E-MU 1616 v2 PCI, 1212M v2 PCI Owner`s manual

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Owner’s ManualOwner’s Manual

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E-MU 1616/1616m/1212m PCI Digital Audio System

Owner’s Manual

Software Version: 1.82

E-MU World Headquarters

E-MU Systems

1500 Green Hills Road

Scotts Valley, CA 95066

USA

Asia Paciﬁc, Africa, Middle East

Creative Technology Ltd

31 International Business Park

Creative Resource. Singapore 609921

SINGAPORE

2 Creative Professional

Europe

Creative Labs

Ballycoolin Business Park

Blanchardstown

Dublin 15

IRELAND

E-MU Japan

Creative Media K K

Kanda Eight Bldg., 3F

4-6-7 Soto-Kanda

Chiyoda-ku, Tokyo 101-0021

JAPAN

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Table of Contents

1- Introduction ................................................................. 7

Welcome!.............................................................................................................................. 7

All Systems Include: ......................................................................................................... 9

E-MU 1212M System ....................................................................................................... 9

E-MU 1616 System .......................................................................................................... 9

E-MU 1616M System ....................................................................................................... 9

PatchMIx DSP ................................................................................................................. 10

Notes, Tips and Warnings ..........................................................................................10

2 - Installation ................................................................ 11

Setting Up the Digital Audio System ................................................................................ 11

Notes for Installation ................................................................................................. 11

Safety First! ................................................................................................................. 12

Connector Types ............................................................................................................ 12

Installing the E-MU 1010 PCI Card .................................................................................. 13

Install the Sync Daughter Card or 0202 Daughter Card.................................................. 14

WARNING : E-MU 0202 & MicroDock .................................................................... 14

Connecting the MicroDock ...............................................................................................15

Software Installation .......................................................................................................... 16

Installing the E-MU 1010 Drivers .............................................................................16

Windows XP ...............................................................................................................16

Uninstalling all Audio Drivers and Applications ..................................................... 16

Note About Windows Logo Testing .......................................................................... 16

3 - PCI Card & Interfaces ................................................. 17

The E-MU 1010 PCI Card.................................................................................................. 17

Important .................................................................................................................... 17

Connections ................................................................................................................... 17

EDI Connector ............................................................................................................ 17

S/PDIF Digital Audio Input & Output ...................................................................... 17

ADAT Optical Digital Input & Output ......................................................................17

The 0202 Daughter Card ................................................................................................... 18

Connections ................................................................................................................... 18

Analog Inputs and Outputs ....................................................................................... 18

MIDI In/Out ............................................................................................................... 18

E-MU PCI Digital Audio Systems 3

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The MicroDock...................................................................................................................19

Front Panel Connections ............................................................................................... 20

Preamp Section ........................................................................................................... 20

S/PDIF Digital Audio Input & Output ...................................................................... 20

ADAT Optical Digital Input & Output ......................................................................21

Headphone Output & Volume Control .................................................................... 21

Rear Panel Connections ................................................................................................. 23

Line Level Analog Inputs ...........................................................................................23

Turntable Inputs & Ground Lug ................................................................................23

Line Level Analog Outputs ........................................................................................23

Computer Speaker Analog Outputs .......................................................................... 24

MIDI 1 & 2 In/Outs .................................................................................................... 24

EDI Connector (Card) ...............................................................................................24

4 - The PatchMix DSP Mixer ............................................. 27

PatchMix DSP..................................................................................................................... 27

Overview of the Mixer........................................................................................................ 27

Mixer Window ................................................................................................................ 28

Mixer Block Diagram ..................................................................................................... 28

Pre Fader or Post Fader ..............................................................................................28

E-MU Icon in the Windows Taskbar ................................................................................. 29

The Toolbar ........................................................................................................................ 29

The Session ......................................................................................................................... 30

New Session ....................................................................................................................30

Open Session .................................................................................................................. 31

Save Session .................................................................................................................... 31

Session Settings .............................................................................................................. 31

System Settings ........................................................................................................... 31

Using External Clock .................................................................................................. 32

I/O Settings ................................................................................................................. 32

Input Mixer Strips............................................................................................................... 34

Input Type ................................................................................................................... 34

Mixer Strip Creation........................................................................................................... 35

Multichannel WAVE Files .............................................................................................. 36

Windows Media Player/DVD/Surround Sound Playback ....................................... 36

Insert Section .................................................................................................................. 37

Working with Inserts ..................................................................................................37

The Insert Menu ......................................................................................................... 38

ASIO Direct Monitor Send/Return ............................................................................ 39

Meter Inserts ............................................................................................................... 40

To Set the Input Levels of a Strip ................................................................................... 41

Making the Best Possible Recording ......................................................................... 41

Trim Pot Insert ............................................................................................................ 42

Test Tone/Signal Generator Insert ............................................................................. 43

Managing Your Inserts ................................................................................................... 44

Aux Section ..................................................................................................................... 45

Sidechain Diagram ..................................................................................................... 45

Pre or Post Fader Aux Sends ......................................................................................46

Level, Pan, Solo & Mute Controls ................................................................................. 47

Main Section....................................................................................................................... 48

TV Screen & Selectors ..................................................................................................... 49

Effect ........................................................................................................................... 49

Input ........................................................................................................................... 50

Output ........................................................................................................................ 50

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Auxiliary Effects & Returns ............................................................................................ 51

Sidechain Diagram ..................................................................................................... 51

Sync/Sample Rate Indicators ......................................................................................... 51

Output Section ............................................................................................................... 52

Main Inserts ................................................................................................................ 52

Main Output Fader ..................................................................................................... 52

Output Level Meters ...................................................................................................52

Monitor Output Level ................................................................................................ 52

Monitor Balance Control ...........................................................................................52

Monitor Output Mute ................................................................................................ 52

5 - Effects ....................................................................... 53

Overview.............................................................................................................................53

The Effects Palette............................................................................................................... 53

FX Insert Chains ............................................................................................................. 54

Creating, Renaming & Deleting Categories or Presets ............................................. 55

Importing and Exporting Core FX Presets and FX Insert Chains ............................. 56

FX Edit Screen.....................................................................................................................57

User Preset Section ......................................................................................................... 58

Core Effects and Effects Presets .....................................................................................59

List of Core Effects.............................................................................................................. 60

DSP Resource Usage ....................................................................................................... 60

Core Effects Descriptions................................................................................................... 61

1-Band Para EQ .............................................................................................................. 61

1-Band Shelf EQ ............................................................................................................. 61

3-Band EQ ......................................................................................................................62

4-Band EQ ......................................................................................................................63

Auto-Wah ........................................................................................................................ 64

Chorus ............................................................................................................................ 65

Compressor .................................................................................................................... 65

Basic Controls ............................................................................................................. 66

Distortion ....................................................................................................................... 67

Flanger ............................................................................................................................ 68

Freq Shifter .....................................................................................................................69

Leveling Amp .................................................................................................................. 70

Lite Reverb ...................................................................................................................... 71

Mono Delays - 100, 250, 500, 750, 1500, 3000 .......................................................... 72

Phase Shifter ................................................................................................................... 73

Rotary .............................................................................................................................. 73

Speaker Simulator .......................................................................................................... 74

Stereo Delays - 100, 250, 500, 750, 1500 .................................................................... 75

Vocal Morpher ................................................................................................................ 77

E-MU PowerFX ................................................................................................................... 78

Automating E-MU PowerFX .......................................................................................... 80

E-MU PowerFX Resource Availability ........................................................................... 80

Rendering Audio with E-MU PowerFX .............................................................................82

General Tips for Rendering using PowerFX .............................................................. 82

Tips for using Freeze Mode on Cubase LE ................................................................ 82

Using E-MU PowerFX with WaveLab and SoundForge ...............................................82

E-MU VST E-Wire ...............................................................................................................83

E-Delay Compensator ....................................................................................................84

E-Delay Compensator Use ......................................................................................... 85

E-Delay Units Parameter ............................................................................................ 85

Grouping Tracks ......................................................................................................... 86

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6 - Appendix ................................................................... 87

Using High Sample Rates .................................................................................................. 87

Overview ......................................................................................................................... 87

WDM Recording and Playback Behavior ...................................................................... 89

Sync Daughter Card Supplement...................................................................................... 90

SMPTE Conversion ........................................................................................................ 90

SMPTE Features .......................................................................................................... 90

SMPTE Options .............................................................................................................. 90

SMPTE Modes of Operation .......................................................................................... 91

Host Mode .................................................................................................................. 91

External Mode ............................................................................................................ 91

Flywheel Mode ........................................................................................................... 91

Flywheel Modes .......................................................................................................... 91

Stripe Mode ................................................................................................................ 92

Example SMPTE Connection ......................................................................................... 92

MIDI Time Code (MTC) .................................................................................................... 93

Word Clock In/Out ............................................................................................................ 93

Getting in Sync ................................................................................................................... 95

Useful Information ............................................................................................................96

Cables - balanced or unbalanced? ................................................................................ 96

Balanced Cables ......................................................................................................... 96

Unbalanced Cables ....................................................................................................96

Adapter Cables ...............................................................................................................97

1/8” Mini-phone to 1/4” Adapters ............................................................................ 97

Cinch (RCA) to 1/4” Adapters ................................................................................... 97

Digital Cables .................................................................................................................97

AES/EBU to S/PDIF Cable Adapter ...............................................................................97

Grounding ......................................................................................................................98

Phantom Power .............................................................................................................. 98

Appearance Settings in Windows .................................................................................. 98

Technical Specifications.....................................................................................................99

Internet References...........................................................................................................107

Forums ...................................................................................................................... 107

Index ............................................................................ 111

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1- Introduction

Welcome!

Thank you for purchasing the E-MU 1616 PCI, E-MU 1616M PCI, or 1212M PCI Digital Audio System. Your computer is about to be transformed into a powerful audio processing workstation. We’ve designed this E-MU digital audio system to be logical, intuitive and above all, to provide you with pristine sound quality. These systems offer unprecedented quality and value by providing studio-class, 24-bit/192kHz multichannel recording and playback to any PCI card bus equipped PC.

1- Introduction

Welcome!

1616 PCI System Components

E-MU 1616 PCI

• E-MU 1010 PCI Card

• MicroDock

• EDI (E-MU Digital Interface Cable)

• +48VDC AC Adapter

MIDI Breakout Cable Digital Audio System Software/Driver Installation CD-ROM Production Tools Software Bundle CD-ROM

• Quick Start Guide

Inputs & Outputs

(8) Channel ADAT Digital Optical Input (8) Channel ADAT Digital Optical Output (2) Channel S/PDIF Digital Input (2) Channel S/PDIF Digital Output (2) MIDI Inputs & Outputs (4) 24-bit Balanced Line Inputs (6) 24-bit Balanced Line Outputs (2) Microphone/Line Preamp Inputs (2) Turntable Preamp Inputs (1) Stereo Headphone Output (3) Stereo Computer Speaker Outputs

(allows 32 MIDI channels)

(with +48V phantom power)

(with RIAA equalized preamplifier)

(with volume control)

(with 1/8” jacks to connect powered speakers)

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1- Introduction Welcome!

1616M PCI System Components

E-MU 1616M PCI

• E-MU 1010 PCI Card

• MicroDockM

• Sync Card

• EDI (E-MU Digital Interface Cable)

• +48VDC AC Adapter

MIDI Breakout Cable Digital Audio System Software/Driver Installation CD-ROM Production Tools Software Bundle CD-ROM

• Quick Start Guide

Inputs & Outputs

(8) Channel ADAT Digital Optical Input (8) Channel ADAT Digital Optical Output (2) Channel S/PDIF Digital Input (2) Channel S/PDIF Digital Output (2) MIDI Inputs & Outputs

(allows 32 MIDI channels)

(4) 24-bit Balanced Line Inputs (6) 24-bit Balanced Line Outputs (2) Microphone/Line Preamp Inputs (2) Turntable Preamp Inputs

(with RIAA equalized preamplifier)

(1) Stereo Headphone Output (3) Stereo Computer Speaker Outputs

(with +48V phantom power)

(with volume control)

(with 1/8” jacks to connect powered speakers)

(1) Word Clock In & Out (1) SMPTE (LTC) In & Out

1212M PCI System Components

E-MU 1212M

• E-MU 1010 PCI Card

• E-MU 0202 I/O Daughter Card

• 0202 I/O Card Cable

• (2) MIDI Adapter Cables

• Digital Audio System Software/Driver Installation CD-ROM

Production Tools Software Bundle CD-ROM

• Quick Start Guide

Inputs & Outputs

(8) Channel ADAT Digital Optical Input (8) Channel ADAT Digital Optical Output (2) Channel S/PDIF Digital Input (2) Channel S/PDIF Digital Output (1) MIDI Input & Output

(allows 16 MIDI channels)

(2) 24-bit Balanced Line Inputs (2) 24-bit Balanced Line Outputs

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All Systems Include:

The E-MU 1010 PCI Card is the heart of all three systems. Its powerful hardware DSP processor allows you to use over 16 simultaneous hardware-based effects, which place minimal load on your computer’s CPU. The E-MU 1010 PCI Card also provides eightchannels of ADAT® optical digital input and output, as well as a S/PDIF stereo digital input and output.

