828x User Guide for Mac 1280 Massachusetts Avenue Cambridge, MA 02138 Business voice: (617) 576-2760 Business fax: (617) 576-3609 Web site: www.motu.com Tech support: www.motu.
About the Mark of the Unicorn License Agreement and Limited Warranty on Software TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the terms and conditions of the “click-wrap” license agreement presented to you when you install the software. Using the software or this documentation indicates your acceptance of the terms and conditions of that license agreement. Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation.
Contents Part 1: Getting Started 7 Quick Reference: 828x Front Panel 8 Quick Reference: 828x Rear Panel 9 Quick Reference: MOTU Audio Setup 11 About the 828x 17 Packing List and System Requirements 19 Installing the 828x Software 23 Installing the 828x Hardware Part 2: Using the 828x 39 MOTU Audio Setup 45 Front Panel Operation 55 Configuring Host Audio Software 63 Reducing Monitoring Latency 69 CueMix FX 115 MOTU SMPTE Setup Part 3: Appendices 121 Troubleshooting 123 Audio I/O
SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS CAUTION! READ THIS SAFETY GUIDE BEFORE YOU BEGIN INSTALLATION OR OPERATION. FAILURE TO COMPLY WITH SAFETY INSTRUCTIONS COULD RESULT IN BODILY INJURY OR EQUIPMENT DAMAGE. HAZARDOUS VOLAGES: CONTACT MAY CAUSE ELECTRIC SHOCK OR BURN. TURN OFF UNIT BEFORE SERVICING. WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR OTHER MOISTURE. CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER.
Part 1 Getting Started
16 2 3. These two trim knobs provide approximately 53 dB of gain for the XLR mic input and the hi-Z TRS guitar/instrument input. Both inputs have preamps, so you can plug just about anything into them: a microphone, a guitar, a synth — but don’t plug in a +4 signal here (due to the preamps): use a rear-panel TRS input instead. Use the trim knob and the “MIC” input level meters over in the metering section to calibrate the input signal level. The meters cover both the TRS and XLR input.
2 3 5. These optical digital I/O connectors can be connected either to an ADAT-compatible “lightpipe” device (such as a digital mixer) or to a S/PDIF optical (“TOSLink”) 4. Connect a MIDI device here using standard MIDI cables. Connect the 828x’s MIDI OUT port to the MIDI IN port on the other device. Conversely, connect the 828x’s MIDI IN port to the MIDI OUT port on the other device.
Quick Reference: MOTU Audio Setup CHAPTER Lets you to use the Mac’s volume controls to control the output level of the 828x when it is being used as the audio output hardware for your Mac. Click the tabs to access general MOTU interface settings or settings specific to the 828x (or other connected interface). Determines the clock source for your 828x. If you’re just using the analog ins and outs, set this to ‘Internal’.
CHAPTER 1 About the 828x Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The 828x Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The 828x Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-bit and 24-bit recording . . . . . . . . . . . . . . . . . . . . . . . . . . CueMix FX 32-bit floating point mixing and effects. . AudioDesk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
THE 828X REAR PANEL The 828x rear panel has the following connectors: ■ Eight balanced quarter-inch (TRS) analog outputs (with 24-bit 192 kHz converters) Eight balanced quarter-inch (TRS) analog inputs (with 24-bit 192 kHz converters) ■ Two XLR “main” analog outputs with 24-bit 192 kHz converters 28 inputs and 30 outputs All 828x inputs and outputs can be used simultaneously, for a total of 28 inputs and 30 outputs when operating at 44.
The quarter-inch outputs are referenced to a +4 dBu line level output signal. The inputs have +22 dB of input gain and -96 dB of cut, allowing them to accommodate both -10 dBu and +4 dBu level signals. Precision Digital Trim™ All of the 828x’s analog inputs are equipped with digitally controlled analog trims, adjustable in 1 dB increments. The mic/guitar input trims can be adjusted using front-panel digital rotary encoders that provide feedback in the front panel LCD with up to 53 dB of boost.
Word clock The 828x supports standard word clock synchronization at any supported sample rate. When the 828x is operating at 96 kHz, it can generate word clock output at either 96 or 48 kHz. Half-rate output is supported for all high sample rates (from 88.2 to 192 kHz). Punch in/out The quarter-inch Punch in/out jack accepts a standard foot switch. When you push the foot switch, the 828x triggers a programmable keystroke on the computer keyboard.
Metering section The front panel of the 828x displays several banks of input and output metering. The threshold for these lights is approximately -42 dB. The four- and five-segment input meters provide dedicated multi-segment metering for their respective inputs, as do the five-segment main out meters. Two ten-segment meters for the two front-panel mic/guitar inputs show input levels from -42 to -1 in the first column of LEDs, plus an additional range in a second column from zero to +12 dB (including clip).
AUDIODESK AudioDesk is a full-featured, 24-bit audio workstation software package included with the 828x system (for Mac OS X only). AudioDesk provides multi-channel waveform editing, automated virtual mixing, graphic editing of ramp automation, real-time effects plug-ins with 32-bit floating point processing, crossfades, support for many third-party audio plug-ins, background processing of file-based operations, sampleaccurate editing and placement of audio, and more.
CHAPTER 2 Packing List and System Requirements PACKING LIST PLEASE REGISTER TODAY! The 828x ships with the items listed below. If any of these items are not present in your 828x box when you first open it, please immediately contact your dealer or MOTU. Please register your 828x today. There are two ways to register.
PACKING LIST AND SYSTEM REQUIREMENTS
CHAPTER 3 Installing the 828x Software OVERVIEW Installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOTU Audio driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOTU Audio Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Core MIDI and Audio MIDI Setup . . . . . . . . . . . . . . . . . . . . CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOTU SMPTE Setup . . . . .
