828x User Guide for Windows 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 Console 11 About the 828x 17 Packing List and System Requirements 19 Installing the 828x Software 21 Installing the 828x Hardware Part 2: Using the 828x 37 MOTU Audio Console 43 Front Panel Operation 53 Configuring Host Audio Software 61 Reducing Monitoring Latency 67 CueMix FX 113 MOTU SMPTE Console Part 3: Appendices 119 Troubleshooting 121 Audi
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 Console CHAPTER 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’. The other settings are for digital transfers via S/PDIF or optical ports, or for slaving the 828x to word clock.
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. . Host Audio Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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.
clock output at either 96 or 48 kHz. Half-rate output is supported for all high sample rates (from 88.2 to 192 kHz). Digital Trim™ knobs on the front panel for each mic/instrument input provide up to 53 dB of boost in precise 1 dB increments. 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.
five-segment input meters provide dedicated multi-segment metering for their respective inputs, as do the five-segment main out meters. mixer. Input signals to the computer can be recorded wet, dry, or dry with a wet monitor mix (for musicians during recording, for example). 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).
HOST AUDIO SOFTWARE The 828x ships with standard Windows drivers that allow you to record, edit, play back, and mix your 828x projects using your favorite Windows audio software.
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 2 Power off and disconnect the 828x. Installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOTU Audio drivers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOTU Audio Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOTU MIDI Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MOTU AUDIO DRIVERS ASIO ASIO is an acronym for Audio Streaming Input and Output. The MOTU Audio ASIO driver provides multi-channel audio input and output for applications that support ASIO audio drivers, such as Ableton Live, Avid Pro Tools, Cakewalk SONAR, Cockos Reaper, Propellerhead Reason and Record, Steinberg Cubase and Nuendo, and others. For details about using the 828x with ASIO, see chapter 7, “Configuring Host Audio Software” (page 53). WDM WDM is an acronym for Windows Driver Model.
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. 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 1.1 controllers support simple peripherals that don’t require a high speed connection, such as a computer keyboard, a mouse, or a printer. USB 3.0 and 2.0 controllers support high speed devices such as the 828x.
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 73) or the front panel (“The IN (inputs) menu” on page 47). 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 30. 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 Console.
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 25, 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. You can use the 828x to slave your audio software to SMPTE as well, via sample-accurate sync (if your host software supports it).
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. 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 30). In the simplest case, you have two devices and one is the word clock master and the other is the slave as shown below in Figure 4-17 and Figure 4-18.
INSTALLING THE 828X HARDWARE
Part 2 Using the 828x
CHAPTER 5 MOTU Audio Console OVERVIEW ACCESSING THE 828X SETTINGS MOTU Audio Console 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 . . . . . . . . . . . . . . . . . . . . . . . . . ‘General’ tab settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
‘GENERAL’ TAB SETTINGS Sample Rate Choose the desired Sample Rate for recording and playback. The 828x can operate at 44.1 (the standard rate for compact disc audio), 48, 88.2, 96, 176.4 or 192KHz. If you are operating at a sample rate between 44.1 and 96kHz, make absolutely sure that all of the devices connected digitally to the 828x’s optical connectors match the 828x’s sample rate. At the 4x sample rates (176.4 or 192kHz), optical I/O is disabled.
Internal Use the Internal setting when you want the 828x to operate under its own digital audio clock. For example, you may be in a situation where all you are doing is playing tracks off hard disk in your digital audio software on the computer. In a situation like this, you most often don’t need to reference an external clock of any kind. Another example is transferring a mix to DAT.
The TOSLink clock source setting refers to the clock provided by an optical S/PDIF device connected to the 828x’s optical input. This setting can be used to slave the 828x directly to the optical input connection. Most of the time, you can set up a better operating scenario that uses one of the other synchronization options. However, there may be occasions when you have a TOSLinkcompatible device that has no way of synchronizing digitally to the 828x or an external synchronizer.