The PatchMix DSP mixer application is included in all the systems. PatchMix DSP delivers unmatched ﬂexibility in routing your audio between physical inputs and outputs, virtual (ASIO/WAVE) inputs and outputs and internal hardware effects and buses—no external mixer needed. You can add digital effects, EQs, meters, level controls and ASIO/WAVE sends anywhere you like in the signal chain.

Because the effects and mixing are hardware-based, there is no latency when you record. You can even record a dry signal while monitoring yourself with effects! Mixer setups can be saved and instantly recalled for speciﬁc purposes such as recording, mixdown, jamming, special effect setups, playing games, watching DVDs, or general computer use.

1- Introduction

Welcome!

E-MU 1212M System

The E-MU 1212M includes the 0202 Daughter Card, which provides 2 line level, balanced analog inputs, 2 line level, balanced analog outputs, plus MIDI input and output. This is no-compromise audio interface, using ultra-high performance 24-bit/192kHz A/D - D/A converters to deliver an unbelievable 120dB dynamic range.

E-MU 1616 System

The E-MU 1616 includes the MicroDock, which is a half rack-space, audio interface. The MicroDock adds the following input and output capabilities to the system: two mic/line inputs with custom low-noise preamps, 4 balanced line level analog inputs, an RIAA stereo turntable preamp, 6 balanced line level outputs, an assignable headphone output, two sets of MIDI I/O ports, an additional S/PDIF optical output, and four stereo mini phone jacks for easy connection to powered speaker systems. Of course, professional-quality, 24-bit A/D and D/A converters with automatic DC blocking are used throughout.

E-MU 1616M System

The E-MU 1616M system includes the MicroDockM, a no compromise, mastering-grade system, which includes all the features of the 1616 system. The 1616M system is distinguished by the addition of ultra-high performance 24-bit/192kHz A/D - D/A converters which deliver an incredible 120dB of dynamic range.

The Sync Daughter Card comes standard with the 1616M system and can be purchased as an optional upgrade for the 1616 MicroDock and 1212M systems. The Sync Card adds Word Clock in and out for sample-synchronizing outboard digital equipment and SMPTE longitudinal time code in/out for syncing other recording equipment. A separate MIDI Time Code output port on the Sync Card eliminates timing problems caused by combining MTC with MIDI performance data.

Note: The digital I/O on the 1010 PCI card are not used when you have the MicroDock.

You’ll want to keep up with the latest software and options for your E-MU digital audio system. You can ﬁnd all of this, plus other helpful information, at the E-MU Website: http://www.emu.com.

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1- Introduction Welcome!

PatchMIx DSP

PatchMix DSP offers unmatched ﬂexibility in routing your audio between physical inputs/outputs, virtual (ASIO/WAVE) inputs/outputs, internal hardware effects and buses. No external mixer is needed. You can add digital effects, EQs, meters, level controls and ASIO/WAVE sends anywhere you like in the signal chain.

Because the effects and mixing are hardware-based, you can record using effects with near zero-latency. You can even record a dry signal while monitoring yourself with effects! Mixer setups can be saved and instantly recalled for speciﬁc purposes such as recording, mixdown, jamming, special effect setups, playing games, watching DVDs, or general computer use.

You’ll want to keep up with the latest software and options for your E-MU digital audio system. You can ﬁnd all of this, plus other helpful information, at the E-MU Website: http://www.emu.com.

Notes, Tips and Warnings

Items of special interest are presented in this document as notes, tips and warnings.

f Notes provide additional information related to the topic being discussed. Often,

notes describe the interaction between the topic and some other aspect of the system.

E Tips describe applications for the topic under discussion.



Warnings are especially important, since they help you avoid activities that can

cause damage to your ﬁles, your computer or yourself.

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2 - Installation

Setting Up the Digital Audio System

There are six basic steps to installing your E-MU system:

Remove any other sound cards you have in your computer. (Once you are sure that

the E-MU card works properly, your old sound card can be reinstalled if desired.)

Install the E-MU 1010 PCI card in your computer. Go there.

Install the 0202 Daughter Card or Sync Daughter Card (if applicable). Go there.

Connect the MicroDock (if applicable).

Install the PatchMix DSP software onto your computer.

Connect audio, MIDI and synchronization cables between the E-MU system and

your other gear.

Notes for Installation

2 - Installation

Setting Up the Digital Audio System

• IF AT ANY TIME DURING THIS INSTALLATION YOU SEE NO RESPONSE: Use the Alt-Tab feature to select other applications. One of them may be the Microsoft Digital Signature warning. It is possible for this warning to appear behind the installation screen.

•Make sure you have the latest Windows Service Packs from Microsoft (Windows XP - SP 1 or higher).

• Disable onboard sound and uninstall all other sound cards. (If you wish to try using multiple sound cards in your system, do so after you have conﬁrmed that your E-MU Digital Audio System is operating normally.)

• InstallShield “IKernel Application Error” on Windows XP: When installing this software on Windows XP, you may be confronted with a “kernel error” at the very end of installation. This is an issue with the InstallShield program, which is what we use to install software on your computer. Please do not be alarmed by this, as the error is innocuous.

To read more about this error, and obtain instructions on how to avoid getting the message, please visit this website: http://support.installshield.com/kb/view.asp?articleid=q108020

•Multiple Digital Audio System sound cards are not supported.

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2 - Installation Setting Up the Digital Audio System

Please read the following sections as they apply to your system as you install the E-MU 1010, paying special attention to the various warnings they include.

Prior to installing the hardware, take a few moments to write down the 18-digit serial number, which is located on the back of the box and on the 1010 PCI Card. This number can help EMU Customer Service troubleshoot any problems you may encounter—by writing the number down now, you’ll avoid having to open your computer to ﬁnd it later on.

Safety First!

• To avoid possible permanent damage to your hardware, make sure that all connections are made with the host computer’s power off. Unplug the computer’s

power cable to make sure that the computer is not in sleep mode .

• Take care to avoid static damage to any components of your system. Internal computer surfaces, the E-MU 1010 PCI board and the interfaces are susceptible to electrostatic discharge, commonly known as “static.” Electrostatic discharge can damage or destroy electronic devices. Here are some procedures you can follow when handling electronic devices in order to minimize the possibility of causing electrostatic damage:

As you install



hardware components, observe the following general precautions to avoid damage to your equipment and yourself.

• Avoid any unnecessary movement, such as scufﬁng your feet when handling electronic devices, since most movement can generate additional charges of static electricity.

• Minimize the handling of the PCI card. Keep it in its static-free package until needed. Transport or store the board only in its protective package.

• When handling a PCI card, avoid touching its connector pins. Try to handle the board by its edges only.

• Before installing a PCI card into your computer, you should be grounded. Use a ground strap to discharge any static electric charge built up on your body. The ground strap attaches to your wrist and any unpainted metal surface within your computer. If you don’t have a ground strap, you can ground yourself by touching the metal case of another piece of grounded equipment.

• Before connecting a cable to your interface or between PCI cards, touch the connector sleeve of the cable to the sleeve of the jack to which you’ll be connecting the cable in order to discharge any static build-up.

Connector Types

These connector types are used to connect the E-MU 1010 hardware components. They will be referred to by the name shown in the ﬁrst column of the following chart:

Name Description Connects

Card/External CAT5 Connector 1010 PCI card and MicroDock

S/PDIF In RCA Connector S/PDIF digital audio devices

S/PDIF Out RCA Connector S/PDIF digital audio devices

ADAT Optical In TOSLINK Optical Connector ADAT digital audio devices (or S/PDIF)

ADAT Optical Out TOSLINK Optical Connector ADAT digital audio devices (or S/PDIF)



Warning: Please verify that all cables are connected only to the proper components

before powering up your system.

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Installing the E-MU 1010 PCI Card

Note: This installation is very simple but if you are not familiar with the installation

of computer peripherals and add-in boards, please contact your authorized E-MU Systems dealer or an approved computer service center to arrange for the installation.

To install the 1010 PCI card into your computer



Make sure that the power switch on your computer is off.

IMPORTANT: Unplug the power cord from the wall outlet!

Touch a metal plate on your computer to ground yourself and to discharge any static electricity.

Follow the computer manufacturer’s recommended procedure for opening the case.

Remove the metal brackets from two adjacent PCI slots. If you have the E-MU 1820 system (non-M) you only need to remove the bracket from a single PCI slot. Put the screw(s) aside for use later. See ﬁgure 1 below.

Figure 1 Figure 2

2 - Installation

Installing the E-MU 1010 PCI Card

Note: Some

computer cases don’t use screws to secure PCI cards. In this case, follow the instructions that came with your computer.

PCI Slots

(may not be present

ISA Slots

on your computer)

Align the E-MU 1010 PCI card with the slot and press gently but ﬁrmly down into

the slot as shown in ﬁgure 2.

Do not force the E-MU 1010 card into the slot. Make sure that the gold ﬁnger

connector of the card is aligned with the PCI bus connector on the motherboard before you insert the card into the PCI slot. If it doesn’t ﬁt properly, gently remove it and try again.

Secure the card into the slot using one of the screws you placed aside earlier.

E-MU PCI Digital Audio Systems 13

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2 - Installation Install the Sync Daughter Card or 0202 Daughter Card

Install the Sync Daughter Card or 0202 Daughter Card

E-MU 1616 - If you’re planning to use Word Clock. MIDI Time Code or SMPTE

sync, unwrap the Sync Daughter Card and get ready to install it. If you don’t need these options or don’t have an empty PCI slot, you can skip these next few steps.

• E-MU 0202 - Unwrap the 0202 Daughter Card and get ready to install it.

Connect the ribbon cable provided with the kit between the E-MU 1010 card and the 0202 Daughter card or Sync Daughter Card as shown in ﬁgures 3 & 4. The cables are keyed so they cannot be incorrectly inserted. Seat the connectors ﬁrmly in the sockets and arrange the cables neatly.

Align the Sync Daughter Card or the 0202 Daughter Card with the slot and press gently but ﬁrmly down into the slot as shown in ﬁgure 2 on the preceding page.

Do not force the E-MU Card into the slot. Make sure that the tab at the rear of the card is aligned with the PCI bus connector on the motherboard before you insert the card into the PCI slot. If it doesn’t ﬁt properly, gently remove it and try again.

Secure the card into the slot using one of the screws you placed aside earlier.

•

Figure 3 Figure 4

Sync Daughter Card

After all components have been installed and securely fastened, close the computer

0202 Daughter Card

case.

Connect the supplied network-type cable from the 10 BaseT jack on the E-MU 1010 PCI card labeled “EDI” to the matching connector labeled “EDI” on the MicroDock. The cable supplied with the MicroDock is specially shielded to prevent unwanted RF emissions.

Plug the power cord back into the wall outlet and turn on your computer.

WARNING: E-MU 0202 & MicroDock

If you have both the E-MU 0202 I/O card and the MicroDock, DO NOT connect both to the E-MU 1010 PCI card.



CAUTION: Do not

connect the supplied CAT5 cable to the Ethernet or network connector on your computer. Doing so may result in permanent damage to either your computer, the E-MU 1010 or both.

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Connecting the MicroDock

Connect the supplied EDI cable between the 1010 PCI Card and the MicroDock.

Connect the supplied +48 volt DC adapter to the +48VDC jack on the rear of the

MicroDock. See the diagram below.

Connect your audio inputs and outputs to the MicroDock as shown on page

Turn the MicroDock on by turning the Headphone Volume control.

+48V DC Adapter

VDC

23.

2 - Installation

Connecting the MicroDock

The 1616 and 1616



MicroDocks cannot be used with older 1010 PCI cards identiﬁed by the 1394 FireWire port.

EDI

The Headphone Volume Control is the Power Switch.