For details about using the 828x with Core Audio applications, see chapter 7, “Configuring Host Audio Software” (page 55). This can usually be found in /Applications/ Utilities. If it has been moved, just search for Audio MIDI Setup. MOTU AUDIO SETUP 3 Confirm that the MIDI interface is present in the MIDI Devices tab (or window) in Audio MIDI Setup. MOTU Audio Setup (available in the Applications folder) gives you access to all of the settings in the 828x, such as the clock source and sample rate.
Figure 3-2: Adding a MIDI device. 2 Drag on its input and output arrows to draw connections to the 828x that match its physical connection. Figure 3-4: Device settings. 4 Repeat the above steps for each MIDI device connected to the interface. 5 When you are finished, quit Audio MIDI Setup. Your configuration is automatically saved as the default configuration, and it is shared with all Core MIDI-compatible software. CUEMIX FX Figure 3-3: Connecting devices to the 828x.
AUDIODESK WORKSTATION SOFTWARE AudioDesk is an advanced workstation software package for the 828x that lets you record, edit, mix, process, bounce and master multi-track digital audio recording projects. Advanced features include real-time 32-bit effects processing, 24-bit recording, and much more. See the AudioDesk User Guide included with your 828x system for details. Figure 3-5: AudioDesk for Mac OS X.
CHAPTER 4 Installing the 828x Hardware OVERVIEW CONNECT THE 828X INTERFACE Here’s an overview for installing the 828x: Your 828x audio interface is equipped with both a Thunderbolt connector and a high-speed USB 2.0 connector, and you can use either port (one or the other) to connect the 828x to your computer. This gives you maximum flexibility and compatibility with today’s ever-expanding universe of Mac and Windows computers. Connect the 828x interface . . . . . . . . . . . . . . . . . . . . . . . .
displays. You should not hesitate to connect other Thunderbolt devices like these to your computer, along with the 828x, as your needs require. Follow these instructions to determine whether your computer supports USB 1.1, 2.0, or 3.0: 1 From the Apple menu, choose About this Mac. Also see “Connecting multiple 828x interfaces” on page 35. USB 3.0, USB 2.0 and USB 1.1 There are primarily three types of USB host controllers widely available on current personal computers. USB 1.
CONNECT AUDIO INPUTS AND OUTPUTS The 828x audio interface has the following audio input and output connectors: ■ 8 balanced, +4 dB quarter-inch analog outputs ■ 8 balanced +4 dB quarter-inch analog inputs ■ 2 mic/guitar combo jack inputs with preamps ■ 2 quarter-inch sends for the mic/guitar inputs ■ 2 XLR main outs ■ 2 pairs of optical in/out banks switchable between ADAT (“Lightpipe”) or optical S/PDIF (TOSLink) ■ Phantom power If you are connecting a condenser microphone or another device that
Combo jack summary Use these general guidelines for the 48V phantom power, pad and trim settings on the two combo input jacks: Input 48V Pad Trim Condenser mic On As needed As needed Dynamic mic Off As needed As needed Guitar Off n/a As needed -10 dB Line level via TRS Off n/a As needed -10 dB Line level via XLR Off -20 dB +12dB +4 dB line level (XLR only) Off -20 dB Zero Quarter-inch analog The eight quarter-inch analog inputs and outputs (Figure 4-4) are balanced (TRS) connecto
PDIF). For example, you could connect 8-channel ADAT optical input from your digital mixer and stereo TOSLink output to an effects processor. The 828x supplies +12dB of digital trim (boost) for each optical input, which can be adjusted from CueMix FX (“Input trim” on page 75) or the front panel (“The IN (inputs) menu” on page 49). Figure 4-6: Setting the input trim for a TRS analog input pair. 5 Turn the VALUE knob to adjust the trim.
Choosing a clock source for optical connections When connecting an optical device, make sure that its digital audio clock is phase-locked (in sync with) the 828x, as explained in “Making sync connections” on page 32. There are two ways to do this: 1. Resolve the optical device to the 828x 2. Resolve the 828x to the optical device For 1), choose Internal (or any other clock source except ADAT optical) as the clock source for the 828x in MOTU Audio Setup.
CONNECT MIDI GEAR Connect your MIDI device’s MIDI IN jack to the 828x’s MIDI OUT jack (Connection A below). Conversely, connect the MIDI device’s MIDI OUT jack to the 828x’s MIDI IN jack (Connection B). 828x rear panel MIDI OUT MIDI cables MIDI IN Connecting additional gear with MIDI THRUs If you need to connect several pieces of MIDI gear, run a MIDI cable from the MIDI THRU of a device already connected to the 828x to the MIDI IN on the additional device as shown below in Figure 4-9.
A TYPICAL 828X SETUP headphone outs, or any other output pair. You can control monitoring either from the front panel or from the included CueMix FX software. The two front-panel guitar/mic inputs can be routed to outboard effects processors, such as a compressor, EQ or reverb, via the rear panel sends. Here is a typical 828x studio setup. This rig can be operated without an external mixer. All mixing and processing can be done in the computer with audio software.
OPERATING THE 828X AS A CONVERTER As explained earlier in “Using optical I/O to operate the 828x as a 16-channel expander” on page 27, the 828x can serve as a multi-channel analog-to-digital converter when disconnected from the computer and instead connected to another device equipped with an ADAT optical input. For example, you could connect the 828x optical output to the optical input on another MOTU audio interface, such as a Traveler, 896mk3 or even another 828x.
MAKING SYNC CONNECTIONS If you connect devices digitally to the 828x, or if you need to synchronize the 828x with an outside time reference such as SMPTE timecode, you must pay careful attention to the synchronization connections and clock source issues discussed in the next few sections.
