User's Guide Hammerfall® DSP System HDSPe MADI FX 24 Bit / 192 kHz 9 ™ SyncCheck ™ TotalMix ZLM ™ ™ SyncAlign ™ SteadyClock PCI Express Digital I/O Card 192 Channels MADI Interface 24 Bit / 192 kHz Digital Audio AES/EBU I/O Stereo Analog Monitoring 194 x 196 Matrix Router MIDI I/O MIDI embedded in MADI
General Introduction ...............................................................6 Package Contents .....................................................6 System Requirements ..............................................6 Brief Description and Characteristics.....................6 Hardware Installation................................................7 Hardware – Connectors 6.1 External Connectors ..............................................7 6.2 Internal Connectors......................................
Driver Installation and Operation - Mac OS X 17 Driver and Flash Update 17.1 Driver Installation ................................................. 28 17.2 De-installing the Drivers....................................... 28 17.3 Firmware Update ................................................. 28 18 Configuring the HDSPe MADI FX 18.1 Settings Dialog..................................................... 29 18.2 Clock Modes – Synchronization .......................... 31 19 Mac OS X FAQ 19.
26 The Matrix 26.1 Overview ..............................................................68 26.2 Elements of the Matrix View ................................68 26.3 Usage ...................................................................68 27 Tips and Tricks 27.1 ASIO Direct Monitoring (Windows) ......................69 27.2 Copy a Submix.....................................................69 27.3 Doubling the Output Signal (Mirror) .....................69 27.4 Delete a Submix............................
User's Guide HDSPe MADI FX General User's Guide HDSPe MADI FX © RME 5
1. Introduction Thank you for choosing the HDSPe MADI FX. This unique audio system is capable of transferring digital audio data directly into a computer, from any device equipped with a MADI interface. Installation is simple, even for the inexperienced user, thanks to the latest Plug and Play technology. The numerous unique features and well thought-out configuration dialogs put the Hammerfall DSPe MADI FX at the very top of the range of digital audio interface cards.
5. Hardware Installation To simplify installation it is recommended to first install the drivers (chapter 7) before the unit is connected to the computer. But it will also work the other way round. Before installing the PCI Express card, please make sure the computer is switched off and the power cable is disconnected from mains supply. Inserting or removing the card while the computer is in operation can cause irreparable damage to both motherboard and card! 1.
6.2 Internal Connectors X1100 Sync In Internal word clock input for synchronization of multiple cards via SYNC OUT. X1101 Sync Out This 3-pin connector carries an internal word clock signal. It can be used to synchronize multiple cards with sample accuracy, and without the need for an external connection. The card where SYNC OUT is used is master, the one with SYNC IN is slave. In the Settings dialog the slave has to be set to Sync In under Clock Mode – Clock Source.
8. Warranty Each individual HDSPe MADI FX undergoes comprehensive quality control and a complete test at IMM before shipping. The usage of high grade components should guarantee a long and trouble-free operation of the unit. If you suspect that your product is faulty, please contact your local retailer. Audio AG grants a limited manufacturer warranty of 6 months from the day of invoice showing the date of sale. The length of the warranty period is different per country.
CE / FCC Compliance CE This device has been tested and found to comply with the limits of the European Council Directive on the approximation of the laws of the member states relating to electromagnetic compatibility according to RL2004/108/EG, and European Low Voltage Directive RL2006/95/EG. FCC This device complies with Part 15 of the FCC Rules.
User's Guide HDSPe MADI FX Driver Installation and Operation - Windows User's Guide HDSPe MADI FX © RME 11
10. Driver and Firmware 10.1 Driver Installation To simplify installation it is recommended to first install the drivers before the card is built into the computer. But it will also work the other way round. Insert the RME Driver CD into your CD-ROM drive. The driver installer is located in the directory \HDSPe FX. Start rmeinstaller.exe and follow the instructions of the installer. After the HDSPe MADI FX has been installed correctly (see 5.
