 117 dBA
- Frequency response @ 44.1 kHz, -0.1 dB: 8.9 Hz – 20.4 kHz
- Frequency response @ 96 kHz, -0.5 dB: 4.3 Hz – 45.2 kHz
- Frequency response @ 192 kHz, -1 dB: 3 Hz – 89 kHz
- Filter: Short Delay Sharp, 5 / 5 / 6 samples delay
- THD @ -1 dBFS: < -120 dB, < 0.0001 %
- THD+N @ -1 dBFS: < -110 dB, < 0.00032 %
- Channel separation: > 110 dB Maximum input level: +19 dBu
- Input: 6.3 mm TRS jack, electronically balanced
- Input impedance @ 1 kHz: 10 kOhm unbalanced, 10.6 kOhm balanced
- Input sensitivity switchable between Lo Gain and +4 dBu
- Input level for 0 dBFS @ Lo Gain: +19 dBu
- Input level for 0 dBFS @ +4 dBu: +13 dBu
- Variable digital gain: 0 to +12 dB
- Minimum level for 0 dBFS: +1 dBu, -1.2 dBV
Microphone In 9-12, front
As AD, but:
- Input: XLR, electronically balanced
- Input impedance: 3.4 kOhm
- Signal to Noise ratio (SNR): 113 dB RMS unweighted, 116 dBA
- Gain range: 54 dB
- Maximum input level, Gain +6 dB: +10 dBu
- Maximum input level, Gain +60 dB: -44 dBu
- CLIP LED: 0 dBFS
- SIG LED: -42 dBFS
Instrument In 9-12, front
As AD, but:
- Input: 6.3 mm TS jack, unbalanced
- Input impedance: 1 MOhm
- Signal to Noise ratio (SNR): 113 dB RMS unweighted, 116 dBA
- Maximum input level, Gain +6 dB: +21 dBu
- Maximum input level, Gain +60 dB: -33 dBu
- Frequency response @ 44.1 kHz, -0.5 dB: 2.5 Hz – 20.8 kHz
- Frequency response @ 96 kHz, -0.5 dB: 2.5 Hz – 25 kHz
- Frequency response @ 192 kHz, -1 dB: 1.7 Hz – 36 kHz
DA - Stereo Monitor Output Phones (9-12)
As DA, but:
- Output: 2 x 6.3 mm TRS stereo jack, unbalanced
- Maximum output level at 0 dBFS: +17 dBu
- Max power per channel @ 32 Ohm load, 0.02% THD: 200 mW (2.5 Vrms, +10 dBu)
- Signal to Noise ratio (SNR): 116 dB (AES17), 118 dBA
- Output impedance: 2 Ohm
DA, Line Out 1-8, rear
- Output: 6.3 mm TRS jack, servo-balanced
- Signal to Noise ratio (SNR) @ HiGain: 116.5 dB (AES17), 118.5 dBA
- Signal to Noise ratio (SNR) @ +4 dBu: 116 dB (AES17), 118 dBA
- Signal to Noise ratio (SNR) @ -10 dBV: 107 dB (AES17), 109 dBA
- Frequency response @ 44.1 kHz, -0.1 dB: 0 Hz – 20.2 kHz
- Frequency response @ 96 kHz, -0.5 dB: 0 Hz – 44.6 kHz
- Frequency response @ 192 kHz, -1 dB: 0 Hz – 77.5 kHz
- THD+N: < -110 dB, < 0.00032 %
- Channel separation: > 110 dB
- Output level switchable Hi Gain, +4 dBu, -10 dBV
- Output level at 0 dBFS @ Hi Gain: +19 dBu
- Output level at 0 dBFS @ +4 dBu: +13 dBu
- Output level at 0 dBFS @ -10 dBV: +2 dBV (+4.2 dBu)
- Output impedance: 75 Ohm
MIDI
- 1 x MIDI I/O via 5-pin DIN jacks
- Galvanically isolated by optocoupled input
- Hi-speed mode: Jitter and response time typically below 1 ms
- Separate 128 byte FIFOs for input and output
Digital
- Clocks: Internal, ADAT In, AES In, SPDIF In, Word Clock In
- Jitter suppression of external clocks: > 50 dB (> 1 Hz)
- Effective clock jitter influence on AD and DA conversion: near zero
- PLL ensures zero dropout, even at more than 100 ns jitter
- Digital Bitclock PLL for trouble-free varispeed ADAT operation
- Supported sample rates: 28 kHz up to 200 kHz
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 suppression: > 50 dB (> 1 Hz)
ADAT Optical
- 2 x TOSLINK, format according to Alesis specification
- Standard: 2 x 8 channels 24 bit, up to 48 kHz
- Double Speed (S/MUX): 2 x 4 channels 24 bit 96 kHz
- Quad Speed (S/MUX4): 2 x 2 channels 24 bit 192 kHz
- Bitclock PLL ensures perfect synchronisation even in varispeed operation
- Lock range: 31.5 kHz – 50 kHz
- Jitter suppression: > 50 dB (> 1 Hz)
SPDIF optical (ADAT 1/2)
- 1 x optical, according to IEC 60958
- Accepts Consumer and Professional format
- Lock range: 27 kHz – 200 kHz
- Jitter suppression: > 50 dB (> 1 Hz)
Word Clock
- BNC, not terminated (10 kOhm)
- Switch for internal termination 75 Ohm
- Automatic Double/Quad Speed detection and internal conversion to Single Speed
- SteadyClock guarantees super low jitter synchronization even in varispeed operation
- Not affected by DC-offsets within the network
- Signal Adaptation Circuit: signal refresh through auto-center and hysteresis
- Overvoltage protection
- Level range: 1.0 Vpp – 5.6 Vpp
- Lock Range: 27 kHz – 200 kHz
- Jitter suppression: > 50 dB (> 1 Hz)
Digital Outputs
AES/EBU
- 1x XLR, transformer-balanced, galvanically isolated, according to AES3-1992
- Output level Professional 4.2 Vpp, Consumer 2.4 Vpp
- Format Professional according to AES3-1992 Amendment 4
- Format Consumer (SPDIF) according to IEC 60958
- Single Wire mode, sample rate 28 kHz up to 200 kHz
ADAT
- 2 x TOSLINK, format according to Alesis specification
- Standard: 2 x 8 channels 24 bit, up to 48 kHz
- Double Speed (S/MUX): 2 x 4 channels 24 bit 96 kHz
- Quad Speed (S/MUX4): 2 x 2 channels 24 bit 192 kHz
SPDIF optical (ADAT 1/2)
- Format Consumer (SPDIF) according to IEC 60958
- Sample rate 28 kHz up to 200 kHz
Word Clock
- BNC
- Max. output voltage: 5 Vpp
- Output voltage @ 75 Ohm termination: 4.0 Vpp
- Output impedance: 10 Ohm
- Frequency range: 27 kHz – 200 kHz
General
- Power supply: Internal switching PSU, 100 - 240 V AC, 30 Watt
- Idle power consumption: 15 Watt
- Typical power consumption: 22 Watt
- Dimensions including rack ears (WxHxD): 483 x 44 x 242 mm (19" x 1.73" x 9.5")
- Dimensions without rack ears/handles (WxHxD): 436 x 44 x 235 mm (17.2" x 1.73" x 9.3")
- Weight: 2.8 kg ( 6.2 lbs)
- Temperature range: +5° up to +50° Celsius (41° F up to 122°F)
- Relative humidity: < 75%, non condensing