SYNCING TO SMPTE TIMECODE Use this setup if you have: The 828x system can resolve directly to SMPTE timecode. It can also generate timecode and word clock, under its own clock or while slaving to timecode. Therefore, the 828x can act both as an audio interface and as a digital audio synchronizer to which you can slave other digital audio devices.
SYNCING S/PDIF DEVICES S/PDIF devices will sync to the 828x in one of two ways: ■ Via the S/PDIF connection itself ■ Via word clock S/PDIF devices with no word clock If your S/PDIF device has no word clock sync connectors, just connect it to the 828x via the S/PDIF connectors. When the device records S/PDIF audio (from the 828x), it will simply synchronize to the clock provided by the audio input.
SYNCING WORD CLOCK DEVICES The 828x word clock connectors allow you to synchronize it with a wide variety of other word clock-equipped devices. word out rate of 48kHz. For details on how to make this word clock output setting, see “Word Out” on page 44. CONNECTING MULTIPLE 828X INTERFACES For standard word clock sync, you need to choose an audio clock master (as explained in “Be sure to choose a digital audio clock master” on page 32).
Mixing and matching audio interfaces In the scenarios just discussed for connecting multiple 828x interfaces, you can mix and match the 828x with other MOTU audio interface models. For example, you could connect an 828x through Thunderbolt and another MOTU audio interface through USB 2.0. Multiple interfaces in MOTU Audio Setup When multiple 828x interfaces are connected, MOTU Audio Setup displays the settings for one interface at a time. To view the settings for an interface, click its tab.
Part 2 Using the 828x
CHAPTER 5 MOTU Audio Setup OVERVIEW ACCESSING THE 828X SETTINGS MOTU Audio Setup gives you access to basic 828x hardware settings, such as sample rate, clock source, optical format and more. There are several ways to access 828x settings: Accessing the 828x settings . . . . . . . . . . . . . . . . . . . . . . . . . 39 ‘828x’ tab settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
828x tab settings The 828x tab (Figure 5-1) provides settings that apply to a specific 828x interface. If you have several 828x (or other MOTU) interfaces connected, you’ll see a separate tab for each one. General tab settings The General tab (Figure 5-1) provides settings that apply to all connected MOTU audio interfaces. ‘828X’ TAB SETTINGS Enable Core Audio Volume Controls Under Mac OS X 10.
Operation at 4x sample rates (176.4 or 192kHz) At the 4x sample rates (176.4 or 192kHz), operation of the 828x is restricted, due to the higher audio bandwidth demands, as follows: All digital I/O is disabled (there is no ADAT optical, TOSLink or S/PDIF input/output). ■ ■ The 828x provides 8 channels of analog input and 8 channels of analog output, simultaneously. ■ The stereo return bus, as described in “Return Assign” on page 43, can only be assigned to one of the four available analog output pairs.
this case, the ADAT Optical clock source setting lets you slave the 828x to the device itself via its digital input to the 828x. This setting is also useful if you just need to make a simple, click-free digital transfer between the 828x and another device — where a time code reference and shared transport control are not needed — without having to set up an elaborate synchronization scenario. For further details, see “Choosing a clock source for optical connections” on page 28.
output, which you can access as an independent output destination in your host audio software and as an output destination for the four on-board CueMix FX mix busses. Optical input/output The Optical input and Optical output settings let you choose between 8-channel ADAT optical (‘lightpipe’) and stereo S/PDIF optical (‘TOSLINK’) as the format for the 828x’s optical input and output. Choose the format that matches the device connected.
As another example, you could use the stereo return bus to capture tracks played from your host software, along with live inputs being routed directly through the 828x hardware via CueMix FX (with or without CueMix effects processing on the live inputs). Word Out The Word Out menu appears when the 828x is operating at a 2x sample rate (88.2 or 96kHz) or 4x sample rate (176.4 or 192kHz).
CHAPTER 6 Front Panel Operation OVERVIEW The 828x offers complete front-panel programming via six rotary encoders and a 2x16 backlit LCD display. All 828x settings can be accessed via these front-panel controls. Mic/guitar inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MAIN VOLUME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PHONES METERS AND STATUS LEDS From the factory, the PHONES jack (Figure 6-1) is a discrete output at 44.1/48 kHz, but it can mirror any other output pair (digital or analog) or serve as its own independent output. For example, at 88.2/ 96 kHz, it defaults to mirroring the XLR main outs. The meters and LEDs (Figure 6-2) provide complete status and metering information for all 828x inputs and outputs. As the primary phone jack, it has its own dedicated volume knob.
PUSH-BUTTON ROTARY ENCODERS All of the knobs shown in Figure 6-3 are pushbutton digital rotary encoders. In many cases, you can either push the knob or turn it to make a setting or toggle the LCD display (depending on the encoder and setting). MULTI-FUNCTION LCD DISPLAY The LCD provides access to the many 828x settings, as well as visual feedback of the current parameter being modified.
828X SETUP MENU To access the 828x SETUP menu, push the PARAM knob until you see 828x SETUP displayed in the LCD. This menu provides basic features for managing the 828x hardware. Turn the PARAM knob to access each setting, explained briefly below. LCD Contrast Turn the VALUE knob to adjust the LCD contrast. Figure 6-5: In setup mode, the LCD displays a setup parameter in the top row of the LCD and the current setting in the bottom row.
■ Type II — for 2x optical connection to MOTU products that are equipped with optical ports and support 2x operation Turn the VALUE knob to select an optical port and push the knob to toggle between the Type I and Type II setting. CUEMIX MENU The IN (inputs) menu Push the CHANNEL button repeatedly until you see “I:” in the channel section of the LCD (Figure 6-6). This is similar to accessing the Inputs tab in CueMix FX (“The Inputs tab” on page 74). “ I: ” Indicates the IN (inputs) menu.