1010 PCI Card

Warning:



The MicroDock has been designed to use readily available and inexpensive standard computer system cables. This makes it easy for you to ﬁnd replacement cables if your original cable becomes damaged or lost. However, because these standard cables types are used for other purposes, you must use caution to avoid connecting the cables incorrectly. DO NOT connect the supplied EDI cable to the Ethernet or network connector on your computer. Doing so may result in permanent damage to either your computer, the E-MU 1010 PCI card, or the MicroDock.

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2 - Installation Software Installation

Software Installation

Installing the E-MU 1010 Drivers

The ﬁrst time you restart your PC after installing the E-MU 1010 PCI card, you will need to install the PatchMix DSP software and E-MU 1010 PCI card drivers.

Windows XP

The software is not compatible with other versions of Windows.

After you have installed your Digital Audio System, turn on your computer. Windows automatically detects the Digital Audio System and searches for device drivers.

When prompted for the audio drivers, click the

Insert the E-MU software Installation CD into your CD-ROM drive. If Windows AutoPlay mode is enabled for your CD-ROM drive, the CD starts running automatically. If not, from your Windows desktop, click (replace and double-click

4. The installation splash screen appears. Follow the instructions on the screen to

d:\

with the drive letter of your CD-ROM drive). You can also open the CD

Setup.exe

complete the installation.

5. Choose “Continue Anyway” when you encounter the “Windows Logo Testing”

warning screen. See the note below for more information.

6. When prompted, restart your computer.

Cancel

button.

Start->Run

and type

d:\setup.exe

Serial Number -

During the registration process, you will be asked to enter your 18-digit serial number. The serial number is located on the back of the box and on the 1010 PCI Card.

Uninstalling all Audio Drivers and Applications

At times you may need to uninstall or reinstall some or all of the audio card's applications and device drivers to correct problems, change conﬁgurations, or upgrade outdated drivers or applications. Before you begin, close all audio card applications. Applications still running during the uninstallation will not be removed.

1. Click Start -> Settings -> Control Panel.

2. Double-click the Add/Remove Programs icon.

3. Click the Install/Uninstall tab (or Change or Remove Programs button).

4. Select the E-MU driver/application entries and then click the Add/Remove (or

Change/Remove) button.

5. In the InstallShield Wizard dialog box, select the Remove option.

6. Click the Yes button. Restart your computer when prompted.

7. You may now re-install existing or updated E-MU 1010 PCI card device drivers or

applications.

Note About Windows Logo Testing

When you install the Digital Audio System drivers, you will see a dialog box that informs you that the driver has not passed Windows Logo testing.

The Digital Audio System drivers are not signed because the driver does not support some of the consumer audio features that the Microsoft driver signing program requires, most notably Digital Rights Management.

However, the Digital Audio System drivers have been rigorously tested using the same test procedures that a signed driver requires, and it passes in all important categories, including those that measure the relative stability of the driver. So, it is perfectly safe to install these drivers on your computer.

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3 - PCI Card & Interfaces

The E-MU 1010 PCI Card

The E-MU 1010 PCI card is the heart of the system and contains E-MU’s powerful E-DSP chip. The powerful hardware DSP on this card leaves more power free on your CPU for additional software plug-ins and other tasks.

Important

When the MicroDock is connected to the 1010 PCI card, the digital I/O on the PCI card is disabled. Use the digital I/O on the MicroDock.

Connections

EDI Connector

Connects to the MicroDock using the supplied EDI cable. This cable provides a a two-way data link

EDI

Connects to

MicroDock

via EDI Cable

S/PDIF In/Out

between the E-MU 1010 and the MicroDock as well as supplying power to the MicroDock.

S/PDIF Digital Audio Input & Output

RCA phono jacks are standard connectors used for S/PDIF (Sony/Philips Digital InterFace) connections. Each jack carries two channels of digital audio. The E-MU 1010 receives digital audio data with word lengths of up to 24-bits. Data is always transmitted at 24-bits.

3 - PCI Card & Interfaces

The E-MU 1010 PCI Card

S/PDIF digital I/O can be used for the reception and/ or transmission of digital data from external digital devices such as a DAT external analog-to-digital

ADAT

or S/PDIF

Optical

In/Out

converter or an external signal processor equipped with digital inputs and outputs.

The S/PDIF out can be conﬁgured in either Professional or Consumer mode in the Session Settings menu. The 1010 PCI card can also send and receive AES/EBU digital audio through the use of a cable adapter. See AES/EBU to S/PDIF Cable Adapter for details.

The S/PDIF input and outputs are usable at the

44.1kHz, 48kHz 88.2kHz and 96kHz sample rates, but are disabled for 176.4kHz and 192kHz. The word clock contained in the input data stream can be used as a word clock source. See System Settings.

ADAT Optical Digital Input & Output

The ADAT optical connectors transmit and receive 8 channels of 24-bit audio using the ADAT type 1 & 2 formats. The word clock contained in the input data stream can be used as a word clock source. See System Settings. Optical connections have certain advantages such as immunity to electrical interference and ground loops. Make sure to use high quality glass ﬁber light pipes for connections longer than 1.5 meters.

 Important: When

using any type of digital I/O such as S/PDIF or ADAT, you MUST sample sync the two devices or clicks and pops in the audio will result.

E-MU PCI Digital Audio Systems 17

Page 18

3 - PCI Card & Interfaces The 0202 Daughter Card

At the 96kHz or 192kHz sample rates, the industry standard S/MUX interleaving scheme is used for ADAT input and output. S/MUX uses additional ADAT channels to achieve the required bandwidth. See the chart below or go here for additional information.

Sample Rate Number of Audio Channels

44kHz/48kHz 8 channels of 24-bit audio

88.2kHz/96kHz 4 channels of 24-bit audio, using S/MUX standard

176.4kHz/192kHz 2 channels of 24-bit audio, using S/MUX standard

The 0202 Daughter Card

The 0202 Daughter card is the companion card for E-MU 1010 systems which don’t include the MicroDock. The 0202 Daughter card provides one pair of 24-bit balanced analog inputs and one pair of 24-bit balanced analog outputs, plus MIDI in and out.

Connections

Analog Inputs and Outputs

The 0202 Daughter Card provides two balanced, analog inputs and two balanced, line level analog outputs. The inputs can be connected to any line level

Left / Right

Line Inputs

stereo signal from keyboards, CD-players, cassette decks, etc. The analog inputs are assigned to a mixer strip in the mixer application.

The outputs can feed any line level input such as a

Left / Right

Line Outputs

mixing board, the auxiliary input on your stereo or a set of powered speakers. The line outputs are not designed to drive headphones directly. Connect the line outputs to a stereo receiver or mixer with a headphone jack to obtain the proper current drive.

MIDI

In/Out

Either TRS (tip-ring-sleeve) balanced or TS unbalanced cables can be used. Balanced cables provide better noise immunity and +6dB higher signal level. The output line level can be set to accommodate the consumer -10dBV standard, or the pro audio +4 dBu standard in the I/O screen of the Session Settings dialog box. See I/O Settings.

MIDI In/Out

The MIDI input and output port can be assigned in your speciﬁc MIDI application. Connect the MIDI adapter cable that came with your 0202 Daughter card to the miniDIN connectors on the card. The adapter cables convert the mini-DIN to standard DIN connectors used on most keyboards and synthesizers. Connect MIDI Out to the MIDI In port of your synthesizer and MIDI Out of your synth to MIDI In of the 0202 Daughter Card.

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The MicroDock

The MicroDock connects to the E-MU 1010 PCI card via the EDI cable.

The MicroDock provides (4) balanced analog inputs, (2) microphone preamp inputs, (6) balanced line-level analog outputs, (3) stereo 1/8” outputs for connecting powered computer speakers, (2) MIDI inputs, (2) MIDI outputs, a stereo headphone output, and a RIAA equalized turntable preamp section which is “normalled” into line input 2L and 2R, 8 channels of ADAT digital input/output, and stereo S/PDIF digital input/output.

3 - PCI Card & Interfaces

The MicroDock

f The MicroDock is

completely “hot pluggable”— It’s OK to plug or unplug the MicroDock while the computer is turned on.

Out

Line

Mic

Clip

-15

Line -

Mic -

Line

-3

-6

-12

-20

+50 +65

Mic

Clip

-3

-6

-12

-20

-15

Phono

48V

+50 +65

Gnd

S/PDIF

MIDI Cable

Out

The inputs are conﬁgured as follows:

(2) mono microphone/line inputs (2 inputs)

(2) stereo pairs of line level inputs (4 inputs)

(1) stereo pair of S/PDIF/AES digital inputs (2 inputs)

(4) stereo pairs of ADAT channels on the ADAT optical input (8 inputs)

Out

 It’s a good idea to

mute MicroDock inputs 2 in the PatchMix DSP

Off

mixer when nothing is plugged in, since the turntable preamp has a very high gain (60dB) and could contribute

VDC

EDI

extra noise to your mix/ monitor bus.

(1) RIAA equalized turntable preamp input allows you to connect a turntable without using

an expensive external preamp.

Note: These inputs are automatically disconnected

when plugs are inserted into inputs 2L & 2R.

(2) MIDI input ports using the supplied breakout cable

The outputs are conﬁgured as:

(3) stereo pairs of line level outputs

(1) stereo pair driving a stereo headphone jack

(1) stereo pair of S/PDIF/AES digital outputs

(4) stereo pairs of ADAT channels on the ADAT optical output

(3) stereo 1/8” computer speaker outputs. These outputs carry the same signals as the 3

stereo line level outputs and are provided as a convenience for connecting computer or powered speaker systems.

(2) MIDI output ports using the supplied breakout cable

E-MU PCI Digital Audio Systems 19

(Share the same routing as Line Outs 1L/1R)

Page 20

3 - PCI Card & Interfaces The MicroDock

Front Panel Connections

Preamp Section

The front panel mono Mic/Line inputs A & B can be used as balanced microphone inputs, hi-Z guitar pickup inputs, or line level inputs. The Neutrik combination jack accepts microphones using a standard XLR connector or line level/hi-Z inputs (such as an electric guitar) using a standard 1/4 inch TRS/TS connector.

Each preamp has a level control which sets the preamp gain from 0dB to +65dB for the XLR input and from -15dB to +50dB for the Hi-Z line input. The line markings around the knobs are calibrated in 10dB increments. The heavy hash marks on the gain controls indicate unity analog gain to the converter inputs (~5dBV input = 0dBFS output).

A phantom power switch enables +48 volt phantom power supplied to both microphones. A red LED illuminates to indicate phantom power is enabled. The audio mutes for a second when phantom power is turned on. After turning phantom power off, wait two full minutes before recording to allow the DC bias to drain. See Phantom Power for additional information.

Each microphone input has its own input level meters and clipping indicators. The LED meters indicate signal presence. Adjust the input gain so that the yellow LEDs are illuminated. The red Clip LED indicates that the gain is set too high and the signal is clipping the input. These LEDs monitor the signal directly at the analog-to-digital converters and before any processing by the rest of the system. When setting the levels for signals being sent into the MicroDock, the red clip indicator should never ﬂash.

 Phantom Power

Caution: Some microphones (notably ribbon types) cannot tolerate phantom power and may be damaged. Check the speciﬁcations and requirements of your microphone before using phantom power.

S/PDIF Digital Audio Input & Output

RCA phono jacks are standard connectors used for coaxial S/PDIF (Sony/Philips Digital InterFace) connections. Each jack carries two channels of digital audio. The MicroDock sends or receives digital audio data at 44.1k, 48k, 88.2k, 96k, 176.4k or 192k sample rates. Data is always transmitted at 24-bits, but lower word widths can be read. The word clock contained in the input data stream can be used as a word clock source. See System

Settings.

S/PDIF digital I/O can be used for the reception and/ or transmission of digital data from external digital devices such as a DAT, external analog-to-digital converter or an external signal processor equipped with digital inputs and outputs.

The S/PDIF out can be conﬁgured in either Professional or Consumer mode in the Session Settings menu. The MicroDock can also send and receive AES/EBU digital audio through the use of a cable adapter. See Cables - balanced or unbalanced? for details.

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Page 21

ADAT Optical Digital Input & Output

At the 88.2k, 96k, 176.4k or 192k sample rates, the industry standard S/MUX interleaving scheme is used for ADAT input and output. S/MUX uses additional ADAT channels to gain additional bandwidth on the existing interface. See the chart below or go here for additional information.