11. Configuring the HDSPe MADI FX 11.1 Settings Dialog – Main Tab Configuration of the HDSPe MADI FX is done via its own settings dialog.
Buffer Size The setting Buffer Size determines the latency between incoming and outgoing ASIO and WDM data, as well as affecting system stability (see chapter 13.1). While ASIO can use any offered buffer size, WDM is limited to 256 (XP) or 512 samples (Win 7/8). The driver handles this automatically, higher settings are only applied to ASIO while WDM will stay at 256/512 internally.
TMS TMS activates the transmission of Channel Status data and Track Marker information from the AES and MADI input signal. Redundancy Mode With redundancy mode active the number of input channels is reduced to 66 (AES plus 1x MADI). The two other MADI ports serve as fail safe inputs and are used as soon as the signal on the 'Current MADI Input' fails. This setting is also a perfect choice if the card is used as single MADI I/O, saving resources and providing simpler channel selection dialogs.
11.2 Option WDM Devices The WDM Devices configuration has one button to enter the edit dialog, a status display showing the number of currently enabled WDM devices, and a listbox to select between Stereo or Multi-Channel devices. The number represents both record and playback devices, so ‘1’ means one input and one output device. The screenshot to the right shows the stereo WDM devices available with the MADI FX, and that only MADI 1/2 has been activated. Any number can be activated.
Changing to the tab Speaker presents a list of all currently activated WDM devices. Any of these can now get the Speaker property. Please note that defining more than one device as Speaker usually makes no sense, and the speakers also don’t get numbered or renamed in Windows, so it is impossible to find out which one is which. After leaving the dialog with OK the WDM devices are reloaded so Windows sees their new properties. You can now assign any surround mode, from stereo to 7.
11.3 Tab Global This tab includes several options that work on all currently installed cards. Lock Registry Default: off. Checking this option brings up a dialog to enter a password. Changes in the Settings dialog are no longer written to the registry. As the settings are always loaded from the registry when starting the computer, this method provides an easy way to define an initial state of the HDSPe MADI FX. Optimize Multi-Client Mixing Default: off.
11.4 Settings Dialog - Pitch Usually soundcards and audio interfaces generate their internal clock (master mode) by a quartz. Therefore the internal clock can be set to 44.1 kHz or 48 kHz, but not to a value in between. SteadyClock, RME's sensational Low Jitter Clock System, is based on a Direct Digital Synthesizer (DDS). This superior circuitry can generate nearly any frequency with highest precision.
11.5 Clock Modes - Synchronisation In the digital world, all devices must be either Master (clock source) or Slave (clock receiver). Whenever several devices are linked within a system, there must always be a single master clock. A digital system can only have one master! If the card’s clock mode is set to 'Master', all other devices must be set to ‘Slave’. The HDSPe MADI FX utilizes a very user-friendly, intelligent clock control, called AutoSync.
12. Operation and Usage 12.1 Playback The HDSPe system can play back audio data in supported formats only (sample rate, bit resolution). Otherwise an error message appears (for example at 22 kHz and 8 bit). In the audio application being used, HDSPe must be selected as output device. This can often be found in the Options, Preferences or Settings menus under Playback Device, Audio Devices, Audio etc. We strongly recommend switching off all system sounds (via >Control Panel /Sounds<).
12.2 DVD-Playback (AC-3/DTS) AC-3 / DTS When using popular DVD software players like WinDVD and PowerDVD, their audio data stream can be sent to any AC-3/DTS capable receiver via the HDSPe MADI FX. For this to work an output wave device has to be selected in >Control Panel/ Sounds and Multimedia/ Audio< or >Control Panel/ Sound/Playback<. Also check 'use preferred device only'. The DVD software's audio properties now show the options 'SPDIF Out' or similar.
12.3 Multi-client Operation RME audio interfaces support multi-client operation. Several programs can be used at the same time. The formats ASIO and WDM can even be used on the same playback channels simultaneously. As WDM uses a real-time sample rate conversion (ASIO does not), all active ASIO software has to use the same sample rate. However, a better overview is maintained by using the channels exclusively.