Turn the PARAMETER knob to scroll through individual parameters, such as the frequency for the current band of EQ. This is roughly equivalent to the parameters in the EQ tab (Figure 9-10 on page 80), Dynamics tab (Figure 9-21 on page 86) and Reverb tab (Figure 9-23 on page 89) in the CueMix FX software. Adjusting the value of a parameter Turn the VALUE knob to adjust the value of the current PARAMETER. Some parameters have default values. If so, push the VALUE knob to cycle through them.
The MIX (Mixes) menu Push the CHANNEL button repeatedly until you see “MIX 1” (or “MIX 2”, etc.) in the channel section of the LCD (Figure 6-8). This is similar to accessing the Mixes tab in CueMix FX (“The Mixes tab” on page 72). The current mix bus. Access individual parameters here, such as input channel settings. ■ REVERB — these are the reverb send and return controls for the bus master fader. Access them with the PARAMETER knob.
INPUTS MENU OUTPUTS MENU CHANNEL PAGE PARAM INPUTS mic 1-2 Analog 1-2 Analog 3-4 etc.
MIXES MENU STAND-ALONE OPERATION CHANNEL PAGE PARAM MIXES Mix 1 Mix 2 etc. MASTER ASSIGN MUTE FADER COPY PASTE RESET REVERB SEND RETURN MIC 1 MIC 2 (if mono) MUTE SOLO (BAL/WID) - n/a PAN FADER MIC 1-2 (if stereo) MUTE SOLO BAL/WID WIDTH FADER ANALOG 1 ANALOG 2 etc. (if mono) MUTE SOLO (BAL/WID) - n/a PAN FADER ANALOG 3-4 ANALOG 5-6 etc. (if stereo) MUTE SOLO BAL/WID BAL FADER SPDIF MUTE SOLO BAL/WID BAL FADER ADAT A1-2 ADAT A3-4 etc.
FRONT PANEL OPERATION
CHAPTER 7 Configuring Host Audio Software OVERVIEW The 828x provides multi-channel audio input and output for Core Audio-compatible audio applications, including MOTU’s Digital Performer and AudioDesk, Apple’s Logic Pro, Logic Express, SoundTrack Pro, and GarageBand, and other third-party software applications such as Ableton Live, Avid Pro Tools, Cockos Reaper, Propellerhead Reason and Record, Steinberg Cubase and Nuendo, and others. AudioDesk is included with your 828x system.
If you do not have any digital audio connections to your 828x (you are using the analog inputs and outputs only), and you will not be slaving your host software to external SMPTE time code, choose Internal. you would like to hear on this return. This can be used, for example, to record back a final stereo mix that includes effects processing from the 828x DSP (such as the Leveler) for reference and archiving purposes.
Digital Performer and AudioDesk In MOTU Digital Performer or AudioDesk, choose Configure Audio System > Configure Hardware Driver from the Setup menu, as shown in Figure 7-2. Choose MOTU 828x from the list of CoreAudio drivers. Pro Tools In Avid Pro Tools, go to the Setup menu and choose Playback Engine as shown in Figure 7-3. Choose the MOTU 828x from the Current Engine menu. For information about the H/W Buffer Size setting, see “Adjusting the audio I/O buffer” on page 65.
Logic Pro and Logic Express In Logic Pro and Logic Express, go to the Preferences window, click the Audio tab, click the Devices tab and click the Core Audio tab as shown in Figure 7-4. Choose the MOTU 828x from the Output and Input device menus. Garage Band In Garage Band, go to the Audio/MIDI preferences and choose MOTU 828x from the Audio Output and Audio Input menus as shown below in Figure 7-5.
Live In Ableton Live, access the preferences window and click the Audio tab. Choose Core Audio from the Driver Type menu. Choose the MOTU 828x from the Input Audio Device and Output Audio Device menus as shown below in Figure 7-7. To enable or disable input or output channels, click the Input Config or Output Config buttons. Reaper In Cockos Reaper, access the Preferences and click Devices under the Audio preferences. Choose MOTU 828x from the Audio Device menu as shown below in Figure 7-9.
outputs, check MOTU Audio Setup to make sure they are enabled. If you don’t plan to use either optical bank, turn it off to conserve computer bandwidth. Remember that the main outs and headphone output can be configured in MOTU Audio Setup to mirror other outputs. In addition, the 828x optical banks can be disabled or configured as either ADAT optical or TOSLink. This will affect how they appear (and if they appear at all) in your host software’s audio input lists.
SYNCHRONIZATION You may encounter situations in which you need to synchronize your audio software and the 828x to the other components of your system. Synchronizing digital audio connections If you have devices connected to the 828x’s digital optical ports, you need to be concerned with the synchronization of the 828x’s digital audio clock with other devices connected to it digitally (if any).
CONFIGURING HOST AUDIO SOFTWARE
CHAPTER 8 Reducing Monitoring Latency OVERVIEW Monitoring latency is that slight delay you hear when you run an input signal through your host audio software. For example, you might hear it when you drive a live guitar input signal through an amp modeling plug-in running in your audio sequencer.
MONITORING LIVE INPUT There are two ways to monitor live audio input with an 828x: 1) through the computer or 2) via the 828x CueMix FX hardware mixer. Figure 8-1 shows method 1, which allows you to apply hostbased effects processing via plug-ins in your audio software. See the next section, “Adjusting the audio I/O buffer” for details about how to reduce — and possibly eliminate — the audible monitoring delay that the computer introduces.
ADJUSTING THE AUDIO I/O BUFFER A buffer is a small amount of computer memory used to hold data. For audio interfaces like the 828x, buffers are used for the process of transferring audio data in and out of the computer. The size of the buffers determines how much delay you hear when monitoring live inputs through your audio software: larger buffers produce more delay; smaller buffers produce less.
