RME Fireface 802
12-Input Rackmount FireWire Audio Interface


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List Price: $2,199.00
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The RME Fireface 802 renews RME’s reputation built on the legendary Fireface 800. 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:

Ultra-low latency operation with USB or FireWire, combined with the legendary RME driver stability and maintenance. Active jitter suppression, individually switchable reference levels for all inputs and outputs, full stand-alone functionality, RME’s unique DIGICheck metering and analysis toolbox, and identical operation on Windows PC and Mac.

TotalMix FX, RME’s digital high-end mixer and signal router, driven by two powerful DSPs, with integrated EQ, Dynamics and Reverb/Echo effects at up to 192 kHz, plus a built-in monitoring controller.

The full-blown feature set also includes optional Class Compliant mode and operation with TotalMix FX for iPad, RME’s app to fully control the 802 from the iPad, without any computer. The easy to use app includes metering for all 90 channels plus effects bus, different setup screens, and complete control of all features.

The Fireface 802 is a highly integrated pro audio solution, a full-blown studio, 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.

The Fireface 802 provides 60 channels of audio: 30 input and 30 output channels. All inputs and outputs can be used at the same time. Up to 12 analog and 18 digital channels can be recorded onto 30 tracks separately.

RME Fireface 802 Features:

  • I/O:
    • 12 Inputs . 8 balanced TRS on the back and 4 XLR inputs with Mic/Instrument preamps on the front.
    • 12 Outputs . On the rear: 8 balanced TRS. On the front: Two hi-power TRS stereo phones outputs provide high volumes even with hi-impedance headphones (playback channels 9/10 and 11/12).
    • Sound Quality . Like other RME products before the Fireface 802 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 118 dBA 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 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.
  • Preamps:  for Microphones and Instruments with Low Latency Conversion. The 802 has four high-transparency preamps, also with low latency converters.
    • Microphone and instrument preamps of the 802 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 pot-controlled gain of up to 60 dB, adjustable over a range of 54 dB, is individually set for every preamp on the front of the 802.
    • 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 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.
  • Digital I/O:
    • AES/EBU: The Fireface 802 has one professional AES/EBU I/O operating at up to 192 kHz.
    • ADAT: Two 8-channel ADAT I/Os allow for a connection of two additional AD/DA converters or the insertion of effects devices and mixing consoles. Both I/Os support sample rates at up to 192 kHz (S/MUX4). Like AES/EBU, these 16 ADAT channels are available simultaneously with the analog channels. Using two external converters like the ADI-8 QS, the 802 will provide 28 analog inputs and outputs, 20 with a sample rate of 96 kHz, and still 16 at 192 kHz.
    • SPDIF: The second ADAT I/O can be used as optical SPDIF I/O, making the UFX connections even more flexible.
    • Word Clock & MIDI: A word clock input and output (BNC) with switchable termination and a MIDI I/O complete the list of connections, turning the Fireface 802 into a professional audio system with universal usability.
  • TotalMix FX: Some Differences to Fireface 800 TotalMix:
    • New look with improved usability
    • Dedicated Control Room section for the main output (e. g. studio monitors) and other monitoring outputs (e. g. phones). All existing stereo output channels can be freely assigned as source for the control room section channels.
    • Four definable groups for Solo, Mute and Faders
    • Switchable Mono and Stereo channel view
    • Channel Options: Stereo Width, MS Processing, Phase L/R
    • Trim mode: Adjusts the volume for all routed signals of a channel simultaneously, equalling a hardware's trim functionality as well as a Post-FX Send function.
    • Unlimited Undo and Redo
    • FX Sends and Returns: One send bus for every input/playback channel with Reverb/Echo
    • Expandable channel view for channel settings, EQ and Dynamics
    • Slim channel mode for selected or all channels, to save space or give a meter bridge view
    • 2 Row Mode: reduces the height of the mixer to two rows for smaller displays
    • Reworked Matrix with mono/stereo mode, Undo/Redo, display of phase and mute
    • Most functions of TotalMix can be remote controlled via MIDI with any Mackie Control compatible controller. TotalMix FX also supports OSC and the usage of multiple remotes.
    • Fireface 802 TotalMix: The DSP based TotalMix mixer allows fully independent routing and mixing of all 30 input and 30 playback channels to all 30 physical outputs. Up to 15 totally independent stereo submixes plus a luxury Control Room section offer unrivalled monitoring capabilities and unsurpassed routing flexibility.
    • Every input and output channel comes with a luxury feature set, comparable to a full-scale digital console. The effects per channel include 3-band parametric EQ, adjustable Low Cut, Auto Level, Compressor, Expander, MS Processing and phase reversal. The Reverb and Echo effects unit is available for all channels by a stereo send and return bus. The Fireface 802 offers all these effects in all sample rates, including 192 kHz.
