RME Fireface 802 FS 60-Channel 192 kHz USB Audio Interface

The 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.

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Fireface 802 FS

RME Fireface 802 FS 60-Channel 192 kHz USB Audio Interface

The RME 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. Additionally, for those who long for an unrivalled professional feature set.

Once again, the RME Fireface 802 FS is a milestone interface from RME. Also, it includes the best of the best and even a bit more. It contains 60 channels of audio, high-end microphone preamps, reference class converters, a complete effects section and operation at up to 192 kHz.

Enhance Your Recording Setup – Discover Unmatched Flexibility

Fireface 802 FS is an ultra-low latency operation with RME USB 2 technology. It’s 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.

High-Performance Inputs and Extensive Connectivity

The Fireface 802 FS is based on a newly developed analog and digital board. The analog board offers, for example, DC-coupled analog outputs as well as new AD and DA converters. However, the digital board also enables interesting new features thanks to updated high-tech components.

The Front Panel

The front panel of the Fireface 802 FS provides four high-performance XLR/TRS combo inputs. Great for microphone, instrument and line signals. Also, the front panel has two stereo headphone jacks with +17 dBu output level. They provide high volumes even with hi-impedance headphones.

The Rear Panel

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. It also includes the DigiCheck Analyzer allowing you to measure and analyze the digital data feed in both directions with maximum precision.

TotalMix FX can completely replace an external mixer. Thus, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs. This includes main monitors and headphone mixes for musicians.

TotalMix Remote

The additional TotalMix Remote is a remote control for TotalMix FX. It’s great 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.

USB 2 Class Compliant Audio

The Fireface 802 FS operates in driver-based USB 2 and Class Compliant. The Class Compliant mode is a standard that is natively supported by Windows, Mac OSX and Linux distributions. No proprietary drivers are required, the device will recognize 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.

Class-Compliant Mode

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 have what is called ‘AC-coupled outputs’, where capacitors filter out any extremely low frequencies. Whilst these frequencies are considered undesirable for audio – one instance where DC-coupling remains desirable is modular synthesizers, where slow-moving signals are used for control over 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 the 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.

State of the Art

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 are useable 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. Specifically, it’s a high-end preamp for supreme sonic demands and critical applications, like the professional recording of classical concerts.

A Premium Solution

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.

Four Hi-Z inputs

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. Switch each channel individually 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. Additionally, add preamplifiers or more analog inputs easily 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.

802 FS Highlights:

  • 12 x Analog I/O
  • 4 x XLR/TRS Mic/Inst/Line
  • 2 x Phones Output
  • 12 x Analog I/O
  • 4 x XLR/TRS Mic/Inst/Line
  • 2 x Phones Output
  • 1 x AES/EBU I/O
  • 2 x ADAT I/O
  • 2 x SPDIF I/O
  • 1 x Word Clock I/O
  • 1 x MIDI I/O
  • 1 x RME USB 2.0
  • Class Compliant Mode
  • TotalMix FX
  • ARC USB
  • Including FX
  • SteadyClock FS
  • DC-coupled Outputs

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

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

For more information, please visit the manufacturer's website.