■ How responsive the transport controls are in AudioDesk, Digital Performer or other audio software Figure 8-4: In Cubase or Nuendo, choose Devices menu > Device Setup. Select MOTU 828x, then click the Control Panel button to access the window above and the Buffer Size setting. The buffer setting presents you with a trade-off between the processing power of your computer and the delay of live audio as it is being patched through your software.
Effects processing and automated mixing Reducing latency with the buffer size setting has another benefit: it lets you route live inputs through the real-time effects processing and mix automation of your audio software. CUEMIX FX HARDWARE MONITORING The 828x has a more direct method of patching audio through the system: CueMix FX. CueMix FX is a digital mixer in the 828x hardware itself.
Controlling CueMix FX from within AudioDesk or Digital Performer To turn on CueMix FX in AudioDesk and Digital Performer: 1 From the Setup menu, choose Configure Audio System>Input Monitoring Mode. 2 Choose the Direct hardware playthrough option, as shown below in Figure 8-7. 3 From the Studio menu, choose Audio Patch Thru, and choose any monitoring mode except Off. Figure 8-7: Enabling CueMix FX in AudioDesk or Digital Performer.
CHAPTER 9 CueMix FX OVERVIEW CueMix FX is a cross-platform software application that provides graphic, on-screen control for the 828x’s flexible CueMix FX on-board mixer and effects processing. CueMix FX also provides many advanced audio analysis tools, including a tuner and oscilloscope. CueMix FX can be used independently of any host audio software, or together with it. CueMix dovetails with the direct monitoring features of your host audio software, allowing you to seemlessly mix in both environments.
ADVANTAGES OVER HOST-BASED MIXING AND PROCESSING CueMix FX provides several major advantages over mixing and processing in your host audio software: ■ CueMix has no buffer latency. Thanks to the 828x’s DSP chip, CueMix provides the same throughput performance as a digital mixer. CueMix mixing and effects processing imposes no processor drain on the computer’s CPU. ■ ■ CueMix routing can be maintained independently of individual software applications or projects.
channel-specific settings (channel strip, EQ and dynamics), plus the global meter bridge and reverb processor. Global reverb processor The 828x has a global reverb module (Figure 9-23 on page 89). Once it has been activated, you can feed signals to the reverb processor from various points in the 828x mix matrix via input sends, bus sends and output sends. Stereo output from the reverb processor can then be fed back to mix busses or output pairs using reverb returns.
THE MIXES TAB Click the Mixes tab (Figure 9-2) to gain access to the 828x’s eight stereo mix busses. The Mixes tab displays one mix bus at a time. Viewing a mix Choose the mix you wish to view from the mix bus menu (in the Mixes tab itself, as shown in Figure 9-2). The menu shows all mixes by name, followed by the 828x output pair to which each bus master fader is assigned.
Bus mute The bus mute button (Figure 9-2) disables (silences) the mix. channels are being scoped by CueMix’s audio analysis tools, as explained in “Choosing channels for audio analysis” on page 95. Bus level meter The bus level meter, which is post-fader, shows you the output for the mix’s output. Input pan section The input pan knob (Figure 9-2) pans the input across the bus stereo outputs.
THE INPUTS TAB The 828x provides many features for managing analog and digital input signals. Some of these features, such as the 828x’s digitally controlled analog trims, are implemented in the analog domain; others are implemented in the digital domain as DSP applied to the digital signal (after the A/D converter on analog inputs). Click the Inputs tab (Figure 9-3) to access and control all of these input channel settings for each 828x input or input pair.
Input channel focus Click the channel focus button (Figure 9-3) to view and edit parameters in the channel settings section of the CueMix FX window (Figure 9-7 on page 78). Input EQ and dynamics The 828x lets you apply 7-band parametric EQ and dynamics processing (DSP) to any input, analog or digital. Mono/stereo pairing Click the Mono button (Figure 9-3) if you would like an input to be treated as a mono channel.
Orange Green Blue Red Yellow White Black EQ band selectors LP/HP filter selector Compressor selector Colored knobs Figure 9-4: The EQ/Dynamics selectors. Click the selector (Figure 9-4) for the desired EQ band, low-pass (LP) filter, high pass (HP) filter or compressor to view it across all channels. Compressor graph Compressor meter Compressor selector EQ/Dynamics enable/disable buttons Click the EQ or Dynamics button at the bottom of the input channel (Figure 9-3) to toggle the effect on or off.
Output channel focus Click the channel focus button (Figure 9-6) to view and edit parameters in the channel settings section of the CueMix FX window (Figure 9-7 on page 78). Channel focus also determines which channels are being scoped by CueMix’s audio analysis tools, as explained in “Choosing channels for audio analysis” on page 95. Output EQ and Dynamics The EQ/Dynamics section in the Outputs tab (Figure 9-6) works identically to the EQ/Dynamics section for the Inputs tab (Figure 9-3).
Monitor group assign Click the Monitor buttons (Figure 9-6) to toggle whether the output pair is included in the Monitor group. See “The Monitor Group” on page 91. The Channel tab The Channel tab (Figure 9-8) displays settings for input channels. Click any focus button in the Inputs tab to view the Channel tab settings for the channel.
Stereo settings Inputs that have been grouped as stereo pairs in the Inputs tab (Figure 9-3) provide two stereo modes (Figure 9-8): Normal and M/S. M/S mode provides decoding for a mid-side microphone configuration. The Width knob (Figure 9-8) provides control over the stereo imaging, going from a full stereo image to mono (both channels panned equally). See “Width” on page 73. The Swap L/R button (Figure 9-8) lets you switch the left and right channels.
The EQ tab The EQ tab (Figure 9-10) displays the EQ settings for the input or output channel that currently has the focus. Click any focus button in the Inputs or Outputs tab to view the EQ tab settings for the channel. Vintage EQ Inspired by legendary British large console EQs, the 828x Vintage EQ section (Figure 9-10) gives you the look, feel and sound of the most sought-after classic equalizers.