Sample Rate Number of Audio Channels

44kHz/48kHz 8 channels of 24-bit audio

88kHz or 96kHz 4 channels of 24-bit audio, using S/MUX standard interleaving

176kHz or 192kHz 2 channels of 24-bit audio, using S/MUX standard interleaving

The ADAT inputs and outputs can be conﬁgured in the System Settings (page 31) to send and receive S./PDIF optical data at 44.1k, 48k, 88.2k, or 96k sample rates.

S/PDIF Optical is not supported at 176.4k or 196k.

3 - PCI Card & Interfaces

The MicroDock

 Important: When

using any type of digital I/O such as S/PDIF or ADAT, you MUST sample sync the two devices or clicks and pops in the audio will result.

Headphone Output & Volume Control

The headphone output drives standard stereo headphones and the adjacent volume control sets the listening level. The headphone ampliﬁer can drive headphones with impedance as low as 24 ohms. The headphone output uses a high-current version of the high-quality output ampliﬁers used on the other channels. For this reason it has a very clean signal that can be used as another stereo output if you need it.

E Note: PatchMix DSP

does not support AC3 passthrough at this time.

E-MU PCI Digital Audio Systems 21

Page 22

3 - PCI Card & Interfaces The MicroDock

Front Panel Analog Connections

Use the 3-pin XLR jack

for Low Impedance

microphones.

Mic

Line

Line -

Mic -

Mic

Clip

-3

-6

-12

-20

-15

Use the center

Phone Jack for

High Impedance

Instrument

instruments such

as electric guitar

or bass.

Digital Connections

ADAT

(Optical)

Out

Line

+50 +65

Mic

Clip

-3

-6

-12

-20

-15

+50 +65

48V

S/PDIF

Out

Off

On/Off

& Phone Volume

Stereo

Headphones

External A/D - D/A Converter

Out

Optical

1 2 3 4 5 6 7 8

(8 more analog inputs & outputs)

DAT or CD

Digital Audio Device with S/PDIF

Out

MIDI Keyboard

REAL TIME CONTROLLERS

ASSIGNABLE KEYS

SEQUENCER

Audio Outs

PRESET

SAMPLE

LEVEL

EXIT

ENTER

PAGE

PRESET SELECT

RETURN

EMULATOR

0.987654321

S/PDIF

(Coax)

MIDI 1

Out

Coaxial

MIDI Out

MIDI In

Out

INC/YES

DEC/NO

ENTER

ESCAPE

Audio Outs

TRIGGERS

ABC

DEF

123

JKL

MNO

GHI

456

TUV

WXY

PRS

789

MIDI

MIDI Sound Module

MIDI 2

Out

MIDI In

VOLUME

22 Creative Professional

MASTER/GLOBAL

TRANSPOSE DIGITAL PROCESSINGSAMPLE MANAGEMENT

MULTIMODE

PRESET MANAGEMENT DYNAMIC PROCESINGPRESET DEFINITION

SAMPLE

PRESET

DRIVE SELECT LOAD SAVE AUDITION TRIGGER MODE

Page 23

Rear Panel Connections

3 - PCI Card & Interfaces

The MicroDock

4 Balanced Line Level Inputs

(configured as 2 stereo pairs)

Out

(configured as 3 stereo pairs)

Turntable Inputs

(tied to line input 2)

Phono

Turntable

Ground

Gnd

Out

Alternate Outputs6 Balanced Line Level Outputs

(same as outputs 1-3)

MIDI Cable

MIDI Port

Connector

48 Volt DC

Power Input

VDC

EDI

Connect to

E-MU 1010 PCI Card

Line Level Analog Inputs

4 balanced 24-bit, line-level, analog inputs are provided (1-2). These can be used to input any line level signal from keyboards, CD-players, cassette decks, etc. The analog inputs are assigned to mixer strips in the mixer application. The line level inputs can be set to accommodate the consumer -10dBV standard, or the pro audio +4 dBu standard in the I/O screen of the Session Settings dialog box. See I/O Settings.

The maximum input level is 18dBV (=20.2dBu).

Either TRS balanced or TS unbalanced cables can be used. See page 96 for additional information about unbalanced cables and connectors. The line-level inputs are all servo-balanced, enabling them to convert unbalanced signals to balanced signals internally to reduce noise.

Turntable Inputs & Ground Lug

The RCA turntable inputs feed an RIAA equalized preamp designed for moving magnet type phono cartridges with 60 dB of gain. Connect the ground lead from your turntable to the ground lug to prevent hum.

The turntable inputs share line level inputs 2L and 2R. Inserting a plug into Line Input 2 disconnects the turntable preamp from that channel. Do NOT leave your turntable connected when using inputs 2L and 2R, since this can cause a ground loop.

Important: Do NOT plug in line level signals to the turntable inputs. The turntable inputs are designed to accept the extremely low-level signal from a phonograph cartridge. Use RCA to 1/4” adapters to connect line level signals to the line level analog inputs.

Line Level Analog Outputs

Six balanced 24-bit, line-level, analog outputs are provided (1-3). Output pair 1 is designated as the Monitor Output and is fed by the monitor bus of the PatchMix DSP mixer application. We suggest that you plug your speakers in here. Special anti-pop circuitry mutes the analog outputs when power is turned on or off.

Like the analog line inputs, either TRS balanced or TS unbalanced cables can be used. Balanced cables provide better noise immunity and +6dB higher signal level. The output line level can be set to accommodate the consumer -10dBV standard, or the pro audio +4 dBu standard in the I/O screen of the Session Settings dialog box. See I/O Settings.

The maximum input and output line levels are matched when the input and output settings are set to the same mode (pro or consumer) in the I/O preferences screen.

 It’s also a good idea

to mute the Dock In strip 2L/2R in the PatchMix DSP mixer when nothing is plugged in, since the turntable preamp has a very high gain (60dB) and could contribute extra noise to your mix/ monitor bus.

 Balanced Cables:

You should ONLY use balanced (TRS) cables if BOTH pieces of equipment use balanced connections. Connecting balanced cables between balanced outputs and unbalanced inputs can actually increase noise and introduce hum.

E-MU PCI Digital Audio Systems 23

Page 24

3 - PCI Card & Interfaces

table

The MicroDock

Computer Speaker Analog Outputs

These stereo mini-phone (3.5mm) jacks duplicate line level outputs 1-3 with a lower output level to accommodate consumer speakers. These line level outputs are designed to interface easily with powered speakers.

Computer Speaker Output Duplicates Line Level Output

1 L/R Tip = 1L Ring = 1R

2 L/R Tip = 2L Ring = 2R

3 L/R Tip = 3L Ring = 3R

MIDI 1 & 2 In/Outs

MIDI input and output ports allow you to interface any type of MIDI equipment such as keyboards, effect units, drum or guitar controllers (anything with MIDI). The MIDI drivers were installed when you installed your PatchMix DSP software and the MIDI ports will appear in your system control panel under “Sounds and Audio Devices”.

There are two completely independent sets of MIDI input and output ports on the MicroDock, which can be assigned in your speciﬁc MIDI applications.

Connect the MIDI breakout cable to the D-connector on the MicroDock. Connect MIDI Out to the MIDI In port of your synthesizer and MIDI Out of your synth to MIDI In of the MicroDock MIDI cable.

EDI Connector (Card)

Connects the MicroDock to the E-MU 1010 PCI card using a CAT5-type computer cable. The cable supplied with the MicroDock is specially shielded to prevent unwanted RF emissions.

Basic Connections

Audio

from

Synthesizer

Out

Audio

Monitors

MIDI Synthesizer

Mixer

Speakers

MIDI In

Out

MIDI 1

MIDI Out

Phono

Gnd

MIDI Cable

Out

VDC

EDI

Connect

Desktop

Speakers to

1/8" jacks

Turn

AC Adapter

1010 PCI

Card

Powered Desktop Speakers

* Note: Line Inputs 2L/2R and Phono 2L/2R cannot be used at the same time.

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Page 25

5.1 Surround Speaker Connections

3 - PCI Card & Interfaces

The MicroDock

Center

Left

Front

Phono

Out

Gnd

MIDI Cable

Out

Left

Rear

Front Rear Ctr/Sub

Sub-Woofer

(with built-in power amps)

The 1/8” stereo jacks make it easy to connect to powered surround sound speakers. Only three stereo cables are necessary with many speaker systems (see above). The 1/8” jacks duplicate the 1/4” outputs.

VDC

EDI

Right Front

Right

Rear

You can connect the 1/8” stereo jacks to your surround speakers and connect the 1/4” outputs to your other gear for music creation. When you want to monitor in surround, simply open the 5.1 Session and turn on your surround speakers.

The chart below shows how to connect the outputs for 5.1 surround sound playback.

Multichannel WAVE to Surround Sound Speaker Channels

(using the factory 5.1 DVD Playback Session)

WAVE Strip Surround Channels 1/4” Outputs 1/8” Outputs

E-DSP WAVE 1/2 Front Left / Front Right 1L = FL 1R = FR 1 (Tip = FL Ring = FR)

E-DSP WAVE 3/4 Center / Subwoofer 3L = C 3R = Sub 3 (Tip = C Ring = Sub)

E-DSP WAVE 5/6 Rear Left / Rear Right 2L = RL 2R = RR 2 (Tip = RL Ring = RR)

E-DSP WAVE 7/8 Side Left / Side Right N/A N/A

E-MU PCI Digital Audio Systems 25

Page 26

3 - PCI Card & Interfaces The MicroDock

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4 - The PatchMix DSP Mixer

PatchMix DSP

The PatchMix DSP Mixer is a virtual console which performs all of the functions of a

typical hardware mixer and a multi-point patch bay. With PatchMix, you may not even need a hardware mixer. PatchMix DSP performs many audio operations such as ASIO/

WAVE routing, volume control, stereo panning, equalization, effect processing, effect send/return routing, main mix and monitor control and allows you to store and recall these “Sessions” at will.

 To Invoke the PatchMix DSP Mixer

Left-click once on the E-MU icon on the Windows System Tray. The PatchMix DSP mixer window appears.

Overview of the Mixer

Add New

Strip

Physical Input Strips

ASIO Input Strip

Toolbar

4 - The PatchMix DSP Mixer

PatchMix DSP

f Click on the buttons

and knobs in the mixer screen below to jump to the description of the control.

Display

Select

Buttons

Delete

Strip

Channel

Insert

Section

Pan

Controls

Aux

Sends

Volume

Fader

Solo/Mute

Buttons

“TV”

Screen

Aux

Effects

Section

Sync/

Sample

Rate

Indicators

Monitor

User

Deﬁnable

Scribble Strip

E-MU PCI Digital Audio Systems 27

Controls Windows Source Audio

(Direct Sound, Windows Media, etc.)

WAVE Strip

Main

Inserts

Current

Session

Name

Main Mix

Output Volume

& Meters

Volume/Balance

/Mute Controls

Page 28

4 - The PatchMix DSP Mixer Overview of the Mixer

Mixer Window

The Mixer consists of four main sections.

Application Toolbar Lets you manage sessions and show/hide the various views.

Main Section Controls all the main levels, aux buses, and their inserts. This section

also has a “TV” which shows parameters for the currently selected effect and the input/output patching. It also shows the session’s current sample rate and whether it’s set to internal or external clock.

Mixer Strips This section is located to the left of the Main Section and shows all

the currently instantiated mixer strips. Mixer strips can represent Physical analog/digital inputs, or Host inputs such as ASIO or Direct Sound. Mixer strips can be added or deleted as necessary. This section can be resized by dragging the left edge of the frame.

Effects Palette This popup window is invoked by pressing the FX button in the

toolbar. Iconic representations of all effects presets are shown here, organized by category. From this window, you can drag and drop effect presets into the insert slots available on the mixer strips and main section aux buses and main inserts.

A simpliﬁed diagram of the mixer is shown below.

Input

Post-Fader Strip

Insert

Section

Panning

Input

Pre-Fader Strip

Insert

Section

Fader

MUTE

Aux 1

Aux Bus 1

Aux 1

Send

Amount

Aux

Effects

Insert

Section

Aux 2

Aux Bus 2

Aux 2

Send

Amount

Insert

Section

Fader

MUTE

Main Bus

Return

Amount

Return

Amount

Mixer Block Diagram

Meter

Main Bus

Effects

Insert

Section

Main

Level

Monitor

Out

MUTE

Monitor Level

Main

Out

Output 1L/1R

& Headphones

Pre Fader or Post Fader

When creating a new Mixer Strip, you have the option for the Aux Sends to be placed Post Fader (both Aux Sends come after the channel fader) or Pre Fader (both Aux Sends come before the channel fader). The Pre-fader option allows you to use either Aux Send as another mix bus, which is unaffected by the channel fader. More Information.