13. Operation under ASIO 13.1 General Start the ASIO software and select ASIO HDSPe FX as the audio I/O device. The HDSPe supports ASIO Direct Monitoring (ADM). The HDSPe MADI FX’s MIDI I/O can be used with both MME MIDI and DirectMusic MIDI. At a sample rate of 88.2 or 96 kHz (Double Speed mode), the number of channels available at the MADI input and output is halved. At a sample rate of 176.4 or 192 kHz (Quad Speed mode), the number of channels is reduced to 16.
14. Using multiple HDSPe MADI FX The current driver supports operation of up to three HDSPe MADI FX. All cards have to be in sync, i.e. have to receive valid sync information either via word clock or by using AutoSync and feeding synchronized signals. • If one of the HDSPe cards is set to clock mode Master, all others have to be set to clock mode Slave, and have to be synced from the master, for example by feeding word clock.
16. Hotline – Troubleshooting The newest information can always be found on our website www.rme-audio.com, section FAQ, Latest Additions. The dialog 'New hardware component found’ does not appear: • Check whether the PCI Express interface is correctly inserted in the PCI Express slot. The card and drivers have been installed correctly, but playback does not work: • Check whether the HDSPe MADI FX appears in the Device Manager. When the device has a yellow exclamation mark, then there is a conflict.
User's Guide HDSPe MADI FX Driver Installation and Operation – Mac OS X User's Guide HDSPe MADI FX © RME 27
17. Driver and Flash Update 17.1 Driver Installation First fit the card (see 5. Hardware Installation), then switch on the computer and install the drivers from the RME Driver CD. The driver file is located in the folder HDSPe FX. Installation works automatically by a double-click on the file hdspe_fx.pkg. RME recommends to download the latest driver version from the RME website. If done, the procedure is as follows: Double-click onto hdspe_fx_mac_xxx.
18. Configuring the HDSPe MADI FX 18.1 Settings Dialog Configuring the HDSPe MADI FX is done via its own settings dialog. The panel 'Settings' can be opened by clicking on the hammer icon in the dock. The mixer of the HDSPe MADI FX, TotalMix FX, can be opened by clicking on the DSP FX icon in the dock. The HDSPe hardware offers a number of helpful, well thought-of practical functions and options which affect how the card operates - it can be configured to suit many different requirements.
Options EQ+D for Record Switches EQ and Dynamics of all input channels into the recording path. In case Loopback has been activated the EQ and Dynamics of the Output channel are within the recording path. See also chapter 27.5. Word Clock In Term. Checking this option terminates the word clock input internally with 75 Ohms. Mirror MADI1 Output to MADI2 and 3 This option provides a quick and simple solution to mirror the first MADI output to outputs 2 and 3.
Sync Check RME’s exclusive SyncCheck technology provides an easy to use check and display of the current clock status. The clock state column indicates whether no signal (No Lock), a valid signal (Lock) or a valid and synchronous signal (Sync) is present at each of the digital clock source inputs. 18.2 Clock Modes - Synchronisation In the digital world, all devices must be either Master (clock source) or Slave (clock receiver).
19. Mac OS X FAQ 19.1 MIDI doesn't work In some cases the applications do not show the MIDI port. The reason for this is usually visible within the Audio MIDI Setup – MIDI Window. It displays no RME MIDI device, or the device is greyed out and therefore inactive. Mostly, removing the greyed out device and searching for MIDI devices again will solve the problem. The HDSPe MIDI driver is a plugin. During installation it will be copied to >Library/ Audio/ MIDI Drivers<. Its name is HDSPe FX MIDI.plugin.
20. Using multiple HDSPe MADI FX OS X supports the usage of more than one audio device by the same audio software. This is done via the Core Audio function Aggregate Devices, which allows to combine several devices into one. The current driver supports up to three HDSPe in any combination. All units have to be in sync, i.e. have to receive valid sync information either via word clock or by feeding synchronized signals.