☛ EQ is disabled when the 828x is operating at a 4x sample rate ( 176.4 or 192 kHz). Filter handle: Drag this handle to graphically adjust the filter’s boost/cut and/or frequency. Vintage EQ Quick reference Composite curve (white line): shows the overall Filter response display: Shows the response curve for the current settings. response curve of the current settings in the window.
Showing and hiding filter curves To view a filter in the display, turn on the filter. The shape of the filter, according to its current settings, is shaded in the same color as the filter’s knob(s). Use the filter display options menu (Figure 9-10) to show or hide them in the display.
Type I Type II Figure 9-13: Type I EQ filter style. Figure 9-14: Type II EQ filter style. The Type I EQ filter has the least amount of Gain/Q interaction, providing the most precision and control of all the EQ filter types. Even small adjustments in gain or reduction produce relatively high Q. This EQ style is best for situations that call for precise EQ adjustments requiring the maximum amount of individual parameter control. For more general shaping (e.g. full mixes) or subtle control (e.g.
Type III Type IV Figure 9-15: Type III EQ filter style. Figure 9-16: Type IV EQ filter style. The Type III EQ filter increases Q as boost is applied. Therefore, lower amounts of boost provide a softer, “wider” EQ effect (since the affected frequency range widens), while higher boost tends to sound louder and more “up front”, due to the increase in Q as the gain is increased.
Shelf filters response corresponds to a second order shelf, still with no overshoot. This is the same response as conventional parametric EQs. In some situations, this form of accurate, clean shelving can sound harsh, especially when compared to legacy analog EQs. To soften the results, the overshoot is increased as Q is increased, as shown Figure 9-17 for Q values of 1.00, 2.00 and 3.00.
Overshoot tends to produce more of what one would expect to hear when applying shelving and is therefore considered to be more musical than shelving without overshoot. This effect, which has gained tremendous popularity among audio engineers, was first made popular in original Neve series EQs and later in the SSL G series. At the maximum Q setting of 3.00, the overshoot peaks at half the total boosted (or cut) gain.
Compressor The Compressor (Figure 9-21) lowers the level of the input when it is above the threshold. The amount of attenuation is determined by the Ratio and the input level. If the input is 6 dB above the Threshold and the Ratio is 3:1, then the output will be 2 dB above the Threshold. When the input level goes above the threshold, the attenuation is added gradually to reduce distortion. The rate at which the attenuation is added is determined by the Attack parameter.
so that the emission of the panel modulates the resistance. An ELP consists of a thin layer of phosphorescent material sandwiched between two insulated electrodes to form a capacitor. Making one of the electrodes transparent allows the light to escape. These devices are essentially glow-in-thedark paint on a piece of foil covered by metalized glass or plastic, and are the same devices used in low-power night lights.
The Meters tab The Meters tab (Figure 9-22) serves as a comprehensive meter bridge for all inputs, outputs and mix busses in the 828x. This tab gives you a “bird’s-eye” view of all signal activity in the 828x; it is ideal for confirming your signal routing programming and for troubleshooting. Bus activity LEDs (inputs only) displaying an input meter).
Routing inputs, busses and outputs to the reverb processor The reverb processor is a single, independent unit that provides stereo reverb.You can route multiple signals to it from various points (sends) in the CueMix FX mixer, but all incoming signals to the reverb processor are merged and processed together. The resulting stereo output from the reverb can then be inserted into a mix bus or output using stereo returns.
types of spaces. The Size and Level parameters let you control the size of the room and the strength of the initial reflections. ☛ Here’s a tip: try using initial reflections without any subsequent reverb (turn the reverb time down as far as it will go). You’ll hear interesting and unusual effects. Reverb design The Reverb Design section allows you to independently control the reverb time for three separate frequency bands (Low, Mid and High) with adjustable cross-over points between them (Low and High).
DSP METER The DSP meter (Figure 9-1) shows how much of the available DSP processing power is currently being used by the 828x for effects processing. DSP resources are allocated in channel order from the first input to the last output. If there aren’t enough DSP resources for all effects to be enabled on a channel, none of them are allocated on that channel or any following channel.
engaged. To completely silence all other CueMix audio, turn them all the way down. attenuation only occurs when talkback or listenback is engaged. Audio playing back from disk (your host software) is not affected. Talk dim SHORTCUTS Hold down the following general modifier keys as shortcuts: Shortcut Result Shift key Applies your action to all inputs or all outputs in the mix. Command key Applies your action to the stereo input pair, even when it is currently configured as mono.
FILE MENU EDIT MENU Saving and loading hardware presets The 828x can store up to 16 presets in its on-board memory. A preset includes all CueMix FX settings for all mix busses, but it excludes global settings like clock source and sample rate. Undo/Redo CueMix FX supports multiple undo/redo. This allows you to step backwards and forwards through your actions in the software.
DEVICES MENU FFT AND SPECTROGRAM DISPLAY If you are working with more than one MOTU audio interface product, this menu displays all interfaces that are currently online. Choose any device from the menu to edit its settings using the CueMix FX software. FFT and spectrogram information can be displayed in the Filter response display section in the EQ tab (Figure 9-10 on page 80) or as a separate window (Figure 9-29 on page 96) opened from the Devices menu (Figure 9-27).
FFT display Choose Show FFT from the Filter display options menu (Figure 9-10) to superimpose a real-time Fast Fourier Transform (FFT) frequency measurement curve over the EQ filter display, as demonstrated in Figure 9-30: FFT curve Figure 9-31: FFT display. The spectrogram scrolls from top to bottom, where the top edge of the display represents what you are hearing “now”. Color represents amplitude along the left/right frequency spectrum.
