Overview
Connectivity

* 8 x Analog I/O
* 1 x ADAT I/O or 1 x SPDIF I/O optical
* 1 x SPDIF I/O coaxial
* 2 x MIDI I/O
* 2 x Firewire 400
* 2 x Mic Preamp with digitally controlled gain
* TotalMix

RMEs Fireface 800 revolutionized the world of FireWire audio
interfaces. Now the revolution continues: The Fireface 400 is not
just the little brother of the Fireface 800 - it is a completely
newly designed device. It is the only device in its class with
active jitter suppression, stand-alone functionality, complete
controllability from the front panel, highly flexible I/Os in
professional quality, and an unsurpassed 648-channel matrix
router - at sample rates up to 192 kHz.

As usual, RME offer a host of sophisticated features and
characteristics with the fastest Firewire technology. These include:

* Two digitally controlled Mic Preamps in high-end quality
* Two balanced universal inputs for line and instrument signals
* SteadyClock for maximum jitter suppression and clock refresh
* Simple stand-alone operation with rotary encoder and front panel display
* 54 Level Meter Peak/RMS, hardware-calculated
* Full mobility by Bus Power support
* DIGICheck, RME's unique meter and analysis tool
* TotalMix: 648-channel mixer with 42-bit internal resolution

FireWire audio by RME is seen as the reference by both users and editors.

It includes lots of features and capabilities RME FireWire Audio RME's
FireWire audio offers many pro-audio features not available from
other manufacturer's units: Complete realtime sample rate lock
Complete realtime sample rate control, even during playback/record
Complete start/stop control. No changed offset after reboot.
Extreme varispeed / external sync support, in all modes (even DS /
QS) Despite having a superior sync behavior (see above), the
Fireface's SteadyClock provides a heavy jitter suppression even in
varipitch applications. Reduced protocol overhead, by not sending
CIP (Common Isochronous Packet format) headers (AVC, mLan) Working
FireWire 800 solution Working FireWire 800 fix for Windows XP SP2
Latency change on the fly, while ASIO is running Latency change on
the fly, while GSIF is running Hardware-based data packet check
and drop out correction Complete realtime monitoring solution,
covering all inputs and all playback channels, equaling an 28+28
channels inline console having 28 Aux sends per channel. Lots of
advanced and unique features. Plus hardware based Peak/RMS
metering. Windows and Mac OS X drivers are completely identical in
terms of features and functionality Super low jitter MIDI I/O
similar to PCI-based performance (1 ms)
not available from other manufacturers.
RME FireWire Audio RME's FireWire audio offers many pro-audio features
not available from other manufacturer's units: Complete realtime
sample rate lock Complete realtime sample rate control, even
during playback/record Complete start/stop control. No changed
offset after reboot. Extreme varispeed / external sync support, in
all modes (even DS / QS) Despite having a superior sync behavior
(see above), the Fireface's SteadyClock provides a heavy jitter
suppression even in varipitch applications. Reduced protocol
overhead, by not sending CIP (Common Isochronous Packet format)
headers (AVC, mLan) Working FireWire 800 solution Working FireWire
800 fix for Windows XP SP2 Latency change on the fly, while ASIO
is running Latency change on the fly, while GSIF is running
Hardware-based data packet check and drop out correction Complete
realtime monitoring solution, covering all inputs and all playback
channels, equaling an 28+28 channels inline console having 28 Aux
sends per channel. Lots of advanced and unique features. Plus
hardware based Peak/RMS metering. Windows and Mac OS X drivers are
completely identical in terms of features and functionality Super
low jitter MIDI I/O similar to PCI-based performance (1 ms)

The DSP-based TotalMix mixer allows fully independent routing and
mixing of all 18 input and output channels to all 18 physical
outputs. Up to 9 totally independent stereo sub-mixes simply mean
unrivalled monitoring facilities. Copy/paste of routings, ganging
and group-based operation of faders, and the extraordinary Matrix
window are just some of the mixer's unique features. The mixer can
be completely MIDI controlled, even in stand-alone operation.
Furthermore the DSP hardware calculates RMS and Peak levels for
all 54 audio channels, without causing any significant CPU load.

A word clock input and output (BNC) plus two MIDI I/Os (breakout
cable, 5-pin DIN) complete the analog/digital feature list and
turn the Fireface 400 into a complete audio system of the highest
quality.

The Fireface 400 excells as portable all-in-one solution when it comes
to power supply. The included switching power supply accepts
voltages from 100 to 240 V, thus can be operated all over the
world. A rear panel switch enables Bus Powered operation, taking
the power directly from the FireWire connector. To avoid potential
problems, both the unit's internal power supply and the protective
circuits at the FireWire port were specially designed and
thoroughly tested.

Inputs and Outputs

Analog I/Os: Eight inputs and outputs (balanced, output 7/8
unbalanced) with software controlled switching of the reference
levels (-10 dBV, +4 dBu, Lo/HiGain), of course realized discretely
in the analog domain, guarantee highest dynamic range and highest
fidelity.

The Fireface 400's front panel features 2 balanced microphone inputs
with a digitally controlled input stage, individually switchable
48 V phantom power, and Neutrik Combo connectors for XLR and TRS.
These can also be used as additional Line inputs. A gain of up to
65 dB, adjustable in steps of 1 dB over a range of 55 dB,
exceptional EIN performance even at low amplification settings,
and extremely low THD+N let these preamps surpass those of other
devices that cost several times the price of the Fireface 400. All
level settings are 100% reproducible and can also be adjusted by
software comfortably.

Inputs 3 and 4 are stunningly flexible balanced universal inputs.
Firstly, they operate exactly as inputs 5 to 8 on the rear and can
be adjusted to accept standard studio input levels (+4 dBu,
LoGain). Furthermore, the input impedance can be switched from
Line (10 kOhm) to Instrument (470 kOhm). An additional analog
input amplification of up to 18 dB (in steps of 0.5 dB) is also
available. In short: There's no signal that these inputs can't
deal with perfectly!

Inputs 5 to 8 on the rear feature RME's proven level references. -10
dBV, +4 dBu und LoGain can be selected in the settings dialog,
equivalent to +2 dBV, +13 dBu und +19 dBu for digital full scale.
The same applies to the balanced rear analog outputs 1 to 6.

The high power phones output offers high volumes even with low-
impedance headphones, and represents playback channels 7/8. All
outputs can be used for ASIO Direct Monitoring purposes.

Digital I/Os: An ADAT optical I/O* allows for a connection and
insertion of effects devices, mixing consoles or external
converters. Of course, these 8 channels are available
simultaneously with the analog channels. Using an additional ADI-8
DS or OctaMic D, you'll get 16 analog inputs and outputs, which
remain still 12 at 96 kHz. The coaxial SPDIF I/O, which is fully
AES/EBU compatible (as is common for RME), also works up to 192
kHz, which means that at the highest sample rate, 8 analog and two
digital inputs and outputs are directly available. SPDIF optical
can also be accessed through the optical I/O.