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RME Fireface 802 Audio Interface

60-Channel High-end 192KHz USB/FireWire audio interface
Part No: FIREFACE-802

The Fireface 802 is a high end USB/Firewire audio interface with a massive 60 channels of I/O.  It builds of the fame of the Fireface 800 by giving greater connectivity and stability, as well as microphone preamp technology from the renown OctaMic II.

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£1,293.00 £1,077.50 ex VAT

Product Description


The RME Fireface 802 is a high quality 60 channel USB/Firewire audio interface.  Building on the legendary Firewire 800, the 802 offers greater connectivity, stability and raw power than its predecessor while still providing the same great sound and reliability.

The Fireface 802 offers upto 30 input and 30 output channels comprised of eight balanced TRS jack inputs and outputs at the rear, four balanced/unbalance XLR/TRS combo inputs and two stereo headphone outputs on the front panel, as well as 2 AES/EBU inputs and outputs and 16 ADAT inputs and outputs.  The Fireface 802 also offers up to 192kHz sample rate, meaning it can deal with high quality professional studio sessions with ease.

The preamps on the Fireface 802 use the same technology as the famous OctaMic II.  With extremely low distortion, excellent signal to noise ratio and an exceptionally flat frequency response, the Fireface 802 is capable to translating even the most detailed of recordings with depth and clarity.

The RME Fireface 802 - Power and Flexibility

The TotalMix software included with the Fireface 802 provides full DAW-like control over the I/O and allows for fully independent routing and mixing of all hardware channels remotely.  It not only provides an additional 15 totally independent stereo submixes but also a channel strip for each input which includes 3-band parametric EQ, adjustable low cut filter, auto level functionality, compressor, expander, reverb, echo, mid-side processing and phase inversion, giving you an enormous amount of control over the incoming and outgoing signal without even touching your DAW.

Other features of the Fireface 802 include Word Clock and MIDI connectivity, S/PDIF options, gain controls for the XLR/TRS inputs on the front panel, level controls for the headphone outputs, signal connection indicators for Word Clock, AES, audio, MIDI, Firewire and USB, a 19” rack-mountable chassis and an additional monitor controller option with the ARC Advanced Remote Control (sold separately).


"It's a well-executed update to a well-loved product, and I won't be in the least surprised if it remains a standard for the next 10 years."- Sound On Sound

"So it’s a thumbs up on the sonic side, and the RME Fireface 802 certainly qualifies as an upgrade from entry-level and semi-pro interfaces."- Music Tech


The Fireface 802 has 12 analog I/Os.

12 Inputs . 8 balanced TRS on the back and 4 XLR inputs with Mic/Instrument preamps on the front.

12 Outputs . On the rear: 8 balanced TRS. On the front: Two hi-power TRS stereo phones outputs provide high volumes even with hi-impedance headphones (playback channels 9/10 and 11/12).


Sound Quality

Like other RME products before the Fireface 802 combines excellent analog circuit design with 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.

Equipped with the latest low latency A/D and D/A converter chips, all I/Os operate at up to 192 kHz and reach 118 dBA 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 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 can be used for ASIO Direct Monitoring (ADM) purposes.


Preamps for Microphones and Instruments with Low Latency Conversion

The 802 has four high-transparency preamps, also with low latency converters. 

Microphone and instrument preamps of the 802 use the classic technology of the OctaMic II, a high-end preamp for supreme sonic demands and critical applications, like the professional recording of classical concerts. 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.

The pot-controlled gain of up to 60 dB, adjustable over a range of 54 dB, is individually set for every preamp on the front of the 802. 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. Each channel can be individually switched 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 follows RME's tradition of providing flexible and expandable audio systems. Adding additional preamplifiers or more analog inputs is easily done via the dual ADAT optical I/Os on the rear.


Digital I/O

AES/EBU: The Fireface 802 has one professional AES/EBU I/O operating at up to 192 kHz.

ADAT: Two 8-channel ADAT I/Os allow for a connection of two additional AD/DA converters or the insertion of effects devices and mixing consoles. Both I/Os support sample rates at up to 192 kHz (S/MUX4). Like AES/EBU, these 16 ADAT channels are available simultaneously with the analog channels. Using two external converters like the ADI-8 QS, the 802 will provide 28 analog inputs and outputs, 20 with a sample rate of 96 kHz, and still 16 at 192 kHz. 


SPDIF: The second ADAT I/O can be used as optical SPDIF I/O, making the Fireface 802 connections even more flexible.

Word Clock & MIDI: A word clock input and output (BNC) with switchable termination and a MIDI I/O complete the list of connections, turning the Fireface 802 into a professional audio system with universal usability.