22. Hotline – Troubleshooting The newest information can always be found on our website www.rme-audio.com, section Support, Macintosh OS. Playback works, but record doesn’t: • Check that there is a valid signal at the input. • Check whether the HDSPe MADI FX has been selected as recording device in the audio application. • Check whether the sample frequency set in the audio application (‘Recording properties’ or similar) matches the input signal.
User's Guide HDSPe MADI FX Inputs and Outputs User's Guide HDSPe MADI FX © RME 35
23. Connections 23.1 MADI I/O The BNC input is built according to AES10-1991. The input impedance is 75 Ohm. It will operate error-free from about 180 mVpp on. The optical input and output uses a FDDI (ISO/IEC 9413-3) compatible optical module, according to AES10-1991. More information can be found in chapter 30.1, MADI Basics. HDSPe MADI FX includes automatic input selection (Redundancy Mode). In case the current input signal fails, the unit switches to the other input immediately.
23.3 Line - Headphones HDSPe MADI FX offers a hi-quality analog monitor output. The short circuit protected stereo line output provides high output level, low impedance, and is available via a 6.3 mm (1/4") TRS jack. Therefore it is also suitable for a direct use with headphones. The analog output is directly driven from the channels 3/4. Its output volume is controlled by the hardware output faders of channel 3/4 in TotalMix.
24. Word Clock 24.1 Word Clock Input and Output SteadyClock guarantees an excellent performance in all clock modes. Based on the highly efficient jitter suppression, the HDSPe MADI FX refreshes and cleans up any clock signal, and provides it as reference clock at the BNC output (see chapter 30.6). Input The HDSPe MADI FX word clock input is active when Clock Source in the Settings dialog has been switched to Word Clock, and a valid word clock signal is present.
24.2 Technical Description and Usage In the analog domain one can connect any device to another device, a synchronisation is not necessary. Digital audio is different. It uses a clock, the sample frequency. The signal can only be processed and transmitted when all participating devices share the same clock. If not, the signal will suffer from wrong samples, distortion, crackle sounds and drop outs.
24.3 Cabling and Termination Word clock signals are usually distributed in the form of a network, split with BNC T-adapters and terminated with resistors. We recommend using off-the-shelf BNC cables to connect all devices, as this type of cable is used for most computer networks. You will find all the necessary components (T-adapters, terminators, cables) in most electronics and/or computer stores. The latter usually carries 50 Ohms components.
User's Guide HDSPe MADI FX TotalMix FX User's Guide HDSPe MADI FX © RME 41
25. TotalMix: Routing and Monitoring 25.1 Overview The HDSPe MADI FX includes a powerful digital real-time mixer, the Hammerfall DSP mixer, based on RME’s unique, sample-rate independent TotalMix technology. It allows for practically unlimited mixing and routing operations, with all inputs and playback channels simultaneously, to any hardware outputs. Here are some typical applications for TotalMix: • Setting up delay-free submixes (headphone mixes).
User's Guide HDSPe MADI FX © RME 43
25.2 The User Interface The visual design of the TotalMix mixer is a result of its capability to route hardware inputs and software playback channels to any hardware output. The HDSPe MADI FX provides 194 input channels, 196 software playback channels, and 196 hardware output channels: TotalMix can be used in the above view (View Options 2 Row).
25.3 The Channels A single channel can be switched between mono and stereo mode. The mode is set in the channel settings. Channel name. The name field is the preferred place to select a channel by a mouse click. A double click opens a dialog to assign a different name. The original name will be shown when activating the option Names in the View Options. Panorama. Routes the input signal freely to the left and right routing destination (lower label, see below).
The lowest field shows the current routing target. A mouse click opens the routing window to select a routing target. The list shows all activated routings of the current channel by arrows in front of the listed entries. The current one is shown in bold letters. An arrow is only shown with an activated routing. A routing is seen as activated when audio data is sent. As long as the fader is set to −∞ the current routing will be shown in bold letters, but not have an arrow in the front. Trim Gain.
