Got the RME Fireface 800...

Posted: Tue Oct 23, 2007 8:09 am

I should mention that one disadvantage of using linked Sound Devices
recorders compared to using a Fireface / laptop for location or basic studio
recording is that playing back linked Sound Devices recorders from the machines themselves, to check the mix etc., is not synchronised between the units, and therefore not usefull, unless you want to listen to an Elvis style slap back delay on a classical ensemble. Not something they go out of their way to tell you unless asked. But it looks like they are working towards it in the firmware updates. Some advantages are having built in ms decoding for monitering without having to process it, much smaller size and possibly better sound (or at least a different sound character), and easier to adjust preamp volume controls with more gain.

For people needing a similar interface to the Fireface (but without
firewire) for a studio, with twice as many preamps, check out the ESI Maxio, looks like a monster. I have used an earlier version of it and the audio quality was impressive. There's an interesting review of it online
from S.O.S.

Posted: Wed Oct 24, 2007 6:41 am

Dumb question time....Jeremey (and other FW 800 users): What are you using to get from your pre's outputs to the inputs of the 800? Anything special?

I'm putting mine in the same rack as my m802, directly underneath it, actually. So, I'll need about 6-12" at MOST of cabling, going from XLR outs on the Grace to balanced 1/4" inputs on the RME. I might just roll my own at this point, having enough raw materials on hand, but I'm wondering all the same if it would be cheaper to just go with something off the shelf. Any suggestions?

Posted: Wed Oct 24, 2007 7:37 am

From back in my commercial studio days, I had a bunch of 6" XLR F to TRS M cables that I had either rolled or purchased. I just used those and then banded the short slack together using a velcro tie.

The thing I am really digging is the lack of cables needed for this system.

In my old system, I'd have the snake coming into the pre, an 8 channel XLR to DB25 snake running from pre to converter (try to get one of these in lengths shorter than 6'!! and making them is a pain in the butt!), plus the DB25 to DB26 cable from the converter to the computer, the DB26 cable to the AES breakout cable for the Benchmark, a Word clock cable or two and if necessary (for more than 8 channels) another DB25 to DB26 cable. This was about 7 pounds of cable plus the whole mess of wires all over the place.

Now, I've got the snake coming into the preamp, the 8 very short leads and a firewire cable. I'm down to less than a pound of cable and hardly any cable spaghetti.

I just used the Fireface last night for the first major engagement recording a college marching band for their annual CD release. The RME worked without a hiccup or a surprise. I was thoroughly impressed. What was so friggin amazing was the routing capabilities.

I had the outputs routed this way -

Outputs 1&2 - Feeding the Adam A7s with the mix as I intended to hear it.
Outputs 3&4 - Feeding the backup recorder with the same mix as above.
Outputs 5&6 - Feeding an external headphone amp with the rough mix
Outputs 7&8 - Feeding another headphone amp with a boosted drum mix so rhythm sections could clearly be heard.

Cool...

I did have one minor horror story last night. It's a bit off topic, so I'll keep it short. No names will be used as I really enjoy working with this client, but every once in a while, someone comes along and makes things difficult, even with your good clients...

So, I set up my mics in a hostile environment (think recording a 250 piece marching band outdoors on a practice field in about 70% humidity with rain clouds looming overhead). I had a grand total of 10 minutes to place the mics since they had to get going as quickly as possible - they had to relinquish the field at a set time.

I set everything up where I was sure it would work - A pair of cardioids overhead in wide ORTF, wide omnis as flanks, omni spot on the bass cabinets, XY flanks over snares, AB Omnis over tonal bass drums (none of these were "cheap" mics either. The omnis over the tonals were Schoeps CMC62s).

During the VERY short sound check, I was pleasantly surprised to hear that I had nailed the setup right off the bat. No tweaking of placement necessary! (I love it when that happens!!!)

So, I was a bit surprised when, during the first take of the first track, I noticed that the tonal bass drums started getting weak disappearing. The band directors commented on it too..."Somethings wrong with the bass drums - we need more sound from them."

After the second take, I said "I'll go change out the mics and get a different sound."

I go out to find that the Schoeps (which I had placed on VERY heavy stands at about 8 feet up and 4 feet in front of the tonals aiming towards them) had been lowered and moved.

The drum instructor told me that he felt that the sound would be better if the mics were in different places so he moved them DURING the take!

Trying to maintain my composure, I said that they were where they needed to be. I proceeded to replace the mics however with a pair of LDC cardioids. As I was doing that, he asked if I could put the mics about 7 or 8 feet further back (in front of the cymbals and quads, etc.). I stated that this would not work. Again, he said that he felt that it would sound better this way and that I should do it anyway. He left a little bit perturbed when I wouldn't pay attention.

I wound up talking to the guy after the sessions and he turned out to be a cool guy, but that still didn't make me want to beat him any less at that moment!

Anyway - the client is great, the band is great and I love the work, so I can live with the occassional trauma of someone manhandling my mics.

