RME Fireface 800 w/ Free Gear

RME's Fireface 800 is the world's most powerful FireWire audio interface ever. Up to 56 channels record/playback, up to 192 kHz sample rate, and true FireWire 800 sum up to an unsurpassed high-end, high performance and high speed FireWire audio interface. Since the Fireface first shipped in July 2004, the unit became the reference for FireWire audio - and still is today! Lots of 'world's first' and 'world's only' features put the Fireface 800 far ahead of the competition. Read on to find out more!

The Fireface 800 combines the latest and also proven technologies of previous RME products with the fastest FireWire technology. Analog technology of the ADI-8 converters, microphone technology of QuadMic and OctaMic, TotalMix technology of the Hammerfall DSP series, years of experience in programming of efficient and reliable drivers, up to complete support from DIGICheck - only the best of the best, and even a bit more. The Fireface 800 offers the best worked out instrument input that could ever be found in an audio interface, a high power headphone output and signal-to-noise ratios of 119 dBA - typically RME!

ANALOG I/Os - Eight balanced line inputs and outputs with software controlled switching of the reference levels (-10 dBV, +4 dBu, HiGain), of course realized discretely in the analog domain, guarantee highest dynamic range and highest fidelity. Apart from the levels of the microphone pre-amps and the headphone outputs, all device settings are software controlled. Equipped with the latest A/D and D/A converter chips, all I/Os operate up to 192 kHz and reach 119 dBA dynamic range on playback - even the headphone output!

The front-sided headphone output in high power technology does not only deliver high volume with low-impedance headphones, but represents the playback channels 9/10. Therefore the headphone output can be used directly with ASIO Direct Monitoring.

On the front side, the Fireface 800 has 4 discrete balanced microphone inputs with class-A stage, separate activation of 48 V phantom power and separate XLR/TRS inputs, where the latter can also be used as adjustable Line inputs with a gain range of 50 dB! Two of the four mic inputs are permanently available as channels 9 and 10, the other two can be used together with or alternatively to the inputs 7/8 on the back.

LET'S ROCK! - The FireFace 800's Hi-Z instrument input offers an unprecedented fidelity and flexibility for the use of guitar and bass. A soft-limiter, which has been tuned especially for musical instruments, efficiently prevents overloads of the A/D-converter. The limiter does not work without distortion, it intentionally creates harmonic distortion. Due to a soft transition and deliberate creation of harmonics, the input signal is compressed steplessly according to taste, or the limiter can be used as a distortion with tube sound. A Drive circuit, which can be activated in addition, delivers broad guitar distortion. The Speaker Emulation filter, which can also be switched on separately, takes low- and high-frequency disturbances away and guarantees an optimal basic sound even when recording directly into the computer, or when monitoring through a mixing console. Signals from guitar or bass are not being alienated in this case, but pre-conditioned for later processing in the DAW, so that the known amplifier plug-ins can make the most out of the sound.

DIGITAL I/Os - Two ADAT optical I/Os allow for a connection and insertion of effects devices, mixing consoles or external converters. Of course, these 16 channels are available simultaneously with the analog channels. Using two additional ADI-8 DS, you'll get 26 analog inputs and outputs, which remain still 18 at 96 kHz. The coaxial SPDIF I/O works up to 192 kHz, so that there are still 10 analog in- and outputs at the highest sample rate, plus two digital ones. SPDIF optical, alternatively provided via the second ADAT port, also operates up to 192 kHz - another RME-only feature.

Features

All inputs and outputs can be used at the same time*!. E. g., the instrument input can be used either instead of the line input on the back, or together with it. Even the TRS jack and the XLR socket of the microphone inputs can be used simultaneously. This way, up to 35 signal sources can be connected to the Fireface 800 and recorded onto 28 separate tracks!

Thanks to the DSP-based TotalMix mixer, known from the Hammerfall DSP series, all inputs and outputs can be freely mixed, distributed and routed. Up to 14 completely independent stereo submixes are possible. Each of the mixer's output channels, that is every single submix channel, can be recorded directly, without the need of external cable loops. And there's more: TotalMix can be MIDI remote controlled with any Mackie Control compatible controller.

