RME Fireface 802 FS AE - 60-Channel 192 kHz High-End USB Audio Interface
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Description
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 (Sold separately)
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 and 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.
TotalMix FX - Mixing/Routing with superior features for Studio and Live Work
Since 2001 TotalMix added unlimited routing and mixing to RME‘s audio interfaces. Its unique capability to create as many independent submixes as output channels available turned it into the most flexible and powerful mixer of its kind.
DigiCheck - The Secret Weapon of High Resolution Audio Measurements
RME Audio interfaces not only provide you with a professional digital audio interface, but also with a free available software tool: DigiCheck, for metering, testing, measuring and analyzing digital audio streams.
SteadyClock FS - Reference class Digital Clocking
Excellent performance in all clock modes and High Quality Analog Conversion to hear your mix as it is, with lowest jitter and highest jitter immunity.
RME USB - Transport audio with lowest latency and industry leading stability
Use your RME audio interface on Mac and PC with reliable, stable, and regularly updated drivers for our products. RME Audio develops its own interface core, it’s not dependent on 3rd parties for upgrades, modifications or bug fixes, so customers can use latest operating systems without interruption or delay.
Room EQ in TotalMix FX
The latest Room EQ addition provides an optimized handling of the existing 3-band PEQ in TotalMix FX, including 9-band PEQ, Volume Calibration and Crossfeed function.
| 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 Ð 20.4 kHz Frequency response @ 96 kHz, -0.5 dB: 4.3 Hz Ð 45.2 kHz Frequency response @ 192 kHz, -1 dB: 3 Hz Ð 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 Ð 20.8 kHz Frequency response @ 96 kHz, -0.5 dB: 2.5 Hz Ð 25 kHz Frequency response @ 192 kHz, -1 dB: 1.7 Hz Ð 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 Ð 20.2 kHz Frequency response @ 96 kHz, -0.5 dB: 0 Hz Ð 44.6 kHz Frequency response @ 192 kHz, -1 dB: 0 Hz Ð 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 Ð 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 Ð 50 kHz Jitter suppression:> 50 dB (> 1 Hz) |
| SPDIF optical (ADAT 1/2 + ADAT 9/10) | 1 x optical, according to IEC 60958 Accepts Consumer and Professional format Lock range: 27 kHz Ð 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 Ð 5.6 Vpp Lock Range: 27 kHz Ð 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 + ADAT 9/10) | 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 Ð 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 |
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 (Sold separately)
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 and 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.
TotalMix FX - Mixing/Routing with superior features for Studio and Live Work
Since 2001 TotalMix added unlimited routing and mixing to RME‘s audio interfaces. Its unique capability to create as many independent submixes as output channels available turned it into the most flexible and powerful mixer of its kind.
DigiCheck - The Secret Weapon of High Resolution Audio Measurements
RME Audio interfaces not only provide you with a professional digital audio interface, but also with a free available software tool: DigiCheck, for metering, testing, measuring and analyzing digital audio streams.
SteadyClock FS - Reference class Digital Clocking
Excellent performance in all clock modes and High Quality Analog Conversion to hear your mix as it is, with lowest jitter and highest jitter immunity.
RME USB - Transport audio with lowest latency and industry leading stability
Use your RME audio interface on Mac and PC with reliable, stable, and regularly updated drivers for our products. RME Audio develops its own interface core, it’s not dependent on 3rd parties for upgrades, modifications or bug fixes, so customers can use latest operating systems without interruption or delay.
Room EQ in TotalMix FX
The latest Room EQ addition provides an optimized handling of the existing 3-band PEQ in TotalMix FX, including 9-band PEQ, Volume Calibration and Crossfeed function.
| 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 Ð 20.4 kHz Frequency response @ 96 kHz, -0.5 dB: 4.3 Hz Ð 45.2 kHz Frequency response @ 192 kHz, -1 dB: 3 Hz Ð 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 Ð 20.8 kHz Frequency response @ 96 kHz, -0.5 dB: 2.5 Hz Ð 25 kHz Frequency response @ 192 kHz, -1 dB: 1.7 Hz Ð 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 Ð 20.2 kHz Frequency response @ 96 kHz, -0.5 dB: 0 Hz Ð 44.6 kHz Frequency response @ 192 kHz, -1 dB: 0 Hz Ð 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 Ð 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 Ð 50 kHz Jitter suppression:> 50 dB (> 1 Hz) |
| SPDIF optical (ADAT 1/2 + ADAT 9/10) | 1 x optical, according to IEC 60958 Accepts Consumer and Professional format Lock range: 27 kHz Ð 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 Ð 5.6 Vpp Lock Range: 27 kHz Ð 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 + ADAT 9/10) | 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 Ð 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 |
Your home for all things pro audio—backed by expertise and experience. Connect with us today.
Your home for all things pro audio—backed by expertise and experience. Connect with us today.