Pause button Display options There are two modes for the controls: Zoom/Offset and Min/Max. To change the mode, use the Horizontal control menu (Figure 9-34). Figure 9-33: View controls These settings are independent of the small graph display options (Figure 9-10 on page 80), so you have the flexibility to display different combinations in each graph. ☛ “Show EQ Controls” will be available only if the focused pair is a stereo input pair or stereo output pair.
The info box When any EQ filter point is selected or dragged in the full window graph, the info box is shown next to the point in the full graph display (Figure 9-35). Level meters are displayed to the right of the graph. One or two meters are shown, depending on the current view mode (see “View controls”). Opening the oscilloscope Each 828x has its own oscilloscope. To open an oscilloscope, choose the Oscilloscope item from the Devices menu under the desired interface. Figure 9-35: The Info Box.
View menu The View menu (Figure 9-37) lets you choose how you wish to display the audio channel(s) being displayed.
zero, denoted by the extra vertical graph lines surrounding it. There are two kinds of waveform recognition available: Type I and Type II. Figure 9-39: Waveform Recognition menu Type I recognition provides the most stable display of the waveform. It is the most resistant to change. Louder transients, such as those produced by a snare drum, are not displayed inside of the waveform window.
Holdoff Holdoff defines a time interval during which the oscilloscope does not trigger. The most recent trace will be displayed during that period. When the period is over, the trigger is “re-armed’, i.e. it will begin looking for the criteria again. Click and drag this value up or down to set it, or double-click to return to the default value. Trigger modes The Trigger menu (Figure 9-40 on page 100) provides four modes: Trigger modeWhat it does None The Trigger is not active; this is the default mode.
To adjust the left and right edges of the measurement area, click and drag the blue bars in the graph, or click and drag the blue numbers in the upper left or right corners. To reset them to the default value, double-click the numbers. Information about the measured area is displayed at the center of the top ruler: the duration (in seconds and samples), the approximate frequency, and the scientific note name. If the measured area is long enough, the approximate beats per minute (bpm) is displayed.
transient is settled in the display and fairly stable, you may need to adjust the horizontal position to center it in the display. These settings are depicted in the example in Figure 9-42. You can also pause the display at any time and adjust the horizontal bounds to locate a transient. Clip detection You can use the Oscilloscope to detect clipping in a digital audio signal. To do so, enable all criteria (Figure 9-40 on page 100), choose Single Sweep from the trigger menu (Figure 9-40), set the level to 0.
X-Y PLOT The X-Y Plot window (Figure 9-43) graphs the amplitude of a stereo audio signal on a twodimensional grid. For each unit of time (i.e., each sample), the amplitude of the left channel is displayed on the xaxis and the amplitude of the right channel is displayed on the y-axis. A thick white vertical line marks where left channel amplitude equals zero; a thick white horizontal line marks where right channel amplitude equals zero (Figure 9-43, below).
Choosing a channel pair to display The X-Y Plot follows the currently focused audio input or output. If you focus a mono channel (e.g. Analog 3), its corresponding stereo pair will be displayed (Analog 3–4). View controls The View controls (Figure 9-44) provide several options for the X-Y Plot display. Pause button Figure 9-44: View controls Pausing the display The Pause button in the upper right corner of the View section (Figure 9-44) allows you to freeze the display at any time.
Persistence The Persistence controls (Figure 9-47) affect the appearance of data from when it is first displayed until it disappears from the grid. Using the X-Y Plot The X-Y Plot helps you “see” the width of the stereo field of a mix.
PHASE ANALYSIS The Phase Analysis window (Figure 9-49 on page 107) graphs frequency versus phase difference versus amplitude of a stereo signal on either rectangular or polar coordinates. In rectangular coordinates, the vertical axis represents frequency, and the horizontal axis represents the phase of the left channel minus the phase of the right channel (measured in radians). Choosing a channel pair to display The Phase Analysis window follows the currently focused audio input or output.
A/B (stereo audio channels) The View section (Figure 9-50) displays the pair of input or output audio channels you are viewing. See “Choosing a channel pair to display” above. Line/Scatter Choose either Line or Scatter from the menu in the View section (Figure 9-50) to plot each data point as either a single pixel or as a continuous line that connects each frequency data point to the next, as shown below in Figure 9-45.
Horizontal and vertical controls The Horizontal and Vertical controls (Figure 9-54) let you scale each axis of the grid and offset its zero point. Click and drag the values up or down to set them, or double-click to return to the default value. There are two modes for the controls: Zoom/Offset and Min/Max. To change the mode, use the menu shown in Figure 9-54. Figure 9-54: Setting the Horizontal or Vertical control modes. In Zoom/Offset mode, Zoom scales the axis. Pos moves the zero line.
outside the critical frequency range of the instrument being recorded, you can avoid phase problems among the mic signals. Tuning PA systems The Phase Analysis window can also be used to troubleshoot and tune PAs and sound reinforcement systems by placing microphones in strategic locations, comparing the two signals in the Phase Analysis grid and looking for phase issues at various locations.
TUNER The Tuner window is an accurate and easy to use tuner. Detected frequency Meter greater number of illuminated segments represents greater uncertainty. The color of the segments changes gradually from green (in tune) to yellow, orange, and red (progressively further out of tune). Meter value Meter value: difference between the detected note and the detected frequency, in cents.
CONFIGURATIONS MENU A configuration is just like a hardware preset (a “snapshot” of all settings in CueMix FX and therefore the 828x hardware itself), except that it can be created and managed using the CueMix FX software on your computer, completely independently of the 828x hardware. The commands in the Configurations menu let you create, save, load, import, export and otherwise manage as many configurations as you wish.