TotalMix FX

The DSP based TotalMix mixer allows fully independent routing and mixing of all 30 input and 30 playback channels to all 30 physical outputs. Up to 15 totally independent stereo submixes plus a luxury Control Room section offer unrivalled monitoring capabilities and unsurpassed routing flexibility.


Every input and output channel comes with a luxury feature set, comparable to a full-scale digital console. The effects per channel include 3-band parametric EQ, adjustable Low Cut, Auto Level, Compressor, Expander, MS Processing and phase reversal. The Reverb and Echo effects unit is available for all channels by a stereo send and return bus. The Fireface 802 offers all these effects in all sample rates, including 192 kHz.


The two DSPs ensure an impressive performance even in extreme applications. As usual with RME, TotalMix is available with all channels (90) at all sample rates, completely unlimited. The second DSP calculates the effects only, therefore has sufficient resources. For example, at 48 kHz 60 EQs, 40 Low Cuts, 8 Dynamics, Reverb and Echo can be activated.


The FX-DSP uses automatic overload surveillance. As soon as no effect can be added anymore the TotalMix surface will clearly signal this condition. When changing to higher sample rates the 802 automatically deactivates all effects that exceed the DSP's performance - the DSP will never be overloaded. This also prevents the user from destroyed loudspeakers. The complete effects section not only adds a lot of flexibility to the recording chain, but makes latency burdened software dispensable. TotalMix can easily replace any external mixer, e.g. to create different latency-free monitoring mixes with EQ and Reverb for the main studio monitors and the headphone of the vocalist(s) in the recording chamber.



  • 30 Input / 30 Output channels
  • 12 x Analog I/O
  • 4 x Mic/Instrument Preamp
  • 1 x AES/EBU I/O
  • 2 x ADAT I/O (or 1 x ADAT I/O plus 1 x SPDIF I/O optical)
  • 1 x Word Clock I/O
  • 1 x MIDI I/O
  • FireWire or USB operation
  • TotalMix FX


Additional Information


AD, Line In 1-8, rear

Resolution AD: 24 bit

Signal to Noise ratio (SNR): 113 dB RMS unweighted, 116 dBA

Frequency response @ 44.1 kHz, -0.1 dB: 5 Hz - 20.8 kHz

Frequency response @ 96 kHz, -0.5 dB: 5 Hz - 45.8 kHz

Frequency response @ 192 kHz, -1 dB: 5 Hz - 92 kHz

THD: < -110 dB, < 0.00032 %

THD+N: < -104 dB, < 0.00063 %

Channel separation: > 110 dB

Input: 6.3 mm TRS jack, electronically balanced

Input sensitivity: 8 kOhm unbalanced, 12 kOhm balanced

Input sensitivity switchable to Lo Gain, +4 dBu, -10 dBV

Input level for 0 dBFS @ Lo Gain: +19 dBu

Input level for 0 dBFS @ +4 dBu: +13 dBu


Microphone In 9-12, front

As AD, but: 

Input: XLR, electronically balanced

Input impedance: 3.4 kOhm

Signal to Noise ratio (SNR): 112 dB RMS unweighted, 116 dBA

Gain range: 54 dB

Maximum input level, Gain +6 dB: +10 dBu


Instrument In 9-12, front

As AD, but:

Input: 6.3 mm TS jack, unbalanced

Input impedance: 800 kOhm

Signal to Noise ratio (SNR): 112 dB RMS unweighted, 115 dBA

Maximum input level, Gain +6 dB: +21 dBu


DA, Line Out 1-8, rear

Dynamic range (DR): 115 dB RMS unweighted, 118 dBA

Frequency response @ 44.1 kHz, -0.5 dB: 5 Hz - 20.8 kHz

Frequency response @ 96 kHz, -0.5 dB: 5 Hz - 45 kHz

Frequency response @ 192 kHz, -1 dB: 5 Hz - 89 kHz

THD: -104 dB, < 0.00032 %

THD+N: -100 dB, < 0.00063 %

Channel separation: > 110 dB

Output: 6.3 mm TRS jack, servo-balanced

Output impedance: 75 Ohm

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

DA - Stereo Monitor Output Phones (9-12)

As DA, but:

Output: 6.3 mm TRS stereo jack, unbalanced

Maximum output level at 0 dBFS, High: +16.8 dBu

Maximum output level at 0 dBFS, Low: +2 dBV

Output impedance: 30 Ohm



2 x XLR, transformer-balanced, galvanically isolated, according to AES3-1992


ADAT Optical

2 x TOSLINK I/O, 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

Quad Speed Windows USB: 1 x 2 channels 24 bit 192 kHz


SPDIF optical (via ADAT2)

1 x optical, according to IEC 60958


Word Clock

BNC, switchable termination