J

PS -
Simmo - sorry if I used too many exclamations this time...............or too many periods... Wink

Posted: Wed Oct 24, 2007 4:20 pm

Well, I would tell the Conductor, "I never want to see that dude on the set again!"
The mixer should be in charge during all recordings.

Posted: Sun Oct 28, 2007 2:55 am

Totally agree about the FF800 and the built-in mixer. A lot of functionality in that box. Solidly working with my computer.

A small piece of warning. I had a set of headphones plugged into the front output. Somehow, a large pull on the cord, and the headphone output was physically broken. As it is mounted directly on the internal circuit board, it got slightly cracked as well. Seems I was half lucky, half unlucky as the repair was not that expensive.

What I will do however is to mount a separate headphone output in the rack, with a cable and a side access plug in the FF800. If the pull happens again, then only the separate headphone output will be affected.

Gunnar

Posted: Sun Oct 28, 2007 3:23 am

Not to hijack this thread with a competitor, but has anyone experienced the new TC Electronic StudioKonnect 48 box yet?

http://www.tcelectronic.com/StudioKonnekt48.asp

Posted: Sun Oct 28, 2007 6:17 pm

DavidSpearritt wrote:

Not to hijack this thread with a competitor, but has anyone experienced the new TC Electronic StudioKonnect 48 box yet?

http://www.tcelectronic.com/StudioKonnekt48.asp

That was the other device that I was seriously considering. (Of course, it wasn't shipping at the time, but I did do a lot of research).

First, I liked the flexibility of the unit and the fact that it has some hardware DSP for plug-ins plus the capability to more easily integrate external devices as hardware effects.

However, I didn't like that only 8 channels of ADAT were available at maximum. Sometimes I do hit the 20 or more track mark and need the ability to add more tracks via different converters.

Also, I listened to some of the TC devices that are currently on the market (Konnect24 and Konnect8) and while they sounded pretty good, I liked the transparency of the RME better. The TC imparted a thicker tone to everything - as if trying to be warm. It wasn't much, but it was there. Don't get me wrong, I could very easily work with the sound of the TC - it was quite nice (and will likely be getting the Konnect 24 for my in-studio work), but the RME edged it out in overall sound. (The pres were a notch better on the RME too - which are surprisingly quite good! I won't hesitate to use the RME pres when I need a few extra channels.)

The final thing that I liked was the fact that RME designed their own Firewire solution versus relying on a 3rd party manufacturer. This makes me feel like I'm going to get better support. It might just be in my head.

Posted: Wed Nov 14, 2007 1:51 pm

Cucco wrote:

I did have one minor horror story last night. It's a bit off topic, so I'll keep it short. No names will be used as I really enjoy working with this client, but every once in a while, someone comes along and makes things difficult, even with your good clients...

So, I set up my mics in a hostile environment (think recording a 250 piece marching band outdoors on a practice field in about 70% humidity with rain clouds looming overhead). I had a grand total of 10 minutes to place the mics since they had to get going as quickly as possible - they had to relinquish the field at a set time.

I set everything up where I was sure it would work - A pair of cardioids overhead in wide ORTF, wide omnis as flanks, omni spot on the bass cabinets, XY flanks over snares, AB Omnis over tonal bass drums (none of these were "cheap" mics either. The omnis over the tonals were Schoeps CMC62s).

During the VERY short sound check, I was pleasantly surprised to hear that I had nailed the setup right off the bat. No tweaking of placement necessary! (I love it when that happens!!!)

So, I was a bit surprised when, during the first take of the first track, I noticed that the tonal bass drums started getting weak disappearing. The band directors commented on it too..."Somethings wrong with the bass drums - we need more sound from them."

After the second take, I said "I'll go change out the mics and get a different sound."

I go out to find that the Schoeps (which I had placed on VERY heavy stands at about 8 feet up and 4 feet in front of the tonals aiming towards them) had been lowered and moved.

The drum instructor told me that he felt that the sound would be better if the mics were in different places so he moved them DURING the take!

Trying to maintain my composure, I said that they were where they needed to be. I proceeded to replace the mics however with a pair of LDC cardioids. As I was doing that, he asked if I could put the mics about 7 or 8 feet further back (in front of the cymbals and quads, etc.). I stated that this would not work. Again, he said that he felt that it would sound better this way and that I should do it anyway. He left a little bit perturbed when I wouldn't pay attention.

I wound up talking to the guy after the sessions and he turned out to be a cool guy, but that still didn't make me want to beat him any less at that moment!

Anyway - the client is great, the band is great and I love the work, so I can live with the occassional trauma of someone manhandling my mics.

GGGGRRRRRRRR!!!!!!!!!!

I was on location again last night - same group - same drum guy and again, the guy picks my CMC 62s up and drags them across the field without my permission in the middle of a take!

I told the main conductor last night - this is the last time. I don't even let my wife touch those mics without her telling me how she's going to handle them in advance of touching them. (She's become a very well trained studio assistant!)

Posted: Fri Nov 16, 2007 5:03 pm

Hey, I told you to kick the mofo out of there!! During a take- Touch the Schoeps? Them's fighten' words.

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