28 Creative Professional

Page 29

E-MU Icon in the Windows Taskbar

Right-clicking on the E-MU icon in the Windows taskbar calls the following window.

Right-Click Here

Opens the PatchMix DSP Mixer.

Calls the PatchMix DSP help system.

Disables the splash screen that appears at boot-up.

When unchecked, FX are not loaded until needed, resulting in faster computer boot.

Restores the default PatchMix DSP and driver settings.

Closes the PatchMix DSP background program, disabling use of all audio I/O from the E-MU hardware. Open the PatchMix DSP application to start audio again.

4 - The PatchMix DSP Mixer

E-MU Icon in the Windows Taskbar

f Restore Defaults:

Always try this option ﬁrst if PatchMix is crashing or if you are having any other strange audio problems.

The Toolbar

New

Session

Open

Session

New Session

Open Session Calls up the standard “Open” dialog box, allowing you to open a

Save Session Calls up the standard “Save” or “Save As…” dialog boxes, allowing

Show/Hide Effects Toggle button that shows or hides the FX palette.

Session Settings Calls up the Sessions Settings window. Session Settings.

Save

Session

“About”

PatchMix DSP

Show/Hide

Effects

Session

Settings

Global

Prefs

Calls up the “New Session” dialog box. New Session.

saved Session.

you to save the current Session.

f Click the buttons in

the toolbar to learn about their function.

Global Preferences Calls up the Global Preferences window.

About PatchMix DSP Right-Click on the E-MU logo to view the “About PatchMix DSP”

screen, which provides the software and ﬁrmware version numbers and other information.

E-MU PCI Digital Audio System 29

Page 30

4 - The PatchMix DSP Mixer The Session

The Session

The current state of the PatchMix DSP mixer (fader settings, effects routings…everything!) can be saved as a Session. Whenever you create or modify a mixer setup, all you have to do is Save it to be able to recall it at a later time.

Before you begin using PatchMix DSP, you need to set it up to be compatible with the other software applications you may be running. The most important consideration is your system sample rate. PatchMix DSP and any applications or other digital gear you are using must be set to the same sample rate. PatchMix DSP can run at 44.1kHz, 48kHz, 88kHz, 96kHz, 176.4 kHz or 192kHz, but its complete set of features are only available at 44.1kHz or 48kHz. See Chapter 6 - Using High Sample Rates for details.

Once the sample rate is set, you can only easily switch between 44.1k and 48k. You cannot switch between 44/48k and 88k/96k/176k/192k. With a change to these high

sample rates, you must start a new session.

You can also set up an external sync source, thereby obtaining the sample rate from some other device or application. External sync can be obtained from the ADAT input or S/PDIF input. If the session is set at 44.1kHz or 48kHz and the external source is coming in at a higher rate (such as 96k), the Sync Indicator will be extinguished (off), but PatchMix will attempt to receive the external data. The two units are NOT sample locked however, and you should correct this condition to avoid intermittent clicks in the audio. Always check for the presence of the LOCKED indicator whenever you are

using a digital interface.

PatchMix DSP comes with several session templates to choose from so when you create a new session you can either create a “blank” session based around a designated sample rate, or select from a list of template starting points.

In a PatchMix DSP session the number of strips in the mixer is dynamically conﬁgurable. This allows you to create only those strips you need up to a maximum number determined by available DSP resources and available inputs.

 Important: When

using any form of digital input, you MUST synchronize the Digital Audio System to the external digital device (S/PDIF/ADAT).

New Session

You create a new session by clicking the “New Session” button in the PatchMix DSP main Toolbar. The following dialog box appears.

Select a Template or new Session at the desired sample rate

Session Description

Add your own comment or note about the Session

Check this if you want to edit the New Session.

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Page 31

You can now select one of the factory template sessions. The factory templates are preprogrammed with speciﬁc setups such as audio recording or mixing. The selector tabs categorize Template Sessions into three groups based on sample rate, 44.1k/48k, 88k/ 96k, or 176k/192k.

You can create your own templates by simply copying or saving sessions into the “Session Templates” folder (Program Files\Creative Professional\E-MU PatchMix DSP\Session Templates).

There is also a Comment area that you can use to give yourself some clue as to what you were thinking when you created the session.

Selecting a Session at 176.4kHZ or 192kHz

When operating at 176.4k or 192k sample rates, the number of I/O channels are slightly reduced. At these high sample rates you must select one of three types of sessions each containing a different I/O conﬁguration. Please see page

87 for details.

Open Session

To Open a saved session, click on the Open Session button. A dialog box appears allowing you to choose one of your saved Sessions to open. Choose one of your saved sessions and click on the Open button.

4 - The PatchMix DSP Mixer

The Session

Save Session

To Save a session, click on the Save Session button. A Save dialog box appears allowing you to choose a location in which to save the current Session. The “My Sessions” folder is chosen by default.

Get in the habit of saving the session whenever you have created a special mixer setup. This will make your life much easier as you can recall a setup for many different audio modes such as: recording, mixing, special ASIO routings, etc.

Session Settings

System Settings

Pressing the Session Settings button on the toolbar brings up the System Settings window shown below. Click the tabs to select System or I/O options.

E-MU PCI Digital Audio System 31

Page 32

4 - The PatchMix DSP Mixer The Session

The System Settings include the following:

• Internal/External Clock Selects between internal or external word clock source

as the master clock source for the system

• Sample Rate Selects the sample rate when using internal clock. Your choices are: 44.1kHz, 48kHz, 88.2kHz, 96kHz,

176.4kHz, 192kHz.

• External Clock Source

(ext. clock only)

Select from: ADAT, or S/PDIF as an external sample clock source.

Using External Clock

Whenever you are using any digital I/O such as ADAT or S/PDIF, one of the digital devices MUST supply the master clock to the others. This master clock runs at the system sample rate and can be embedded into a data stream such as S/PDIF or ADAT. Common symptoms of unsynced digital audio include, random clicks or pops in the audio or failure of the digital stream to be recognized. Always check for the presence of

the “LOCKED” indicator whenever you are using a digital interface.

If an External Clock is interrupted or switched after the Session has been created (except between 44.1k <-> 48k), the “LOCKED” indicator will be extinguished and PatchMix will attempt to receive the external data. The two units are NOT sample locked however, and you should correct this condition to avoid intermittent clicks in the audio.

I/O Settings

You can set the level (-10dBV or +4 dBu) for each pair of analog outputs and the input gain setting for each pair of analog inputs.

An output setting of +4 provides the most output and is compatible with professional audio gear. Balanced output cables provide a +6dB hotter signal than unbalanced cables when used with balanced inputs. Do NOT use balanced cables unless your other gear has balanced inputs. See “Cables - balanced or unbalanced?” in the Appendix for more information.

E Note: if set to

“External” without an external clock present, PatchMix DSP defaults to the internal 48kHz clock rate.

Comparison of -10dBV & +4dBu Signal Levels

Consumer

Clipping -->

Headroom

+ 6 dBV

+ 2 dBV

{

-10 dBV

0 dBV = 1V RMS 0dBu = .777V RMS

An input setting of -10 is compatible with consumer audio gear and works best with low level signals. (-10dBV is approximately 12dB lower than +4dBu.) Choose the setting that allows you to send or receive a full scale signal without clipping.

Setting correct input and output levels is important! You can measure the level of an input by inserting a meter into the ﬁrst effect location in the strip. Adjust your external equipment outputs for the optimum signal level. See “To Set the Input Levels of a Strip” for details.

Professional

(balanced)(unbalanced)

+20 dBu

+8 dBu

+4 dBu

-8 dBu

<-- Clipping

Headroom

}

f Input too weak?

Use -10 Input setting.

Output too weak?

Use +4 Output setting

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4 - The PatchMix DSP Mixer

The Session

Input Level

Settings

Optical

Input

Select

Mic Soft Limiting

On/Off

• Inputs +4 or -10 Selects between Consumer level (-10dBV) or

Professional level (+4dBu) inputs. (Use the -10dBV setting if your input is too weak.)

• Outputs +4 or -10 Selects between Consumer level (-10dBV) or

Professional level (+4dBu) outputs. (The +4 dBu setting outputs a hotter level.)

• Optical Input Select Selects between ADAT or optical S/PDIF for the MicroDock

ADAT Input. The coaxial S/PDIF input is disabled when S/PDIF optical is selected.

• Microphone Input

Soft Limiting

• Optical Output Select Selects between ADAT or optical S/PDIF for the MicroDock

• S/PDIF Output Format Selects between S/PDIF or AES/EBU format for S/PDIF. This

The Mic/Hi-Z inputs have built-in “soft limiters” which automatically turn down the gain before the signal overloads the A/D converters. The soft limiters allow you to record a hotter signal without fear of clipping. This control turns the soft limiters On or Off. See

the Best Possible Recording for additional information

about the soft limiters.

ADAT Output. The coaxial S/PDIF Output is disabled when S/PDIF optical is selected.

sets the S/PDIF-AES status bit, but does not affect the signal level.

Output Level Settings

Optical Output

Select

S/PDIF Output Format

Making

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4 - The PatchMix DSP Mixer

f Physical input strips

are shown with BLUE text.

f Host input strips are

shown with WHITE text.

f The Input Type will

turn RED if the input is not available. (The MicroDock may be disconnected.)

Input Mixer Strips

PatchMix DSP Input Mixer Strips are stereo except for the MicroDock Mic/Line inputs. Each input mixer strip can be divided into four basic sections.

• Insert Section Effects, EQ, External/Host Sends & Returns can be inserted into the signal path.

• Pan Controls These controls position the signal in the stereo sound ﬁeld.

• Aux Sends Used to send the signal to sidechain effects or to create separate mixes.

• Volume Control Controls the output level of the channel.

Mono/Stereo

Input Type

Insert Section

Pan Controls

Aux Sends

Channel

Volume Control

Input Type

The very top of the strip is labeled mono or stereo and displays the type of the assigned input. Input mixer strips can be added as desired and can be conﬁgured to input the following:

• Physical input = Hardware

(Analog/SPDIF/ADAT).

• Host Input = Software

(Direct Sound, WAV, ASIO source)

Inserts

You can drag and drop effects from the Effects Palette or Right-click to insert a Physical or ASIO Send or Send/Return A Peak Meter, Trim Control or Test Signal can also be inserted by Rightclicking on the Insert section.

Pan Controls

These controls allow to you position the channel in the stereo sound ﬁeld. Dual controls on stereo strips allow you to position each side independently.

Aux Sends

These controls send the signal to sidechain effect processors such as reverb and delay. They can also be used to create separate mixes for the artist or for recording.

This screen shows a mono strip on the left and a stereo strip on the right.

34 Creative Professional

Mute/Solo

Buttons

Scribble Strip

Vol ume Control

Controls the output level of the strip into the main/monitor mix bus.

Mute/Solo Buttons

These convenient buttons allow you to solo or mute selected channels.

Scribble Strips

Click inside the scribble strip and type a name of up to eight characters.

Page 35

Mixer Strip Creation

f CDs & MP3s: The

WAVE 1/2 strip is used to playback CDs, Windows Media Player, and Direct Sound.

PatchMix DSP is a dynamically conﬁgurable mixer. Each mixer session can contain an arbitrary number of strips up to a limit set by the number of available input sources and available DSP resources.

• Host refers to a computer application such as Cubase.

• Physical refers to a hardware input or output such as an output jack.

 To Add a New Strip:

1. Click on the New Mixer Strip button. See Overview of the Mixer. The New Mixer

Strip Input Dialog appears:

4 - The PatchMix DSP Mixer

Mixer Strip Creation

f Adding or deleting a

strip “defragments” the effect/DSP resources. If any effect you wish to add is unavailable (greyed-out), try deleting an unused strip to free up resources.

2. Select the desired input to the mixer strip from the following choices:

• Physical Source: Analog or digital input (Analog, ADAT, S/PDIF)

• Host - ASIO Source input Streaming audio from an ASIO software application.

• Host - WAVE input Window sound sources — WAVE, WDM, CD

PHYSICAL SOURCE Function

Physical: Dock Mic/Line 24-bit monophonic analog input on the MicroDock.

Physical: Dock In 24-bit stereo analog input on the MicroDock.