Thanks to an internal flash memory, all settings including TotalMix are recalled during boot. After making all desired settings, the device works stand-alone even without computer as a submixer, A/D and D/A-converter, headphone mixer, format converter, instrument or microphone pre-amplifier, monitoring mixer and much more.

The Fireface 800 is equipped with SteadyClock™, RME's unique sync and clock technology. With this, the device becomes a sync reference for the whole studio. SteadyClock refreshes clock signals, removes jitter, and takes permanent care of optimal conversion quality, thus guarantees a sensational sound quality, completely independent from the reference clock's quality.

SteadyClock allows the Fireface 800 to control the sample rate freely on its own. The Settings dialog includes a direct choice of the video and audio world's most often used sample rates. Additionally, two faders can be used to set the sample rate freely and in real-time, within the range of +/- 4% and +/- 0.4%.

Via an insert slot on the back, a Time Code Option (TCO) for synchronizing to LTC and video can be added. Thanks to SteadyClock, the Fireface 800 does not only extract absolute positions, but also a very clean low-jitter word clock.

Fireface 800 uses RME's own FireWire techology, heavily optimized for audio purposes. Lowest overhead, special hardware adaptations and a new low latency buffer concept enable a performance and compatibility which has been thought of as impossible until now - at latencies of only one millisecond.

The Fireface 800 has a second port for hub functionality, bi-lingual mode for full FireWire 400 compatibility, and an additional FireWire 400 port. Several Fireface 800 can be used in parallel and at the same time on one FireWire port without any problem.

Specifications

• Input AD: 8 x 1/4" TRS, 4 x XLR Mic, 1/4" TRS Line, all servo-balanced. 1 x 1/4" TS unbalanced
• Output DA: 8 x 1/4" TRS, servo-balanced, DC-coupled signal path. 1 x 1/4" TRS unbalanced
• Input Digital: 2 x ADAT optical or SPDIF optical, SPDIF coaxial (AES/EBU compatible)
• Output Digital: 2 x ADAT optical or SPDIF optical, SPDIF coaxial (AES/EBU compatible)
• MIDI: 1 x MIDI I/O via 5-pin DIN jacks, for 16 channels low jitter hi-speed MIDI
• Dynamic range AD: 109 dB RMS unweighted, 112 dBA
• THD AD: < -110 dB (< 0.00032 %)
• THD+N AD: < -104 dB (< 0.00063 %)
• Crosstalk AD: > 110 dB
• Dynamic range DA: 116 dB RMS unweighted, 119 dBA (unmuted)
• THD DA: < -103 dB (< 0.0007 %)
• THD+N DA: < -100 dB (< 0.001 %)
• Crosstalk DA: > 110 dB
• Input/Output level for 0 dBFS @ Hi Gain: +19 dBu
• Input/Output level for 0 dBFS @ +4 dBu: +13 dBu
• Input/Output level for 0 dBFS @ -10 dBV: +2 dBV
• Sample rate internally: 32, 44.1, 48, 64, 88.2 kHz, 96 kHz, 128, 176.4, 192 kHz
• Sample rate externally: 28 kHz - 200 kHz
• Frequency response AD/DA, -0.1 dB: 5 Hz - 21,5 kHz (sf 48 kHz)
• Frequency response AD/DA, -0.5 dB: < 5 Hz - 43.5 kHz (sf 96 kHz)
• Frequency response AD/DA, -1 dB: < 5 Hz - 70 kHz (sf 192 kHz)
• Driver support:  Windows 2000 SP4, Windows XP/XP64: Full ASIO multi-client operation of WDM, MME (not XP64), GSIF 2.0 and ASIO 2.0. WDM (DirectSound) with stereo and multi-channel support. Full hot-plugging. Up to 3 units operational.  Mac OS X (10.3. or up) and x86: Core Audio, Core MIDI. Since 10.4 (Tiger) up to 3 units operational.

---

 

 

CASCADE FAT HEAD- RIBBON

 

 

The Cascade FAT HEAD offers the natural and open sound associated with the finest ribbon microphones. You will find that when recording acoustic guitars, guitar cabinets, vocals, drum over-heads, and countless other types of instruments, the ribbon microphone will produce the warmth that is vital to today's digital recording environment. We firmly believe you will also agree that this microphone will make a great addition to your collection.

