Thread: Got the RME Fireface 800...

Originally Posted by DavidSpearritt

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.

Originally Posted by Cucco

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!)

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

Originally Posted by JoeH

Another VERY sweet little extra with the Fireface 800 is the inclusion of Samplitude 8 SE. I didn't know this was included, and it solved a couple of silly/stupid problems with my laptop upgrade.

For years, I had simply been upgrading my legal copy of Samplitude, through V5, 6 and 7 on my laptop. (V7 being good enough to still use in the field for live tracks, on those rare occasions when I'd forget the dongle for my copy of Sequoia V8. Arrrrggg!)

With the new laptop, I was forced to go without my old copy of Samplitude (long story short - almost impossible to load it witithout an A floppy drive, which holds the now-outdated user validation keys, etc. etc.) so I just put my legit copy of Sequoia on there and pray I won't ever forget the dongle.

I opened the FW 800 box and - surprise! - a copy of Samplitude V8.3 SE was in there. Now of course it only allows up to 8 tracks of recording at a time, but I can work with that in most cases, or I can upgrade to the next level for more tracks. Very nice surprise, indeed.

Older thread but hoping you guys are able to answer a few related question here rather than reinventing to thread.

I use Sequoia 11 now ( time has passed and new version ) I'm doing remote recordings this winter with a new remote system so its new to me. From what I'm getting here, I am able to download a limited version of Samplitude for these projects? Saves any risk of loosing my Sequoia codemeter yes?

Originally Posted by Link555

Are you running a single 800?
If so keep it that way. I had two for a short amount of time. I had lot of trouble get both units converting in cooperation. But yes the ADC's are nice. I did a quick test before I got rid of them, so I could compare it too my new CraneSong ADC. And the FF800 did pretty well. I have to say to my ear the Cranesong Hedd was a bit clearer and had slightly better low end response. But it was close.

Oh and the PCB layout on the FF800 is great!
have fun.

JackAttack,

as a referrence, Like you, I have two FF 800 as you know but haven't tried using them both in a live setting. You've done this correct?

Originally Posted by bigtree

JackAttack,
as a referrence, Like you, I have two FF 800 as you know but haven't tried using them both in a live setting. You've done this correct?

Yes I have. It works great. I don't normally have them racked together but when I need both for remote that is what I do. I loop the firewire cable under the hook and then plug it in (on both units). Also, I have my units marked 1 & 2 so that I don't get confused when traversing the TotalMix gui. Your smallest serial number will be #1, then the next smallest #2 etc.

Now, it's pretty rare for me to need more inputs than one FF800 will provide even at 88.2k. Usually I double up if I need more than 8 mic preamps. The second set of 8 preamps then comes into FF#1 via ADAT. Then the 2nd FF800 provides my link to the HD24XR via ADAT and also a 2 Bus mix to my PMD671 via S/PDif. This season I have taken to tracking everything into the Glyph via Reaper. Reaper has not glitched once for me and even if it did, that's why the HD24XR is there. One catch with the Glyph. For it to work flawlessly, the FF800's are chained via 9 pin cable and then the Glyph is connected to the 2nd FF800 via a 6 pin firewire cable.

FYI: RME just released the newest driver for the Fireface units. It streamlines the gui a bit.

Chris -
I also do a similar thing.
When I bought my FF800, it came with a copy of Samplitude. It's a limited track count version, but IIRC, it's limited to something like 99 tracks. I'll use that version while on location from time to time when I either:
Forget my dongle
Don't want to risk losing/damaging the dongle
Have multiple recordings at the same time in different locations.

Cheers-
J.

Reaper is unreal... and so stable and so fast to load and takes almost no CPU compared to the other DAWs. It blows my mind.
Reaper seems like a really good choice for location laptop DAW solutions so I'm watching you John! Samplitude is my choice DAW for sure and I'm getting more and more comfortable with it. Its stellar IMO. I should look but does Magix offer a free Samplitude that would be great for just tracking on location? I'm afraid I could loose my Sequoia codemeter stick too. Plus, I don't need all that for simple tracking on location, do I? Location recording is a new business opening up for me.

I've never imported audio into Samplitude (sequoia) yet. Can we import reaper tracks and what are the pro's con's to having to do this?

Good to see you here Cucco!

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