Physical: Dock S/PDIF 2 channel digital audio from the S/PDIF input on the

Physical: Dock ADAT 2 channel (x4 strips) digital audio from the ADAT input on

HOST SOURCE Function

Host ASIO Output Source

From software application

Host Windows Source

From Windows

3. Select Pre-Fader Aux Sends or leave the box unchecked for Post-Fader Aux Sends.

4. Click OK to create a new strip or Cancel to cancel the operation.

E-MU PCI Digital Audio System 35

MicroDock.

the MicroDock.

2 channel digital audio from an ASIO source (software app). ASIO: 1/2, 3/4, 5/6, 7/8, 9/10, 11/12, 13/14, 15/16

Direct Sound, WDM, Windows Media

(Sound generated or handled by Windows.)

WAVE 1/2 - Default stereo source such as game sound, CD player, beep sounds, etc. WAVE 3/4, WAVE 5/6, WAVE 7/8 - Additional WDM channels

f See “Pre or Post Fader

Aux Sends” on page 46.

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4 - The PatchMix DSP Mixer Mixer Strip Creation

 To Delete a Mixer Strip:

1. Click the top of the mixer strip you wish to delete. A red border appears around

the strip, indicating that it is selected.

2. Click on the Delete Mixer Strip button, or right-click and choose Delete, or use the

Delete key on the PC keyboard. See Overview of the Mixer.

Multichannel WAVE Files

The 1616 supports 2 channels of WAVE recording and 8 channels of multichannel WAVE playback. The WAVE channels are available for the following types of WDM

devices:

• Classic MME

• DirectSound

• Direct WDM / Kernel Streaming (KS)

DirectSound and the WDM/KS interfaces allow up to Eight channels of Wave Out while the classic MME interface only exposes 2 channels.

The WAVE channels operate at all sample rates. For additional information about WDM behavior at high sample rates, see page 87.

192kHz/96kHz DVD-Audio disks are protected against digital copying. Most DVDAudio disks contain duplicate 48kHz audio tracks which will play back on the 1616.

Windows Media Player/DVD/Surround Sound Playback

Select DirectSound as the output format when using Windows Media Player and other DVD player applications.

Eight channel WAVE playback supports either 5.1, 6.1 or 7.1 surround audio. However, the 1616 is best suited to play 5.1 surround, since it only has 6 analog outputs. (You could play back 7.1 surround audio by using an external S/PDIF to Analog Converter. Create a 7/8 WAVE strip and insert a Send to S/PDIF Out.)

The chart below shows how to connect the outputs for 5.1 surround sound playback.

Multichannel WAVE to Surround Sound Speaker Channels

(using the factory 5.1 DVD Playback Session)

WAVE Strip Surround Channels 1/4” Outputs 1/8” Outputs

E-DSP WAVE 1/2 Front Left / Front Right 1L = FL 1R = FR 1 (Tip = FL Ring = FR)

E-DSP WAVE 3/4 Center / Subwoofer 3L = C 3R = Sub 3 (Tip = C Ring = Sub)

E-DSP WAVE 5/6 Rear Left / Rear Right 2L = RL 2R = RR 2 (Tip = RL Ring = RR)

E-DSP WAVE 7/8 Side Left / Side Right N/A N/A

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Page 37

Insert Section

The Insert Section is next in line. PatchMix DSP effects can be selected from the Effects Palette and dropped into the insert locations. See “The Effects Palette”. Any number of effects can be inserted in series.

The Inserts also have the unique ability to patch into ASIO/WAVE and external equipment. ASIO/WAVE Sends, External Sends and External Send/Returns can be dropped into the insert section to route the signal anywhere you want.

The Insert/Patch Bay is incredibly ﬂexible. Want to send the input of the strip to your audio recorder? Simply insert an ASIO send into the insert section and select the ASIO pair you want. That’s it! That input is now available in your ASIO software.

The following types of inserts can be selected.

Hardware Effect Reverb, EQ, Compressor, Flanger, etc. using PatchMix DSP’s effects

which do not load your CPU.

Host ASIO Send Splits off the signal and sends it to an ASIO host input such as a

software audio recorder or anything that uses ASIO.

ASIO Direct Monitor

Ext. Send/Return Sends signal to a selected external output, then returns it to the chain

External Send Sends the signal to an external output. See “To Add a Send Insert:”

Peak Meter Peak meters allow you to monitor the signal level anywhere in the

Trim Pot You can insert a gain control with up to 30 dB of gain or attenuation.

Test Tone This special insert outputs a calibrated sine wave or noise source,

Sends the signal to a selected ASIO host input, then returns a selected ASIO host output to the chain.

via a physical input.

chain. See “

A peak level meter and phase inverter are also included.

See “

which can be used to track down audio problems.

See “

Meter Inserts”.

Trim Pot Insert”.

Test Tone/Signal Generator Insert”.

4 - The PatchMix DSP Mixer

Mixer Strip Creation

f You have to create an

ASIO strip or ASIO Send in order to activate these ASIO channels in your software.

Working with Inserts

The Inserts are one of most powerful features of the PatchMix DSP system as they allow you to conﬁgure the mixer for a wide variety of applications.

 To Add an Effect to an Insert Location:

1. Press the FX button. The effects palette appears.

2. The effects are organized into categories. Click on a folder to open it.

3. Select the effect you want, drag it over the insert section, then drop it into an insert

location.

4. To rearrange the order of effects, simply drag and drop them into the desired order.

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4 - The PatchMix DSP Mixer

Mixer Strip Creation

The Insert Menu

Right-Clicking over the insert section brings up a pop-up selection box containing various insert options to help you control and manage your inserts.

 To Add a Send Insert:

This type of insert send splits the signal at the insert point and sends it out to the selected destination. (An “ASIO Send” becomes an input on your recording application, a “Physical Out” goes to a pair of output jacks. the signal also continues down the strip to the Aux Sends and main mixer outputs.)

1. Right-Click over the Insert section. A pop-up dialog box appears.

2. Select Insert Send (to ASIO/WAVE or physical output) from the list of options. The

following dialog box appears.

Input

Insert

Send

Panning

Fader

Aux 1 Bus

Aux 2 Bus

Main Output Bus

3. Choose one of the Send Outputs. Click on a destination to select it.

4. Click OK to select the output or Cancel to cancel the operation.

To ASIO, WAV o Physical Output

 To Add a Send/Return Insert:

This type of insert send breaks the signal at the insert point and sends it out to the selected destination such as an external effect processor. A return source signal is also selected which returns the signal to the channel strip after processing.

1. Right-Click over the Insert section. A pop-up dialog box appears.

2. Select “Insert Send/Return (Physical Output and Input)” from the list of options.

The following dialog box appears.

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4 - The PatchMix DSP Mixer

Mixer Strip Creation

Input

Insert

Send/Return

Panning

Fader

Aux 1 Bus

Aux 2 Bus

Main Output Bus

To Physical Output From Physical Inpu

3. Choose one of the Send Outputs. Click on a destination to select it.

4. Choose one of the Return Inputs. Click on a source to select it.

5. Click OK to select the Send and Return, or Cancel to cancel the operation.

ASIO Direct Monitor Send/Return

This type of insert send breaks the signal at the insert point and sends it out to the selected ASIO Host Input destination (such as Cubase or Sonar). A return source signal is also selected which returns the signal to the channel strip from an ASIO Host Output.

The ASIO Direct Monitor Send/Return is unique in that it utilizes ASIO 2.0 zero-latency monitoring. In order to utilize this feature, Direct Monitoring must be enabled in the

audio recording application.

While recording, the Direct Monitor Send/Return routes the signal to the recording application, but monitors directly from the input to eliminate latency. During playback, the recording application automatically switches the Direct Monitor Send/Return to monitor the recorded track.

 If the source or

destination you want to use is not available in the list, they are probably already being used elsewhere. Check the input Strips, Inserts and Output Assignments.

Input Input

Recording

Software

Direct MonDirect Mon

Recording

Software

Recording Playback

The Direct Monitor Send/Return also allows the recording application to control volume and pan. Normally when using direct monitor recording you’ll want to control the volume and pan from the recording application. In this case, set the PatchMix DSP stereo pan controls hard left and right, mono pan controls to center, and the fader to 0dB.

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4 - The PatchMix DSP Mixer Mixer Strip Creation

 To Add an ASIO Direct Monitor Send/Return:

1. Right-Click over the Insert section. A pop-up dialog box appears.

2. Select Insert ASIO Direct Monitor from the list of options. The following dialog

box appears.

3. Choose one of the Send Outputs. Click on a destination to select it.

4. Choose one of the Return Inputs. Click on a source to select it.

5. Click OK to select the Send and Return, or Cancel to cancel the operation.

Meter Inserts

Keeping track of signal levels is important in any audio system, be it analog or digital. You want to keep the signal levels running as close to maximum in order to achieve high resolution and low noise. On the other hand, you don’t want the signal level so high as to cause clipping. To help you maintain optimum signal levels, we have included Peak Level Meters, which can be dropped into any insert location.

The insert meters are of the “peak hold” type. The topmost bar in the meter holds its highest level for a second to let you see transients that would otherwise be too quick for the eye.

The peak meters are also color-coded to indicate the signal strength. The chart below outlines the meanings of the colors. Avoid lighting the topmost red bar, as this indicates distortion of the signal. Click on the clip indicator to turn it off.

Meter Color Indicates

E Red Indicates signal clipping.

E Yellow Good strong signal level.

E Green Signal is present.

One of the most obvious uses of the insert meters is to set input levels. On the analog inputs, the analog-to-digital converter (ADC) is one of the most critical points in the signal path. You want the input signal level to drive the 24-bit ADCs into their optimum range without clipping. A reading of 0dB on an input meter indicates signal clipping.

Level

10203040506070

--12dB

Each bar of the meter equals 1dB. The yellow bars begin at -12dB below full scale.

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The insert meters are also useful to monitor incoming digital signals such as ADAT, ASIO or S/PDIF to make sure the mixer is receiving a proper signal level. They’re also great for troubleshooting, since you can place them virtually anywhere in the mixer.

 To Insert a Meter

1. Right-Click on an Insert location of the mixer strip. A pop-up dialog box appears.

2. Select Insert Peak Meter. A stereo peak meter appears in the insert location.

3. Select Effect in the Main Section. The meters are now shown in high resolution in

the TV screen.

To Set the Input Levels of a Strip

1. Select the topmost Insert location on a mixer strip and insert a meter (see above).

Left-click on the meter insert to see the meter in the TV screen.

3. Feed your audio signal to the input of the mixer strip. The meter should now show

the signal level.

4. Adjust the output level of the external device (synthesizer, instrument, preamp,

etc.) feeding the MicroDock. The meter should be in the yellow region most of the time with occasional forays into the red. If the clip indicator ever comes on, reduce the signal level.

5. Each analog input pair has its own Input Pad (-10dBV or +4dBu) which controls the

input signal range. Changing the I/O settings can add or subtract 12dB. Check these settings if you cannot set the proper input level. See I/O Settings.

4 - The PatchMix DSP Mixer

Mixer Strip Creation

f Input too weak?

Use -10 Input setting.

Output too weak?

Use +4 Output setting

Making the Best Possible Recording

Making a good digital recording is easier than ever thanks to the high resolution 24-bit A-D converters on your Digital Audio System. These converters are much more forgiving than the 12-bit or 16-bit converters of the past. Even so, to get the best performance possible, you'll need to follow a few basic guidelines.

First, whenever you input an analog signal to the Digital Audio System, make sure that you're feeding the A-D converters with an optimum signal level. The quality of a digital recording is directly related to the signal level you feed into the A-D converters. If the analog input level is set too low, you lose resolution—if it's set too high, the A-D converters will clip.

To measure the input level, simply add an insert meter to the channel strip in PatchMix DSP. These meters are accurately calibrated to display 1dB for each bar on the meter. You can enlarge the meter view by clicking on the insert meter in a strip and selecting the “Effect” button at the top of the TV screen.

The “I/O Settings” in the Digital Audio System allow you to set the input levels to

-10dBV (consumer equipment level) or +4dBu (professional equipment level) for each analog input. This control sets the overall input level to match your other gear, but to get the best possible recording you need to ﬁne tune the level further.

In order to supply the correct input level, you’ll need to adjust the output of your analog source (electric instrument or preamp) so that the input level comes close to 0dB without ever going over.

Play your input source signal while watching the insert meter in the strip. The signal should go into the yellow area frequently, but never into the red. Adjust the level of your source until you have a good level. If the signal is way too strong or too weak, you may

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4 - The PatchMix DSP Mixer Mixer Strip Creation

have to go back and adjust the I/O Settings. Choose “-10” if the input signal is too weak and “+4” if the signal is too strong.