25.3.1 Settings A click on the tool symbol opens the channel’s Settings panel. It includes these elements: Stereo. Switches the channel to mono or stereo mode. Width. Defines the stereo width. 1.00 equals full stereo, 0.00 mono, -1.00 swapped channels. FX Send. Setting the level of the signal sent to the FX bus which feeds Echo and Reverb. The current setting is also visible with closed channel settings, because knob and small fader are always synchronized.
25.3.2 Equalizer A click on EQ opens the Equalizer panel. It is available in all input and output channels, and affects all routings of the respective channel (pre fader). The panel includes a low cut and a 3band parametric equalizer which can be activated separately. EQ. Activated by the EQ button. Type. Band 1 and 3 can operate in peak (bell) or shelf (shelving) mode. The middle band is fixed to peak mode.
Preset. Settings of the EQ and the Low Cut can be stored, loaded, and copied between channels at any time. A click on Preset opens a menu with several entries: ¾ Recall: Presets stored before by the user can be selected and loaded ¾ Save to: There are 16 storage places available (EQ Preset 1 to 16) ¾ Import: Loads a previously stored TM EQ file (.tmeq) ¾ Export: Stores the current state as TM EQ file (.
25.3.3 Dynamics A click on D opens the Dynamics panel with Compressor, Expander and Auto Level. They are available in all input and output channels, and affects all routings of the respective channel. Dynamics. Activated by this button. Thresh. Threshold where Compressor or Expander start to work. The Compressor is adjustable from -60 dB to 0 dB, the Expander is adjustable from -99 dB to -30 dB. Ratio. Ratio of input to output signal. Defines the intensity of the signal processing. Adjustable from 1 to 10.
25.4 Section Control Room In the section Control Room the menu Assign is used to define the Main Out which is used for listening in the studio. For this output the functions Dim, Recall, Mono, Talkback, External In and Mute FX are automatically applied. Additionally the channel will be shifted from the Hardware Outputs into the Control Room section, and renamed Main. The same happens when assigning Main Out B or the Phones.
25.5 The Control Strip The Control Strip on the right side combines different functions that are either required globally, or constantly used, and therefore should not be hidden in a menu. Still using the menu entry Window, Hide Control Strip, the Control Strip is shifted out of the visible area to gain more space for other elements. Device selection. Select the unit to be controlled in case more than one is installed on the computer. FX - DSP Meter.
25.5.1 View Options View Options. This area combines different functions of routing, the level meters and the mixer view. Routing Mode ¾ Submix. The Submix view (default) is the preferred view and delivers the quickest overview, operation and understanding of TotalMix. The click on one of the Hardware Output channels selects the respective submix, all other outputs are darkened. At the same time all routing fields are set to this channel.
25.5.2 Snapshots - Groups Snapshots. Snapshots include all mixer settings, but no graphical elements like window positions, window size, number of windows, visible EQs or Settings, scroll states, Presets etc. Only the state wide/narrow of the channels is registered. Moreover the Snapshot is only temporarily stored. Loading a Workspace causes the loss of all stored Snapshots, when these all had not been saved before in a Workspace, or separately via File / Save Snapshot as.
Hidden channels in Mixer/Matrix are still fully functional. An existing routing/mixing/FX processing stays active. But as the channel is no longer visible it can not be edited anymore. At the same time the hidden channels are removed from the list of remote controllable channels, to prevent them from being edited unnoticed. Hidden channels in MIDI Remote x are removed from the list of remote controllable channels. Within an 8-channel block of a Mackie compatible control they are skipped.
25.5.4 Scroll Location Markers Another feature to improve overview and working with TotalMix FX are scroll location markers (TotalMix view only). These are displayed automatically when the horizontal size of the TotalMix FX window is smaller than the channel display requires. Shown on the right side of the scrollbar of each row they have four elements: ¾ ¾ ¾ ¾ Arrow to the left. A left mouse click let the channels scroll to the very first one, or most left. 1. Marker number 1.