If you are at a point in your recording project where you are not currently working with live, patchedthru material (e.g. you’re not recording vocals), or if you have a way of externally monitoring input, choose a higher Samples Per Buffer setting. Depending on your computer’s CPU speed, you might find that settings in the middle work best. The Samples Per Buffer setting also impacts how quickly your audio software will respond when you begin playback, although not by amounts that are very noticeable.
The 828x stereo return bus can be used for a variety of purposes. For example, you could use it to send a final mix being played through the 828x back to the computer, where you could record it for mastering or archiving purposes. 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).
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 72). “ 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 78), Dynamics tab (Figure 9-21 on page 84) and Reverb tab (Figure 9-23 on page 87) 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 70). 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 ASIO- and WDM-compatible audio applications, including Ableton Live, Avid Pro Tools, Cockos Reaper, Propellerhead Reason and Record, Steinberg Cubase and Nuendo, Cakewalk SONAR, and others. MOTU Audio Console provides settings to configure your audio interface and enable the desired inputs and outputs.
If you are slaving the 828x and your host software to SMPTE time code, follow the directions in chapter 10, “MOTU SMPTE Console” (page 113). ☛ In order to use the 828x’s direct SMPTE sync (and sample-accurate sync) feature, the host audio software must support the ASIO 2.0 sampleaccurate positioning protocol. Cubase and Nuendo support this protocol; for other software, check with its documentation.
Digital Performer In MOTU Digital Performer, choose Configure Audio System > Configure Hardware Driver from the Setup menu, as shown in Figure 7-2. Choose MOTU Audio ASIO from the list of ASIO drivers. Cubase and Nuendo In Cubase or Nuendo, go to the Device Setup window. Click the VST Audio System item in the Devices list and choose MOTU Audio ASIO from the VST Audio System menu as shown below in Figure 7-4. Activate the inputs and outputs within Cubase or Nuendo as usual.
Reason and Record In Propellerhead Reason or Record, go to the Preferences window, choose Audio preferences from the menu and choose MOTU Audio ASIO from the Audio Card Driver menu as shown below in Figure 7-6. SONAR In Cakewalk SONAR, you can use the MOTU ASIO driver or the MOTU WDM driver. Note that when using ASIO, only one audio interface may be selected for use in SONAR. Using the MOTU ASIO driver 1 Go to SONAR’s Preferences. 2 In the Audio preferences section, choose Playback and Recording.
Figure 7-9: Enabling the MOTU WDM driver in SONAR. 4 Next, in the Audio preferences section, choose Devices. Figure 7-10: Make sure you have chosen a 828x input and output for the playback and recording timing master settings. 5 Check the 828x inputs and outputs that you wish to use and uncheck the ones you don’t, as shown in Figure 7-8 on page 56. 3 Additionally, if you are using the MOTU WDM driver, click the Wave Profiler button and run the Wave Profiler.
REDUCING LATENCY On Windows, audio I/O buffer size is handled by the audio driver rather than the host audio application. Mix1 1-2 return bus In your host audio software audio input menus, you’ll see an 828x input called Mix1 Return 1-2. This is a stereo feed from the 828x that matches its main outs (Mix 1). This can be used, for example, to record a final stereo mix for reference and archiving purposes.
WORKING WITH CUEMIX FX MIXING AND EFFECTS The 828x provides powerful external mixing, EQ, compression and reverb, which you can operate hand-in-hand with your host’s mixing environment. For example, the 828x can serve as a monitor mixer, routing channels to musicians, or it can serve as an integrated extension of your host’s mixing environment.
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.
Lower latency versus higher CPU overhead The buffer setting has a large impact on the following things: ■ Patch thru latency ■ The load on your computer’s CPU ■ Possible distortion at the smallest settings ■ How responsive the transport controls are in your audio software 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.