Digital audio has NO headroom past 0dBFS (FS = Full Scale) and will “hard clip” if the signal exceeds 0dBFS. Hard clipping sounds bad and will ruin your recording. Hard clipping occurs because at 0dBFS, all 24 bits are turned on and the A-D cannot measure any higher level. Analog tape, unlike digital, can be driven past 0dB, although with some degradation of the signal.

The MicroDock includes a pair of Soft Limiters on the preamp inputs, which can be turned on or off for each channel in the I/O Settings. The soft limiters automatically turn down the gain whenever the signal level exceeds -6dB below Full Scale. Below this level, the limiters are completely out of the circuit. The soft limiters allow you to encode a hotter signal without fear of hard clipping the input. This provides increased resolution and a better recording. When recording drums, piano and vocals, occasional peak transients can be tamed by the soft limiters, allowing you to supply the best possible signal into the MicroDock’s ultra-high-quality A-D converters.

The Digital Audio System includes Insert “Trim Pot” controls, but since they adjust the signal level AFTER the signal has been digitized, this will not recover any lost resolution. It’s far better to set the input level correctly in the ﬁrst place. Trim Pots can be used in emergency situations if there's no other way to get a hot signal in. They are designed to optimize the signal levels feeding effect plug-ins.

Trim Pot Insert

The Trim Pot Insert allows you to adjust the level of a signal in an insert location. The trim pot provides up to ±30dB of gain or attenuation and a phase inverter. The trim pot also has a built-in stereo peak meter after the control.

Gain/Attenuation

Phase Invert

Meters

You might use a trim pot to boost or attenuate a send or return from an external effect, or to drive an effect device. Certain effects such as the Compressor, Distortion, and Auto-Wah are very level dependent and like to see a good, strong input signal. If you are working with a weak signal, you can improve the performance of these effects inserting a trim pot and boosting the gain.

Trim pots can be used to boost the level of analog line level inputs in a pinch, but it’s much better to boost the signal level before the A/D converters in order to get maximum resolution and signal-to-noise ratio from the converters.

The phase invert switch inverts the polarity of the signal. It is generally used to correct for balanced lines and mics that are wired backwards.

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 To Add a Trim Pot Insert

1. Right-Click over any of the Insert sections. A pop-up dialog box appears.

2. Select Insert Trim Control from the list of options. A Trim Pot insert appears in the

insert location.

3. Click on the Trim Pot insert to view and adjust the controls in the TV screen.

4. To move the Trim Pot to another location, simply drag and drop it into the desired

position.

Test Tone/Signal Generator Insert

The test tone/signal generator insert is a handy troubleshooting aid which outputs a calibrated sine wave, white noise or pink noise. This tool, in combination with an insert meter, allows you to accurately measure the signal gain or attenuation of an internal or external device. The test tone can also be quite handy for tuning up musical instruments.

Signal Type

(Sine wave, White or Pink Noise)

4 - The PatchMix DSP Mixer

Mixer Strip Creation

f Musical Note Freq.

A = 440 Hz B = 493.88 Hz C = 523.25 Hz D = 587.33 Hz E = 659.26 Hz F = 698.46 Hz G = 783.99 Hz

Sine Wave Oscillator Frequency

Test Signal Output Level

The Sine Wave Oscillator frequency is variable from 20Hz-20kHz. The level is variable from off to +30dB.

White Noise is a mixture of all frequencies in the audio spectrum at the same average level (analogous to white light in the visible spectrum).

Pink Noise provides equal power distribution per octave. (White noise has more power in the higher octaves.) Pink noise and white noise are useful as wideband sound sources.

 Using the Test Tone and Meter Inserts for Troubleshooting

Sometimes it’s useful to have a continuous tone to verify that you have the signal path routed correctly in hardware or software. First insert a Test Tone and/or a Meter(s) into a strip, then follow the tone through the system by ear or by moving the meter. A test tone is quite handy when ﬁrst setting up your recording software.

1. Right-Click over the Insert section in question. A pop-up dialog box appears.

2. Select Insert Test Tone/Signal Generator from the list of options. A Test Tone insert

appears in the insert location.

3. Click on the Test Tone insert to view and adjust the controls in the TV screen.

4. To move the Test Tone to another location, simply drag and drop it into the

desired position.

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4 - The PatchMix DSP Mixer Mixer Strip Creation

Managing Your Inserts

 To Delete an Insert:

Right-Click over the Insert you wish to delete. A yellow line around the insert location indicates that it is selected. A pop-up dialog box appears.

2. Select Delete Insert to remove the selected insert or select Delete All Inserts to

remove all inserts.

3. The insert(s) are deleted from the insert chain.

 To Bypass an Insert:

Inserts can be bypassed if you want to temporarily hear the audio without the effect or insert. Bypass can also be used to turn off a Send Insert.

Method #1

1. Click on the Effect (in the Insert section) and select Effect in the TV display.

2. Click the Bypass button.

Method #2

1. Right-Click over the Effect you want to bypass (in the Insert section). A pop-up

dialog box appears.

2. Select Bypass Insert from the list of options.

f Tip: Select the Insert

and press the Delete key to delete the plug-in from the strip.

 To Bypass All Inserts:

All Inserts in a strip can also be bypassed with a single command.

1. Right-Click over the Effect you want to bypass (in the Insert section). A pop-up

dialog box appears.

2. Select Bypass All Inserts from the list of options.

 To Solo an Insert:

Inserts can also be soloed. Solo bypasses all the other inserts in the strip and allows you to hear only the soloed effect. This feature is very useful when adjusting the effect parameters.

Method #1

1. Click on the Effect (in the Insert section) and select Effect in the TV display.

2. Click the Solo button.

Method #2

1. Right-Click over the Effect you want to Solo (in the Insert section). A pop-up dialog

box appears.

2. Select Solo Insert from the list of options.

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Aux Section

The Auxiliary Sends tap the signal from the channel strips and sum them together before sending the mix to the Auxiliary Effects section. In a traditional mixing console, aux sends are used to send part of the signal to outboard effect devices, then return the effected signal back into the mix using the effect returns. This is called a Sidechain Routing because the aux signal takes a detour through the effects before being summed back into the main mix. Sidechain effects are usually effects that you might want applied to several channels, such as reverb.

Incidentally, the wet/dry mix of effects in the Aux Sends should normally be set to 100% wet. This is because you will be adjusting the effect amount using the Aux Return control instead. If you have more than one effect in an Aux Bus, ignore the preceding advice as the wet/dry controls can be used to mix the amounts of your multiple effects.

The Aux 1 & 2 buses can also be used as additional submix output buses just like the main output. Simply drop an ASIO or External Send Insert into the chain and the stereo bus is sent. Turn off the Return Amount if you don’t want the submix to be combined into the main mix.

Aux Send and Return values can also be changed by typing directly into the displays.

4 - The PatchMix DSP Mixer

Mixer Strip Creation

Input

Pan

Fader

Mute

Amt

Sidechain Diagram

(Post-Fader Aux Sends)

Send

Amount

Aux Bus 1

Chain

Send

Amount

Aux Bus 2

Chain

Main / Monitor Bus

Return

Amount

Side

Return

Amount

Side

Output

Other Uses of the Aux Sends

You can think of the Aux Sends as two extra mixing buses because that’s exactly what they are. These two mixes can be routed anywhere, such as to a physical output or an ASIO pair. You could route one of the Aux buses to the Monitor out to create a monitor mix while sending the main mix off to your audio recording software.

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4 - The PatchMix DSP Mixer Mixer Strip Creation

Pre or Post Fader Aux Sends

When you create a New Mixer Strip you have the option to place both Aux Sends after the channel volume fader and mute control or you can place them before the fader and mute. Post-Fader turns down the send level as you lower the volume of the strip. With Pre-Fader selected, you may still hear the effected signal returning from one of the Aux Buses with the volume fader turned down.

With the Pre-Fader box selected, the Aux Send levels are completely unaffected by the Level Fader and Mute settings. The Pre-Fader setting allows you to create two completely different mixes using the Aux Buses since the signal levels of this mix won’t be affected by the fader settings.

Input

Volume Fader & Mute does NOT affect Send Levels

Pre-Fader Aux Send

Pan

Return

Amount

Return

Amount

Amt

Aux Bus 1

Send

Amount

Side

Chain

Send

Amount

Side

Fader

Aux Bus 2

Chain

 In order to change a

strip from pre-fader to post-fader or vice-versa, you have to delete the strip and create a new one.

Pan

Fader

Mute

Input

Amt

Main / Monitor Bus

Post-Fader Aux Send

Volume Fader & Mute affects both Aux Send Levels

Send

Amount

Aux Bus 1

Send

Amount

Aux Bus 2

Output

Return

Amount

Side

Chain

Return

Amount

Side

Chain

Main / Monitor Bus

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Level, Pan, Solo & Mute Controls

The Pan control comes before the Level Control

Pan Controls

Aux Send

Amount

Controls

Level Control

Mute & Solo

Buttons

Scribble Strip

and Aux Sends in the signal ﬂow. On stereo strips we use an unconventional pan section with two pan pots – one for the left part of the signal and one for the right part of the signal. This feature allows you to independently position both sides of the stereo signal. A conventional stereo balance control only allows you to turn down one side or the other.

The Mute button does just what you would expect—press the button and the sound from that channel is cut off. Pressing the Solo button while the Mute button is pressed allows you to hear the channel until solo is turned off.

The Solo button allows you to listen to only that channel while muting the rest of the inputs. If multiple solo buttons are pressed, you will hear all soloed channels and the non-soloed channels will all be muted.

The mute status is remembered if a muted channel is soloed. When the channel solo is turned off, the channel reverts to being muted.

The Level Control for the strip is an attenuation control that can also provide up to +12dB of gain. 0db is the unity gain setting. You can also type numeric values into the displays to set the level.

At the very bottom is the Scribble Strip text area, into which you can type any short piece of text, thus naming the strip, i.e. “vocals”, “bass”, “drums” and so on.

4 - The PatchMix DSP Mixer

Mixer Strip Creation

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4 - The PatchMix DSP Mixer Main Section

Main Section

Physical/Host

Select Buttons

“TV” Screen

View

Selection

Buttons

Aux

Insert

Section

Master

Aux Send

Amounts

Main

Insert

Section

Output

Fader &

Meters

Master Aux

Return

Amounts

Sync &

Sample Rate

Indicators

Monitor Controls

Session Name

The main section contains all controls for controlling the main mix elements as well as a “TV screen” for viewing the input/output routing or parameters of the selected insert.

The three buttons across the top of the main section select what is shown on the TV display. Input and output routings are graphically displayed. When an insert is selected (by clicking on the insert), the screen shows the available parameters for the currently selected insert.

Below the TV screen is the Aux Bus section where effects, effects chains or other inserts can be assigned to the two aux buses. Send and return levels can be individually controlled for each of the two Aux Buses.

The Aux 1 and Aux 2 buses are fed by the two Aux Sends on each mixer strip. The Master Send Level control on Aux bus 1 and 2 can be used to attenuate or boost the signal going into the Auxiliary Inserts. There is also a Master Return Level to control the amount of the effected signal that will be returned into the main mix.

The Main Bus can also have a chain of effects inserted. (You might put an EQ here to equalize your entire mix or add an ASIO or WAVE send to record the mix.) Note that the Main Output level control comes before the Monitor Level so that you can control the monitor level without affecting the level of your recording mix or main mix. There is a stereo peak meter that indicates the signal strength for the main mix.

The Monitor section has a volume, balance, and a mute control to cut off the monitor output.

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TV Screen & Selectors

The “TV screen” at the top of the main section is a multi-function display and control center for the input and output routings and effect controls. The three buttons at the top of the display select the current function of the display—Effect, Inputs or Outputs.

Effect

Select the Effect display view in the main section, then click on an Effect Insert to display the effect parameters. If an insert effect is not selected, the display will read “No Insert”.

Most effects have a wet/dry mix parameter to control the ratio of effect to plain signal. The wet/dry setting is stored with the effect preset. The parameter set varies with the type of effect. See “List of Core Effects” for detailed information about the individual effects.

4 - The PatchMix DSP Mixer

Main Section

E Note: Effects have to

be placed into an insert location before you can program them.