25.6 Reverb and Echo A click on FX in the View Options / Mixer Setup brings up the Output FX panel. Here all parameters for the effects Reverb and Echo are adjusted. Reverb. Activated by the On button. Type. Lists different reverb types for selection. Available are: ¾ Rooms Small, Medium, Large, Walls. Room simulation of rooms in different size and behaviour. ¾ Shorty provides a short, rich and warm reverb. ¾ Attack slaps back. ¾ Swagger enriches and blows up the original sound source.
General Settings PreDelay. Delay of the reverb signal. Adjustable from 0 ms up to 999 ms. Low Cut. High-pass filter before the reverb generation, removes low frequency signals which should not cause a reverb sound. Adjustable from 20 Hz up to 500 Hz. High Cut. Low-pass filter after the reverb generation. A reduction of the treble often lets the reverb sound more natural. Adjustable from 5 kHz up to 20 kHz. Smooth. Softens the reverb effect, affects stereo width, density and sound colour.
Echo. Activated by the On button. Type. Lists different echo algorithms for selection. Available are: ¾ Stereo Echo. Separated echo generators on left and right channel. As a result the echo follows the sound source within the stereo field. ¾ Stereo Cross. Echo generator on left and right channel with cross coupled feedback which is only working for the stereo parts of the input signal. In case the input signal is only left or right the Stereo Cross acts exactly like the Pong Echo. ¾ Pong Echo.
25.7 Preferences The dialog Preferences can be opened via the Options menu or directly via F2. Level Meters ¾ Full scale samples for OVR. Number of consecutive samples to trigger an over detection (1 to 10). ¾ Peak Hold Time. Hold time of the peak value. Adjustable from 0.1 up to 9.9 s. ¾ RMS +3 dB. Shifts the RMS value by +3 dB, so that full scale level is identical for Peak and RMS at 0 dBFS. Mixer Views ¾ FX Send follows highest Submix. Locks the FX Send knob to the channel fader.
Device Handling ¾ Always init DSP devices with TotalMix FX settings. Not supported by the hardware. ¾ Count MADI Channels per port. Channels shown in TotalMix are counted 1 to 64 three times. ¾ Disable ASIO Direct Monitoring. Disables ASIO Direct Monitoring (ADM) for the HDSPe MADI FX within TotalMix FX. Graphics ¾ Use D2D (Change requires restart). Default on. Can be deactivated to use a compatible but CPU-taxing graphics mode, in case graphics problems show up. ¾ Brightness correction.
25.8 Settings The dialog Settings can be opened via the Options menu or directly via F3. 25.8.1 Mixer Page On the mixer page some typical settings for the mixer operation are set, like Talkback source, Dim amount when Talkback is active, the stored main volume or the input used for the External Input function. Talkback ¾ Input. Selects the input channel of the Talkback signal (microphone in control room). Default: None. ¾ Dim. Amount of attenuation of the signals routed to the Phones in dB.
25.8.2 MIDI Page The MIDI page has four independent settings for up to four MIDI remote controls, using CC commands or the Mackie Control protocol. Index Select one of four settings pages and thus remote controls. Settings are remembered automatically. To activate or deactivate any of the four remote controls check or uncheck ‘In Use’. MIDI Remote Control ¾ MIDI In. Input where TotalMix receives MIDI Remote data. ¾ MIDI Out. Output where TotalMix sends MIDI Remote data. ¾ Disable MIDI in background.
25.8.3 OSC Page The OSC page has four independent settings for up to four MIDI remote controls via Open Sound Control (OSC). This is a network based remote protocol that can be used for example by Apple’s iPad with the app TouchOSC or Lemur to wirelessly remote control TotalMix FX running on a Mac or Windows computer. Index Select one of four settings pages and thus remote controls. Settings are remembered automatically. To activate or deactivate any of the four remote controls check or uncheck ‘In Use’.
25.8.4 Aux Devices The RME OctaMic XTC is a highly flexible hi-quality 8-channel microphone, line and instrument preamp with integrated ADconversion to ADAT, AES/EBU and MADI, plus 4 channels of DA-conversion for monitoring. It can be used as universal front-end for the HDSPe MADI FX and other interfaces. To simplify operation the most important parameters of the XTC (gain, 48V, phase, mute, AutoSet) can be controlled directly from the TotalMix FX input channels.
