rme fireface vs Tascam fw1884

Discussion in 'Consoles / Control Surfaces' started by stonewall40, Jan 23, 2005.

  1. stonewall40

    stonewall40 Guest

    Hey gang, I'm looking at the RME fireface and the Tascam 1884 for my new setup. I'm needing a firewire interface so that I can go from PC to Laptop.

    The differences are obvious, but I was wondering if anyone can comment on the sound quality between the two?
    Like how do the pres and and converters compare?

    Or please chime in if you have any individual experiences!
    Much appreciated.
  2. musicguy

    musicguy Guest

    my experience with fireface

    fireface does not work (well, or perhaps I should say at all!) with windows as detailed on another post.
    I don't have any experience with Tascam 1884
  3. FifthCircle

    FifthCircle Well-Known Member

    Feb 12, 2001
    Los Angeles, CA
    Home Page:
    Personally, I'd much rather have a Fireface than the FW1884. I've written pretty extensively about my horrible experiences with the Tascam box. Bought it to be a controller and interface for an install, killed 4 of them in 2 weeks by plugging mics in with the phantom on, had firewire communication issues (major ones), driver issues...

    Fireface is a well built box... From what I saw at NAMM where I was using one to give some Sequoia Demos for Synthax, it was a pretty reliable box. Like any interface, though, you need to tweak your system to make it work as well as possible. I know that RME recommends some specific FW chipsets for their box and to use a FW card, not the built in FW interface on a MOBO.

  4. Arrowfan

    Arrowfan Guest

    I have the RME Fireface800 and its by far the best audio interface in its price range. The 4 preamps are warm and the DI input has a nice amp cab with overdrive effect (software built into the fireface hardware).

    There are 10 analog ins and outs and probably coolest of all is the mixer ... every output can have its own entire mix (including panning) of all the inputs and software playback outputs. This goes for use with ADAT devices as well... with 2 ADATS you could have 36 channels of I/O ... and up to 36 true submixes!! Ridiculous isn't it? But its there.

    The new version of the Fireface software allows you to set up MS matrices on any channel pairs, quick audition 3 of your mon-mix out setups using your mains, and other stuff like talkback channel setup.

    The converters are very smooth and sound better than my MOTU 896HD.

    The thing is absolutely loaded. RME threw everything they've been doing for the past decade into this one.

    Works like a charm on PC and mac.

    Only drawbacks: limited metering on hardware unit, if you use a TRS pair of outs for your mon mains (instead of headphone preamp stereo output) you can't control level without using the software mixer (not a big deal unless on the road or without a computer).

    Anyway, the Fireface is probably my favorite new piece of gear besides my Sebratron.
  5. sseverett

    sseverett Guest

    I too am interested in the Fireface

    I too am interested in the Fireface 800. I am using the old Layla 20 bit interface and a friend suggested I should upgrade. I’ve been looking at the Echo’s new Layla and am wondering if I can do better? I am in an Irish band and record only our own music. I will be recording acoustic instruments and it is important that they sound clean and natural. Should I choose Fireface over Layla 3G? Is there something better out there under $1600?
  6. xraydelta1

    xraydelta1 Guest

    RME is hard to beat

    RME is hard to beat bro, but i still would go with APOGEE connected to an mbox via spdif. This would produce better sound quality than the RME or the Tascam for under 1500. Try it yourself, i did, and you will see that i am not lying.

    You could also skip the Mbox and just use the APOGEE connected via spdif. Apogee or Marantz probably will give you the best capture on location for your buck mang. I dont know why anyone didn't mention this earlier.
  7. xraydelta1

    xraydelta1 Guest

    rme hard to beat

    Hey i just realized you didn't mention how many inputs you needed to use simultaneously. Plugging ina mic with the pantom power on will not destroy a mic, not even a ribbon, but it's a good idea not to.
  8. sseverett

    sseverett Guest

    I need 8

    I’m using 8 inputs at one time and recording into Sonar. I read the musicguy’s comment on the FireFace not working with windows and that concerns me because I use XP. I don’t need a lot of problems. xraydelta1 I know you are right I’ve seen my reports that speak of Apogee as the best. I looked at the ROSETTA 800 but that’s out of my price range. $2700 would break my budget. I have a stereo preamp that is very good and I use it to record the stereo track. I need another good preamp and mic but if I spend all my money on an interface I stuck using my Mackie preamps on this CD project.
  9. Arrowfan

    Arrowfan Guest

    Yea the Apogee stuff is far more expensive. I personally prefer good mics, good pres, good tunes and If cash is precipitate then through in the best converters around.