    • The two DSPs ensure an impressive performance even in extreme applications. As usual with RME, TotalMix is available with all channels (90) at all sample rates, completely unlimited. The second DSP calculates the effects only, therefore has sufficient resources. For example, at 48 kHz 60 EQs, 40 Low Cuts, 8 Dynamics, Reverb and Echo can be activated.
    • The FX-DSP uses automatic overload surveillance. As soon as no effect can be added anymore the TotalMix surface will clearly signal this condition. When changing to higher sample rates the 802 automatically deactivates all effects that exceed the DSP's performance - the DSP will never be overloaded. This also prevents the user from destroyed loudspeakers.
    • The complete effects section not only adds a lot of flexibility to the recording chain, but makes latency burdened software dispensable. TotalMix can easily replace any external mixer, e.g. to create different latency-free monitoring mixes with EQ and Reverb for the main studio monitors and the headphone of the vocalist(s) in the recording chamber.
  • Monitor Controller: The Fireface 802 is not only aperfect desktop level controller, but a monitor switcher and source selectorwith integrated talkback function for modern Mix-In-the-Box studios. As the802 includes the usually externally added monitoring controller, it alsopreserves the original sound, as its hardware outputs stay directly connectedto the studio monitors.
  • ARC: Monitoring Management . Any hardware output canbe assigned as Main or Phones output. Talkback, Listenback, Mono, Dim, Recalland External Input will then work automatically and as expected on theassigned outputs.
  • Advanced Remote Control . The 802 has a connector forthe optional Advanced Remote Control, offering direct access to Volume, DIM,Store, Recall, Mono, Talkback, External Input and much more. Its keys can bealso be reprogrammed with individual commands.
  • USB & FireWire: With the release of the Fireface800 in 2004 RME stirred up the FireWire audio market, setting the benchmarksand providing a superior solution with a unique feature set. It is no surprisemany customers and testers see RME as reference and technology leader forFireWire audio interfaces. In 2009 RME released the Fireface UC, a USBsolution which again provided an exceptional performance, previously notavailable from USB audio interfaces, once more becoming the technology leader.
    • The secret of success: RME is the only manufacturer not to use a third party USB or FireWire audio technology, but an own, self-developed audio interface core with outstanding performance and uncompromised pro audio features.
    • Like already known from the Fireface UCX and UFX (and indeed using the same matured driver family) the Fireface 802 combines USB 2.0 and FireWire 400 within one interface.
  • USB 2.0 . The Fireface 802 has been uncompromisinglyoptimized for highest performance under Windows and Mac OS. It uses customizedfirmwares for every operating system. Like Fireface UCX and UFX, the 802provides revolutionary ultra-low latencies* even with multiple channels,comparable to those of PCI and PCI-Express solutions.
    • *Note: Minimal latencies are not guaranteed as they depend on the specific computer and application.
  • FireWire . RME's FireWire core offers exceptionalcompatibility at highest performance. 10 years of experience with FireWireguarantee optimal and undisturbed operation with any computer having aFireWire port.
  • SteadyClock . RME's unique jitter suppressiontechnology guarantees perfect sound quality throughout, making the devicecompletely independent from the quality of external clock signals. Due to thehighly efficient jitter reduction, the UFX converters operate independentlyfrom the quality of the external clock signal, as if they are working withinternal clock all the time - guaranteeing a pristine sound quality!
  • SteadyClock allows the Fireface 802 to control thesample rate freely on its own. The settings dialog includes a direct choice ofthe video and audio world's most often used sample rates.
  • ICC . Intelligent Clock Control not only displaysevery clock status, but will also retain the last valid input sample rate incase of failure of the external source. Other renowned RME technologies likeSyncCheck offer a quick detection of clock problems.
  • DIGICheck . The 802 comes with RME´s unique softwaretool box for metering, testing, measuring and analyzing digital audio streams.It provides a multi-track recorder, calculates the level meters peak and RMSin hardware, and analyzes and displays audio in multiple ways, like stereo,multichannel, all channels, surround, spectral, and many more.
  • Power supply . The specially developed, internalhi-performance switch mode power supply lets the UFX operate in the range of100V to 240V AC, thus can be operated all over the world. It is short-circuitproof, has an integrated line-filter, is fully regulated against voltagefluctuations, and suppresses mains interference.
  • Stand Alone Operation with Setup Recall . The Fireface 802 can be set upand configured directly via iPad, MIDI remote and ARC. Additionally 6 memoryslots are present where the current configuration can be stored permanently.This way the 802 operates independently from a computer. In stand-aloneoperation it can turn itself into different devices by the simple push on abutton.