25.9 Hotkeys and Usage TotalMix FX has many hotkeys and mouse/hotkey combinations to speed up and simplify the usage. The below description refers to Windows. On Mac substitute Ctrl in the below list with the command key (u). The Shift key enables a fine-tuning of the gain with all faders and in the Matrix. On all knobs it will speed up the setting. A click on a fader with held down Shift key adds the fader to the temporary fader group.
25.10 Menu Options Deactivate Screensaver: When active (checked) any activated Windows screensaver will be disabled temporarily. Always on Top: When active (checked) the TotalMix window will always be on top of the Windows desktop. Note: This function may result in problems with windows containing help text, as the TotalMix window will even be on top of those windows, so the help text isn't readable. Enable MIDI / OSC Control: Activates external MIDI or OSC control of the TotalMix mixer.
¾ Total Reset. Playback routing 1:1 with mixdown to Main Out. Switches off all other functions. 25.11 Menu Window Zoom Options 100%, 135%, 200%. Depending on the size of the monitor and the current resolution TotalMix FX might be much too small and the controls too tiny to easily operate them. Together with the 2 Row mode these options give a lot of different window sizes that suit all monitors and resolutions currently existing. Hide Control Strip.
¾ If input 1 is to be routed to output 1, use the mouse and click one time on crosspoint In 1 / Out 1 with held down Ctrl key. Two green 0.0 dB field pop in, another click removes them. ¾ To change the gain (equals the use of a different fader position, see simultaneous display of the mixer view), drag the mouse up or down, starting from the gain field. The value within the field changes accordingly.
27.5 Copy and Paste everywhere The above three tips use functions found in the right click context menu available on all channels of the TotalMix FX mixer view. These menus are also available in the Matrix, but only directly on the channel labels. They are self-explanatory and automatically adjust to where the click is performed. The input channels offer Clear, Copy input, Paste the input mix and Paste its FX. On a playback channel Copy, Paste and Clear the playback mix are available.
The block diagram also shows why with activated Loopback the EQ of the Hardware Output is now within the record path. With Loopback active the EQ of the input is not in the record path, only in the monitoring path, even when the Option DSP – EQ+D for Record is activated. Note: The phones output has no matching input, therefore does not support Loopback.
28. MIDI Remote Control 28.1 Overview TotalMix can be remote controlled via MIDI. It is compatible to the widely spread Mackie Control protocol, so TotalMix can be controlled with all hardware controllers supporting this standard. Examples are the Mackie Control, Tascam US-2400 or Behringer BCF 2000. Additionally, the stereo output faders (lowest row) which are set up as Main Out in the Control Room section can also be controlled by the standard Control Change Volume via MIDI channel 1.
28.3 Setup Open the Preferences dialog (menu Options or F3). Select the MIDI Input and MIDI Output port where your controller is connected to. When no feedback is needed select NONE as MIDI Output. Check Enable MIDI Control in the Options menu. 28.4 Operation The channels being under Mackie MIDI control are indicated by a colour change of the name field, black turns to brown. The 8-fader block can be moved horizontally and vertically, in steps of one or eight channels. Faders can be selected to gang them.
28.5 MIDI Control The hardware output which is set up as Main Out can be controlled by the standard Control Change Volume via MIDI channel 1. With this, the main volume of the MADI FX is controllable from nearly any MIDI equipped hardware device. Even if you don't want to control all faders and pans, some buttons are highly desired to be available in 'hardware'. These are mainly the Talkback and the Dim button, and the monitoring option Cue (listen to Phones submixes).
Examples for sending MIDI strings: - Set input 1 to 0 dB: B0 66 68 - Set input 17 to maximum attenuation: B1 66 0 - Set playback 1 to maximum: B4 66 7F - Set Output 16 to 0 dB: B8 75 68 Note: Sending MIDI strings requires to use programmer's logic for the MIDI channel, starting with 0 for channel 1 and ending with 15 for channel 16.