Using the CueMix FX app If your host audio software does not support direct hardware monitoring, you can run the CueMix FX software side-by-side with your audio software and manage your monitor mix in CueMix FX. Controlling CueMix DSP from within Cubase or Nuendo To turn on CueMix in Cubase or Nuendo, enable the Direct Monitoring check box in the Device Setup window. CueMix FX allows you to create up to eight separate 828x stereo mixes, or any other desired routing configurations.
REDUCING MONITORING LATENCY
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 87). 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. Bus level meter The bus level meter, which is post-fader, shows you the output for the mix’s output. Bus reverb send/return The bus reverb send (Figure 9-2) feeds the output of the mix bus, pre-fader, to the 828x’s global reverb processor, where it is merged with any other signals being fed to the reverb. The reverb’s output can then be fed back into the mixer at various return points, including the bus return (discussed below).
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 76). 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 76). 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 93. 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 89. 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 71. 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. Control 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 78) or as a separate window (Figure 9-29 on page 94) 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 78), 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 98) 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 98), 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 105) 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.
Figure 9-58: Refer to the extensive on-line help for details about configuring CueMix FX for operation with your control surface product.
CHAPTER 10 MOTU SMPTE Console OVERVIEW MOTU SMPTE CONSOLE 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.
and switch to the incoming frame rate, except that 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. 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.
MOTU SMPTE CONSOLE
Part 3 Appendices
APPENDIX A Troubleshooting Why does the start sound not play through the 828x? The 828x will only playback audio at a sampling rate of 44.1, 48, 88.2 or 96 kHz. encounter the same artifacts you may want try using another drive in your computer. Clicks and pops can also occur when the drive is severely fragmented or there are other drive-related issues. The computer freezes when it starts up If the computer is unable to boot up, it may be a conflict with the WDM Driver.
registration card. Doing so entitles you to technical support and notices about new products and software updates. 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 24 -10dB analog input 24 192kHz operation 38 24-bit optical 8, 13 recording 15 48V phantom power 76 828x channel numbers 121 installing 21 rear panel overview 12 SMPTE setting 40 summary of features 11 tab 37 Word Clock In setting 39 A Ableton Live 53, 55 Activity LEDs 7, 14 ADAT optical 8, 13, 41 clock source setting 39 connecting 25 SMUX Type 46 sync 31 trim 73 All Notes Off (LCD) 46 Analog activity lights 7, 14 Analog inputs/outputs 8 making connections to 24 trim 73 Analysis too
EQ 80 Front panel 43 metering 44 G Gain EQ 80 reduction 85 reduction (Leveler) 86 GarageBand clock source 53 Main Out Assign 54 optical I/O 54 phones 54 Return Assign 54 reverb return 54 sample rate 53 General tab 37 GR (gain reduction) 85 Guitar connecting 24 Guitar/mic inputs connecting 28 phantom power 7 LCD contrast 46 LCD display 45 Level meter bus 71 monitor group 89 Leveler 84, 85 Lightpipe 41 2x mode 46 Limit button 86 Listenback button (channel tab) 77 button (Outputs tab) 75 explained 90 Live 55
Overload Protection 77 P P LED (pad) 76 Packing list 17 Pad 23, 76 Paste 92 Patch thru latency 40, 64 Peak 16 Peak mode 85 Peak/Hold Time 92 Pedal 14, 41 3rd party OS X software 59 configuring 9 jack 8 Pedal A 27 Pedal B/LRC 27 Performance 64 Phantom power 23, 24, 76 Phase 73 Phase Analysis 105 Phase-lock 30 Phones 7, 43, 44, 122 menu 110 Phones 1-2 output 58 Phones Assign 41 3rd party software 54 Pre/post FX buttons 77, 87 PreDelay 88 Presets naming/saving in LCD 46 Pro Tools 53, 55 Propellerhead Reason 5
VST 16 W Wave driver 9, 20 WDM 20 Width 71 reverb 89 Width knob 77 Windows Driver Model (see WDM) Word clock 8, 13, 30, 32 In setting 39 sync setting 39 Word Out 42 X X-Y Plot 102 126 I N D E X