RME Fireface 802 Specifications:

  • Driver Support:
    • Windows 8 / 7 / Vista / XP SP2 (32 & 64 bit)
    • Apple Mac OS X 10.6 or up (Core Audio)
      • Windows and Mac OS X drivers are completely identical in terms of features and functionality, as far as this is possible on the respective platform.
      • Some features in DIGICheck are not available in the Mac version.
  • Technical Specifications:
    • 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
      • Input: 6.3 mm TRS jack, electronically balanced
      • Input sensitivity: 8 kOhm unbalanced, 12 kOhm balanced
      • Input sensitivity switchable to Lo Gain, +4 dBu, -10 dBV
      • Input level for 0 dBFS @ Lo Gain: +19 dBu
      • Input level for 0 dBFS @ +4 dBu: +13 dBu 
    • Microphone In 9-12, front:
      • As AD, but:
        • Input: XLR, electronically balanced
        • Input impedance: 3.4 kOhm
        • Signal to Noise ratio (SNR): 112 dB RMS unweighted, 116 dBA
        • Gain range: 54 dB
        • Maximum input level, Gain +6 dB: +10 dBu
    • Instrument In 9-12, front:
      • As AD, but:
        • Input: 6.3 mm TS jack, unbalanced
        • Input impedance: 800 kOhm
        • Signal to Noise ratio (SNR): 112 dB RMS unweighted, 115 dBA
        • Maximum input level, Gain +6 dB: +21 dBu
    • DA, Line Out 1-8, rear:
      • 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: -104 dB, < 0.00032 %
      • THD+N: -100 dB, < 0.00063 %
      • Channel separation: > 110 dB
      • Output: 6.3 mm TRS jack, servo-balanced
      • Output impedance: 75 Ohm
      • 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
    • DA - Stereo Monitor Output Phones (9-12):
      • As DA, but:
        • Output: 6.3 mm TRS stereo jack, unbalanced
        • Maximum output level at 0 dBFS, High: +16.8 dBu
        • Maximum output level at 0 dBFS, Low: +2 dBV
        • Output impedance: 30 Ohm
        • AES/EBU: 2 x XLR, transformer-balanced, galvanicallyisolated, according to AES3-1992
        • ADAT Optical: 2 x TOSLINK I/O, format accordingto 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
        • Quad Speed Windows USB: 1 x 2 channels 24 bit 192 kHz
        • SPDIF optical (via ADAT2): 1 x optical, according toIEC 60958
        • Word Clock: BNC, switchable termination
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