We inspect and check the audio quality of each and every Cascade microphone before it leaves our shop, once you try one...you'll be a believer. 

Specifications

• Type: large geometry (LRG) ribbon (velocity) Microphone
• Ribbon type & Dimensions: Pure aluminum, 2.5 microns, 1 3/4" (L) X 3/16" (W)
• Polar pattern: Figure 8
• Sensitivity: -56 db +/- 2 dB (0 dB=1V/Pa)
• Frequency response: 30 to 15 KHz (+/- 3dB)
• Impedance: <=600 Ohms
• Recommended load impedance: 3000 Ohms
• Max.SPL (1% THD @1000 Hz): 148 dB
• Equivalent noise level: to IEC 268-4 (A weighted) 18 dB
• S/N ratio: re 1Pa: 70 dB
• Connector: 3-Pin male XLR
• Size: Diameter: 3” (O.D. grill), overall length 6 1/2”, 7/8" (O.D. body)

Includes

• FAT HEAD Ribbon (LGR) Premium suspension shockmount 
• Zipper vinyl pouch w/ protective storage
• Micro-fiber cleaning cloth

Warranty  Full coverage for one year from date of purchase.

---

 

 

 

 

Sennheiser HD280 Pro Headphones

 

The HD280 Professional is Sennheiser's most significant closed, circumaural headphone to be introduced in years. Designed to exceed the demands of the professional environment, the HD280Pro boasts extremely robust construction combined with extensive features that meet the requirements of today's most demanding applications. The unique collapsible design combined with swiveling ear cups, offers maximum flexibility in any application. Features Closed, dynamic stereo headphones Accurate, linear sound reproduction for critical monitoring applications.

 

Specifications

• Optimum impedance ensures universal compatibility
• Space saving design features collapsible, rotating earcups
• Up to 32 dB of ambient noise attenuation
• Neodymium magnets for high maximum SPL
• Single-sided, coiled cable with 3.5 mm mini jack with locking 1/4" adapter
• Very comfortable, even if used for long periods of time
• Rugged construction with user-replaceable parts
• 2 year warranty

---

 

 

CASCADE M20u 1.07" LDC cardioid condenser

 

The Cascade M20u offers a new body style & grill along with improved specifications and performance. The new 1.07" gold vapor-diaphragm makes the M20u a great studio microphone capable of excelling in many applications of recording tasks and environments.

 

The M20u is great for recording vocals, acoustic guitars, drums, guitar cabinets, horns and percussion instruments.

 

The M20u employs a -10dB pad and lo-cut filter switch. With it's smooth frequency response, transparency, and dynamic range, it's easy to see why the M20u is a valuable addition to a wide range of users.

 

Includes

• CASCADE M20u 1.07" LDC cardioid condenser
• Basket style spyder shockmount
• Vinyl zipper pouch
• Micro-fiber cleaning cloth

Specifications

• Capsule: New 1.07”/28mm 5? edge connected, gold vapor-diaphragm
• Construction: heavy duty machined brass w/ anodized finish
• Polar Pattern: cardioid
• Electronics: New low-noise class A discrete Fet+Bi-Polar, transformer-coupled
• Frequency range: 20 Hz to 20 kHz
• Sensitivity: -38.5dB (0dB=1V/Pa)
• Equivalent noise level: (A-Weighted per IEC 286-4) <15dB
• Maximum SPL for THD: <0.5% (1kHz) 140 dB w/Pad
• Switchable low frequency cut-off: -6dB @ 100 Hz
• Switchable pad: -10dB
• Weight: 525 grams/1.16 lbs.
• Dimensions: 47x215mm/2x8.6”
• Operating voltage: +48V Phantom Power
• New improved shockmount with thick rubber liner.
• Micro-fiber cleaning cloth

Warranty  Full coverage for one year from date of purchase.

 

Quote from Eben Grace
"The Cascade M20 is an amazingly well built and great sounding microphone. It gets used all the time in my studio and makes a great match with the Grace Model 101." - Eben Grace of Grace Design.