User's Guide HDSPe MADI FX © RME
User's Guide HDSPe MADI FX Technical Reference User's Guide HDSPe MADI FX © RME 77
29. Technical Specifications 29.1 Inputs MADI • Coaxial via BNC, 75 Ohm, according to AES10-1991 • High-sensitivity input stage (< 0.2 Vpp) • Optical via FDDI duplex SC connector • 62.
AES/EBU • XLR, transformer-balanced, galvanically isolated, according to AES3-1992 • Output level Professional 4.5 Vpp, Consumer 2.6 Vpp • Format Professional according to AES3-1992 Amendment 4 • Format Consumer (SPDIF) according to IEC 60958 • Single Wire mode, sample rate 28 kHz up to 200 kHz Word Clock • BNC • Max. output voltage: 5 Vpp • Output voltage @ 75 Ohm termination: 4.
30. Technical Background 30.1 MADI Basics MADI, the serial Multichannel Audio Digital Interface, has been defined already in 1989 as an extension of the existing AES3 standard following several manufacturers' wish. The format also known as AES/EBU, a balanced bi-phase signal, is limited to two channels. Simply put, MADI contains 28 of those AES/EBU signals in serial, i. e. after one another, and the sample rate can still even vary by +/-12.5%. The limit which cannot be exceeded is a data rate of 100Mbit/s.
30.2 Lock and SyncCheck Digital signals consist of a carrier and the data. If a digital signal is applied to an input, the receiver has to synchronize to the carrier clock in order to read the data correctly. To achieve this, the receiver uses a PLL (Phase Locked Loop). As soon as the receiver meets the exact frequency of the incoming signal, it is locked. This Lock state remains even with small changes of the frequency, because the PLL tracks the receiver's frequency.
30.3 Latency and Monitoring The term Zero Latency Monitoring has been introduced by RME in 1998 for the DIGI96 series of audio cards. It stands for the ability to pass-through the computer's input signal at the interface directly to the output. Since then, the idea behind has become one of the most important features of modern hard disk recording.
Because the HDSPe MADI FX is a completely digital interface, and the delays introduced by external AD/DA-converters or other digital interfaces are unknown to unit and driver, the drivers include the digital offset values (3 / 6 / 12 samples). Therefore the delays caused by external converters have to be taken care off in the record software, which usually means that the user has to enter specific offset values manually.
30.5 QS – Quad Speed Due to the small number of available devices that use sample rates up to 192 kHz, but even more due to a missing real world application (CD...), Quad Speed has had no broad success so far. An implementation of the ADAT format as double S/MUX (S/MUX4) results in only two channels per optical output. Devices using this method are few.
30.6 SteadyClock The SteadyClock technology of the HDSPe MADI FX guarantees an excellent performance in all clock modes. Its highly efficient jitter suppression refreshes and cleans up any clock signal, and provides it as reference clock at the word clock output. Usually a clock section consists of an analog PLL for external synchronization and several quartz oscillators for internal synchronisation. SteadyClock requires only one quartz, using a frequency not equalling digital audio.
30.7 Notes on WDM Background In the older manuals one will find this explanation why it makes sense to get rid of some WDM devices: WDM Devices Not before Vista the OS had been capable of handling more than 32 WDM stereo devices. Therefore under W2k/XP it often makes sense to intentionally limit their number. Otherwise some channels or MIDI ports might vanish from the system. Today Microsoft gives us even more reasons to deactivate WDM devices that are unused.
30.8 Terminology Single Speed Sample rate range originally used in Digital Audio. Typical applications are 32 kHz (digital radio broadcast), 44.1 kHz (CD), and 48 kHz (DAT). Double Speed Doubles the original sample rate range, in order to achieve higher audio quality and improved audio processing. 64 kHz is practically never used, 88.2 kHz is quite rare in spite of certain advantages. 96 kHz is a common format. Sometimes called Double Fast.
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