User Manual
Table Of Contents
- Title Page
- Quick Start Guide
- LP32 Front Panel
- LP32 Rear Panel
- MOTU Pro Audio Control Web App
- Overview
- It’s not on your hard drive
- Use your favorite web browser
- Control from multiple devices
- Run the installer, get the app
- Make hardware and network connections
- Launching the web app
- Device tab
- Device tab (continued)
- Device tab (continued)
- Routing tab
- Mixing tab
- Aux Mixing tab
- Mixer input channel strips
- Main Mix and Monitor channel strips
- Aux bus channel strips
- Group and Reverb channel strips
- 1 About the LP32
- Comprehensive I/O
- Flexible optical I/O
- Network I/O
- Other MOTU AVB interfaces
- Universal computer connectivity
- On-board DSP with mixing and effects
- 32-bit floating point processing
- Modeled vintage effects processing
- AVB/TSN system expansion and audio networking
- Matrix routing and multing
- Web app control
- Stand-alone mixing with wireless control
- Comprehensive metering
- Headphone output
- Rack mount or desktop operation
- Audio analysis tools
- AudioDesk
- 2 Packing List and System Requirements
- 3 Software Installation
- 4 Hardware Installation
- Overview
- USB or iOS audio interface setup
- AVB Ethernet audio interface setup
- Setup for two interfaces
- Setup for three to five interfaces
- Setup for a multi-switch network
- Setup for multiple interfaces
- Setup for web app control
- Setup for AVB Ethernet audio interface operation
- Audio connections
- Synchronization
- Syncing optical devices
- Syncing word clock devices
- Syncing an AVB network
- Syncing multiple AVB audio interfaces connected to a Mac
- 5 Presets
- 6 The Front Panel LCD
- 7 Working with Host Audio Software
- Overview
- Preparation
- Run the web app
- Choose the MOTU Pro Audio driver
- Reducing monitoring latency
- Monitoring through the LP32
- Direct hardware playthrough / Direct ASIO monitoring
- Monitoring through your host audio software
- Adjusting your host software audio buffer
- Adjusting buffer size on Mac OS X
- Adjusting buffer size on Windows
- Lower latency versus higher CPU overhead
- Transport responsiveness
- Effects processing and automated mixing
- Working with the Routing grid
- Enabling and disabling input/output banks
- Specifying the number of computer channels
- Making inputs and outputs available to your host software
- Configuration presets
- Naming computer input and output channels
- Streaming computer audio to and from the onboard mixer
- Working with AVB network streams
- Mirroring computer channels to multiple outputs
- Combining multiple sources to one output
- Routing grid tutorials
- Working with on-board mixing and effects
- 8 Mixer Effects
- 9 MOTU Audio Tools
- 10 Networking
- A Troubleshooting
- B Audio Specifications
- C Mixer Schematics
- D Updating Firmware
- E OSC Support
- Index
MOTU AUDIO TOOLS
84
Horizontal and vertical controls
The Horizontal and Ve r t i c a l controls (Figure 9-24)
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 9-24.
Figure 9-24: Setting the Horizontal or Vertical control modes.
In Zoom/Offset mode, Zoom scales the axis. Pos
moves the zero line.
In Min/Max mode, Min and Max let you scale the
grid by moving the end points along the axis. Min/
Max mode lets you set the boundaries of the graph
directly.
Filters
The Filters section (Figure 9-25) lets you control
the density of the Phase Analysis display.
Figure 9-25: Filters.
Floor
Floor (Figure 9-25) determines the amplitude
threshold for the display. When the amplitude of
both channels drops below this threshold, the
signal is not shown.
Max delta theta
Max delta theta (Figure 9-25) only affects Line
view (see “Line/Scatter” on page 83) and sets the
maximum difference in frequency between plot
points in the line plot. For two adjacent
frequencies, if the distance (phase difference)
between the two frequencies is greater than the
Max delta theta, then the line is not drawn.
Using the Phase Analysis
In the polar display (top row of Figure 9-26 on
page 85), stereo material that is predominantly
phase-aligned (correlated) appears along the
vertical axis, as demonstrated in the first column
(Perfectly in phase) in Figure 9-26. If the vertical
line tilts left or right, this indicates general
differences in phase; the more the tilt (delta theta),
the more the phase difference. If the vertical line
points downwards in the polar display, this
indicates that the stereo image is predominantly
out of polarity, as demonstrated by the fourth
column (Inverted) in Figure 9-26. Delays appear as
spirals in the polar display.
The rectangular display (bottom row of
Figure 9-26) also shows a predominantly phase-
aligned stereo image along the vertical axis, and tilt
(or left-right offset) from the center vertical axis
represents differences in phase. If a signal is
predominantly out of polarity, it appears along the
theta = -1.0 or theta = +1.0 lines in the rectangular
display, as demonstrated in the fourth column
(Inverted) in Figure 9-26 on page 85.
Using Phase Analysis for multiple mic placement
The polar display can be very useful when
recording drums or another instrument with
multiple microphones. The slight delays caused by
the differences in distance to the source can often
create a comb filtering (delay) effect between two
mic signals, due to phase cancellation. These comb
filter effects appear as spirals in the polar display. If
you arrange the mics so that the null points (where
the spiral pattern meets the negative y axis) are