    The 4 RME pres are very respectable. The remaining 6 analog ins (TRS - balanced jack) can be used for routing from external front end stuff like some tube preamps or your Mackie's direct outs (if your mixer has them, use em to rout the ins post preamp to a discreet out).

    And there is still the instrument input, a D.I. with amp sim and saturation (guit, bass).

    I've been using my Fireface for 6 months without a single problem on both XP and Mac OSX. [I should note: thats XP without SP2, but I don't think SP2 has clobbered the RME drivers along with the others].

    RME is also a very active company. There latest Fireface drivers and flash OS added a slew of features not even advertised in advance. This includes the MS-matrix encoder/decoder, a talkback/listenback feature, and extra monitor mix auditioning capabilties (among other enhancements).

    Only annoying thing is that, unless you use the headphone preamp output for you mains (which has a front panel knob), you'll need to adjust level within software.

    Also the unit remember last setup, so you can use it on the road as a preamp and mix routing hardware unit without the computer.

    1 r.u. in size....? How dare they. Its hard to go wrong with the Fireface.


  10. OddsAre

    OddsAre Guest

    does nobody like the Motu 896HD??? 8pres CueMix DSP 24bit 192k for $995???
  11. therecordingart

    therecordingart Well-Known Member

    Jul 28, 2004
    I'm one of the lucky FW1884 users out there. I actually love the hell out of it. I've read a lot of people that have had problems that I've never seen. Maybe I'm lucky or they are cursed....I don't know! Knock on wood.....I plan to keep mine for a long time!
  12. midimine

    midimine Guest

    No problem with mine FW-1884, most important is to have the right firewire connection. With a portable just go to the shop and try with your favourite software program and the latest drivers.

    Cheers :lol:
  13. midimine

    midimine Guest

    Reviews rave about the RME, Tascam suits my needs 8)
  14. stonewall40

    stonewall40 Guest

    hey gang, thanks for all the replies, great info. I think I sold myself on the RME, and look for a used controller later on as I plan my upgrades.

    To get around the hardware volume thing, I was thinking of buying a nice little 4 channel mixer for that and some extra pre's. I'm leaning towards a soundcraft unit. Any recommendations?

  15. midimine

    midimine Guest

    audioMIDI.com Price: $99.00 :wink:

    If you simply need to mix a few sources to stereo - but insist on the finest audio quality available - the MG10/2 is probably the way to go. It's compact and convenient to use, but won't compromise your signal in any way. With an optional adaptor, the MG10/2 can even be mounted on a microphone stand for totally flexible positioning and easy access. For demo and music production in your personal studio, for band rehearsal or small sound reinforcement applications, or simply as a super utility mixer for any application, you can't lose with the MG10/2.

    10 Input Channels

    The MG10/2 features a total of 10 input channels: two mono microphone/line inputs and four stereo line inputs, two of which offer mono microphone input capability.

    Four Low-noise, High-precision Mic Preamps

    The microphone preamps provided on the two mono channels and two of the four stereo channels would be worth the price of the entire mixer if packaged separately. These are high-performance head amplifiers that will bring out the best in any dynamic or condenser microphone.

    Phantom Power

    So you can take advantage of the superior sonic quality of professional-class studio condenser microphones, all four of the MG10/2's high performance mic preamps feature switchable phantom power. A single switch turns phantom power on or off for all four channels.

    Insert I/O

    Mono input channels feature insert I/O patch points so you can add compressors, EQ, or other extra signal-processing to the channels as required.

    3-band Channel EQ & HPF

    Designed for smooth, "musical" response, the 3-band equalizers provided on all input channels are one more sonic tool you can use to create clean, professional mixes. All mono microphone input channels also feature a switchable highpass filter that can be used to cut out unwanted low-frequency noise.

    Two Aux Sends & Stereo Aux Return

    The MG10/2 is also fully equipped to handle external effects and monitor systems. Use the post-fader auxiliary sends in conjunction with the stereo auxiliary returns to add reverb, delay, or other external effects to the mix, and the prefader sends to feed a separate mix to your monitor system.

    Optional Mic Stand Mount

    What could be more convenient than having your mixer mounted on a microphone stand for freedom of placement and easy access? With the optional BMS-10A Mic Stand Adaptor you can do just that, and have your sonic control center within easy reach all the time.
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