CONTROL SURFACES MENU CueMix FX can be controlled from an automated control surface such as the Mackie Control™. Use the commands in the Control Surfaces menu to enable and configure this feature. Application follows control surface When checked, the Application follows control surface menu command makes the CueMix FX window scroll to the channel you are currently adjusting with the control surface, if the channel is not visible when you begin adjusting it.
Other HUI-compatible control surfaces Any control surface that has the ability to emulate a HUI should be compatible with CueMix FX. Just add a Mackie HUI to Audio MIDI Setup and put the control surface hardware into HUI emulation mode. Consult the control surface manual for details about how put it into HUI emulation mode.
CHAPTER 10 MOTU SMPTE Setup OVERVIEW MOTU SMPTE SETUP The 828x can resolve directly to SMPTE time code via any analog input, without a separate synchronizer. The 828x can also generate time code via its time code output. The 828x provides a DSP-driven phase-lock engine with sophisticated filtering that provides fast lockup times and subframe accuracy. Direct time code synchronization is supported by AudioDesk and Digital Performer on Mac OS X.
it cannot distinguish between 30 fps and 29.97 fps time code, or 23.976 and 24 fps time code. So if you are working with either of these rates, make sure you choose the correct rate from this menu. The 828x driver updates the frame rate setting in Digital Performer and AudioDesk for you. READER SECTION The Reader section (on the left-hand side of the window in Figure 10-1) provides settings for synchronizing the 828x to SMPTE time code.
The 828x cannot freewheel address without clock. Therefore, the Freewheel Address setting will always be lower than or equal to the Freewheel Clock setting, and both menus will update as needed, depending on what you choose. The ‘Infinite’ freewheel setting The Infinite freewheel setting in the Freewheel Clock menu causes the 828x to freewheel indefinitely, until it receives readable time code again. To make it stop, click the Stop Freewheeling button.
RESOLVING PRO TOOLS TO TIME CODE To resolve your Pro Tools system directly to SMPTE time code with no additional synchronization devices, use the setup shown in “Syncing to SMPTE timecode” on page 33. 1 Connect an LTC signal to the 828x time code input (or other analog input). 2 In MOTU SMPTE Setup, go to the SMPTE Source menu and choose the SMPTE input (or other analog input that is receiving the time code). 3 In MOTU SMPTE Setup, go to the Clock Source menu and choose SMPTE/SMPTE as the clock source.
Part 3 Appendices
APPENDIX A Troubleshooting Slaving directly to time code in AudioDesk or Digital Performer To slave Digital Performer or AudioDesk directly to time code, be sure to go to the Receive Sync dialog in Digital Performer or AudioDesk and switch from “MTC” to “Sample-accurate.” Can’t authenticate AudioDesk When authenticating AudioDesk, the OK button does not become active until you have entered in your name and a valid keycode.
REPLACING DISCS If your installer disc becomes damaged, our Customer Support Department will be glad to replace it. You can request a replacement disc by calling our business office at (617) 576-2760 and asking for the customer service department. In the meantime, you can download the latest drivers from www.motu.com.
APPENDIX B Audio I/O reference OVERVIEW The MOTU Audio drivers supply text string labels for the 828x’s audio inputs and outputs to clearly identify each one, but some applications do not display these labels. The following sections show how you can identify each input and output in a numbered list like this. Inputs at 1x sample rates Inputs are always listed in the same order as follows, when operating the 828x at 1x sample rates (44.
Outputs at 1x sample rates Outputs are always listed in the same order as follows, when operating the 828x at 1x sample rates (44.1 or 48 kHz): Output 44.1 / 48 kHz Channels List position Comment Analog 8 1-8 - Main outs 2 9-10 If the main outs are assigned to mirror another output pair (such as the analog 1-2), they won’t be listed separately. Phones 2 11-12 If the phones are assigned to mirror another output pair (such as the main outs), they won’t be listed separately.
Index +4dB analog input 26 -10dB analog input 26 192kHz operation 41 24-bit optical 8, 13 recording 15 48V phantom power 78 828x channel numbers 123 expansion 35 installing 23 rear panel overview 12 SMPTE setting 42 summary of features 11 tab 40 Word Clock In setting 41 A Ableton Live 55, 59 Activity LEDs 7, 15 ADAT optical 8, 13, 43 clock source setting 41, 42 connecting 27 SMUX Type 48 sync 33 trim 75 All Notes Off (LCD) 48 Analog activity lights 7, 15 Analog inputs/outputs 8 making connections to 26 tri
configuring 9 connecting 29 jack 8 Force 1x word out rate 35 Freewheel address 116 clock 116 infinite 116, 117 Frequency EQ 82 Front panel 45 metering 46 G Gain EQ 82 reduction 87 reduction (Leveler) 88 GarageBand 55, 58 clock source 55 Main Out Assign 56 optical I/O 56 phones 56 Return Assign 56 reverb return 56 sample rate 55 General tab 40 Generate from sequencer 117 GR (gain reduction) 87 Guitar connecting 26 Guitar/mic inputs connecting 30 phantom power 7 H Hardware Follows CueMix Stereo Settings 94
sample rate 55 Oscilloscope 98 Output level (meter in Dynamics plug-in) 87 Outputs analog 8 dynamics 77 EQ 77 naming 76 optical 8 reverb send/return 77 S/PDIF (TOSLink) 8 signal flow 76 tab 76 Overload Protection 79 P P LED (pad) 78 Packing list 17 Pad 25, 78 Paste 94 Patch thru latency 66 Peak mode 87 Peak/Hold Time 94 Pedal 14, 44 3rd party OS X software 61 configuring 9 jack 8 Pedal A 29 Pedal B/LRC 29 Performance 66 Phantom power 25, 26, 78 Phase 75 Phase Analysis 107 Phase-lock 32 Phones 7, 45, 46, 1
2.0 versus 1.1 24 3.0 24 connecting 24 installing drivers 19 User def.