Effect Display

View Button

Wet/Dry Mix Control

Effect Location

Effect Bypass & Solo Buttons

Effect Parameters

User Preset Section

When a Send or a Send/Return insert is selected with the effects display enabled, the TV screen shows you where the Send is going and where the Return is coming from. The bypass or solo buttons at the top of the display are available for Send/Return type inserts only.

Send Destination

Return Source

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4 - The PatchMix DSP Mixer Main Section

Input

Selecting the Input display view shows a graphic representation of the PatchMix DSP Mixer inputs. This screen is only a display, unlike the Effects and Outputs screens, which allow you to make routing changes. Input routing changes are made by adding mixer strips. See Mixer Strip Creation.

The input routings are divided into two categories: Physical Inputs and Host Inputs. Select either category by clicking on the Physical or Host button.

Physical Input Display Host Input Display

Return

Amount

f The Input and Output

displays make it much easier to understand the signal routings of a complex mixer setup.

f Tip: Clicking on any

of the input routings in the TV display highlights the corresponding mixer strip.

Output

Selecting the Output display view shows a graphic representation of the PatchMix DSP Mixer outputs. The output routings are divided into two categories: Physical Outputs and Host Outputs. Select either category by clicking on the Physical or Host button.

Physical Output Display Host Output Display

The Host Output display shows all the Insert Routings in addition to the Main Mix and Monitor out routings. Click on the desired row to make or break a physical output connection.

The Physical Output screen displays and allows you to connect the Main and Monitor outputs of the mixer to “physical” analog or digital outputs. Click on the box in the mix or monitor area to make (or break) a connection.

The Host Output screen displays and allows you to view the Host (ASIO or WAVE) outputs of the mixer. See “Insert Section” for information on how to connect the inserts.

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Auxiliary Effects & Returns

The section immediately below the TV Screen is where you assign the Auxiliary Effects. In a traditional mixing console, auxiliary effects sends are used to send part of the signal to outboard effect devices, then return the effected signal back into the mix using the effect returns. This is called a sidechain routing because the aux signal takes a detour through the effects before being summed back into the main mix.

Sidechain effects are usually effects that you might want applied to several channels, such as reverb. Effects such as EQ and compressors are usually NOT used as sidechain effects because they can cause unpredictable results when returned to the main bus.

4 - The PatchMix DSP Mixer

Main Section

f The Wet/Dry mix

setting in the effect should normally be set to 100% when the effect is inserted as a sidechain effect. This is because the Aux Return Amount will control the wet/dry mix.

Send

Amount

Sidechain

Effects

Return

Amount

Input

Pan

Fader

Mute

Aux Amt

Input

Aux Amt

Aux Bus

Sidechain Diagram

(Post-Fader Aux Sends)

Side

Return

Amount

Output

Send

Amount

Chain

Main Bus

You can also use the Auxiliary Sends as two extra mix buses. By turning the Aux Return amount all the way down and dropping an Insert Send into the chain, you can send the Auxiliary bus to any output you wish. See “Insert Section” for more information.‚

Sync/Sample Rate Indicators

The Sync/Sample rate Indicators show the current session’s sample rate and whether it is internal or slaving to an external source. The display indicates which sample rate is currently in effect. If an external source is being used, the Source display reads “EXTERNAL”.

When slaving to an external master source, the clock may drift slightly or change dramatically (i.e. abrupt sample rate change or unplugging of physical master source). PatchMix DSP is tolerant to minor drifting within the supported rates of 44.1k, 48k, 88.2k, 96k, 176.4k and 192k, but if the sample rate drifts out of this range the “LOCKED” LED will extinguish.

If the external clock source makes a radical sample rate change from the lower rates of

44.1k/48k to a higher rate or between any of the higher rates, the hardware automatically switches to internal 48kHz clock until the proper external clock is restored. The “LOCKED” LED will be off and the two units are NOT synchronized. Always check the “LOCKED” LED when using an external clock source to make sure you are samplelocked.

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4 - The PatchMix DSP Mixer Main Section

Output Section

Clip Indicators

Main

Insert

Section

Main Output Level Fader

Output Level

Meters

Sync/Sample

Rate Indicators

Monitor

Mute

Monitor Balance

Monitor Volume

Main Inserts

The main inserts allow you to apply effects to the main stereo signal coming out of the mixer (both mains and monitor). You might want to apply EQ or a compressor here. These inserts work just like the other insert locations—just drag and drop effects from the palette or right-click and add Sends, Sends/Returns. etc. Refer to the Mixer Block

Diagram

Main Output Fader

The main output fader controls the level of the main output (and the Monitor output as well since it is downstream from this control). The normal setting for this control is at unity or 0dB, but the control allows you to add up to +12dB of gain. High output levels may cause clipping on outboard ampliﬁers or other equipment.

MAIN MIX

0dB

-12dB

Output Level Meters

This stereo bar-graph meter reﬂects the digital level at the output of the mixer. The topmost red bar represents 0 dB or a full-scale digital signal. The peaks hold for a moment so that short transients can be monitored. Each bar = 1dB.

Monitor Output Level

This control adjusts the monitor output level. Keep in mind that since the monitor level control comes after the Main Output Fader, nothing will be heard from your monitors if the main level is turned down.

Monitor Balance Control

This control sets the relative volume of the stereo monitor outputs and works just like the balance control on your home music system. This control is primarily used to make the volume from each speaker sound equal if you are not sitting exactly in the center of the two speakers.

f Tip: The volume

control on a multimedia computer keyboard can be used to control the Monitor Output Level on PatchMix.

Monitor Output Mute

This button completely cuts off the monitor output and provides a convenient way to instantly kill all sound without having to re-adjust the monitor level later. When the telephone rings, just hit the monitor mute to cut the noise.

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5 - Effects

Overview

PatchMix DSP comes complete with a host of great core DSP effects including Compressors, Delays, Choruses, Flangers and Reverb. Each 32-bit effect has various parameters for editing, as well as factory presets. You can also create and save as many of your own effect presets as you wish.

Since the effects are implemented in hardware, they don’t place any load on your host computer. This allows your valuable CPU cycles to be used for other applications or software plug-ins. The effects are only available at the 44.1 and 48kHz sample rates.

There is a ﬁnite limit to how many effects you can use at the same time. As you use up the PatchMix DSP resources, certain effects will appear “grayed out” and cannot be added to the mixer. Complex effects such as reverb use more DSP resources than say a 1-Band EQ. If you continue to add effects, all of the DSP resources will eventually be used up.

The Effects Palette

Click the FX button on the toolbar to bring up the Effects Palette. The Effects Palette contains two types of folders. The “Core Effects” folder contains the effect algorithms themselves. This folder cannot be modiﬁed. The other folders contain “Effects Chains”, consisting of two or more effects grouped together. You can also add, delete, or modify Effects Chains and the folders that contain them. For more information on Effects Chains, see “FX Insert Chains” on page 54.

5 - Effects Overview

f Saving a session

“defragments” the effect/ DSP resources. If you have used all your effects and need another, try saving the session.

New Folder button Import/Export FX Button

Effect Categories

Core Effects

(Single Effect)

Multi-Effects

(Effect Combinations)

Distortion Lo-ﬁ

Drums & Percussion

Environment

Equalization

Guitar

Multi Effects

Reverb

Synths & Keys

Vocal

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5 - Effects The Effects Palette

 To Select an Effect

1. Click the FX button to bring up the Effects Palette. The effect palette contains

numerous folders containing effects presets. Click on any folder to open it.

2. Select the effect you wish to use by clicking on it with the left mouse button and

while continuing to hold the mouse button, drag the effect into the desired location on the PatchMix DSP mixer screen and release the mouse button. Multi effects contain several effects along with their parameter settings.

If you want to change the order of effects, simply Left-click and drag the effect to the desired location. Drag the effect to the area above or below the ﬁnal destination and release the mouse button to move the effect.

 To Edit an Effect

1. Click on the Insert Location containing the effect you wish to edit. The effect

controls now appear on the TV screen.

2. Edit the effect parameters as desired.

 To Delete an Effect

1. Right-click on the Insert location containing the effect you wish to delete and a pop-

up list appears.

2. Select “Delete Insert(s)” from the top of the list. The effect will be deleted.

f The order of effects in

a chain can have a big effect on the sound.

This icon will appear when you drag an effect to a new location.

FX Insert Chains

FX Insert Chains can be used to save several effects and their settings into a single multieffect. When an effects chain is selected and dropped into an insert location, all the effects with control settings are copied as a single entity. Once dropped into an insert location, the effects are totally separate just as if you had placed them individually.

 To Save FX Insert Chains

1. Select two or more effects and place them into any consecutive insert locations.

Set the effect parameters the way you want them, including wet/dry mix settings.

3. Right-click to bring up the list of options.

4. Select “Save FX Insert Chain”. The New FX preset dialog box appears.

5. Select a category folder where your preset will be placed, and enter a new preset

name for your FX Chain.

f Trim pots, peak meters

and test tone generators will also be included in the FX chain.

6. Select a folder where your new preset will be placed, then type in a new preset name

and click OK. Your preset is now saved.

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Creating, Renaming & Deleting Categories or Presets

There are several utilities to help you organize your effects presets.

 To Create a New Preset Category

You can create your own category folders to help organize your effects presets.

1. Left-click on the New Folder icon at the top of the Effects Palette. A pop-up dialog

box appears asking you to “Enter the Name of the New Category.”

• Alternatively, you can Right-click over an Effects Folder, which calls a pop-up dialog box with the option to “Create New Category.”

2. Type in a name for your new folder.

3. Click OK to create a new folder or Cancel to cancel the operation.

 To Delete an Effect Category or Preset

1. Right-click on the category folder you wish to delete. A pop-up selection box

appears.

2. Select “Delete Category”. A popup dialog box appears warning you that this action

will delete all presets in the folder.

3. Click OK to delete the folder or Cancel to cancel the operation.

5 - Effects

The Effects Palette

 To Rename an Effects Category

1. Right-click on the category folder you wish to rename. A pop-up selection box

appears.

2. Select “Rename Category”. A pop-up dialog box appears, asking you to “Enter New

Category Name.”

3. Click OK to rename the folder or Cancel to cancel the operation.

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5 - Effects The Effects Palette

Importing and Exporting Core FX Presets and FX Insert Chains

These utilities make it easy to import or export your FX Presets and FX Insert Chains. You can share presets with your friends or download new presets from the Internet.

 To Import Core FX Presets

This option imports complete folders of Core FX presets into the E-MU PatchMix DSP folder (normally located here: “C:\Program Files\Creative Professional\E-MU PatchMix DSP\Core Effects”). If the name of an imported FX preset exactly matches a preset you already have, a number will be appended to end of the imported preset name.

1. Click the Import/Export FX Library button from the FX Palette.

2. Select Import FX Library. The “Browse for Folder” window appears.

3. Choose the folder where the Core FX presets you wish to import are located.

4. The selected folder of Core FX presets will be copied into the Core Effects folder of

PatchMix DSP.

 To Import FX Category Folders

This option imports complete category folders of FX Chains into the E-MU PatchMix DSP folder (normally located here: “C:\Program Files\Creative Professional\E-MU PatchMix DSP\Effect Presets”). If the name of an imported FX preset exactly matches a preset you already have, a number will be appended to end of the imported preset name.

1. Click the Import/Export FX Library button from the FX Palette.

2. Select Import FX Category. The “Browse for Folder” window appears.

3. Choose the folder where the FX Chains you wish to import are located.

4. The selected folder of FX Chains will be copied into the Effect Presets folder of

PatchMix DSP.

 To Export your Core FX Presets

This option exports your Core FX presets to a folder of your choice.

1. Click the Import/Export FX Library button from the FX Palette.

2. Select Export FX Library. The “Browse for Folder” window appears.

3. Choose a destination location for the Core FX presets, then press OK.

4. The Core FX presets will be copied to the selected destination.

 To Export your FX Category Folders

This option exports a single category of FX chains to a folder of your choice.

1. Click the Import/Export FX Library button from the FX Palette.

2. Select Export FX Category. A pop-up dialog box appears asking you to “Choose the

FX Category to be exported”.

3. Choose the desired FX Category to export. Press OK to continue or Cancel to

cancel the operation.

4. The “Browse for Folder” window appears. Choose a destination location for the

Core FX presets, then press OK.

5. The FX Chains will be copied to the selected destination.

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FX Edit Screen

Click on an FX Insert to display the parameters for that effect. If an insert effect is not selected, the FX display will read “No Insert”.

Most effects have a wet/dry mix parameter to control the ratio of effect-to-plain signal. The wet/dry setting is stored with the FX preset. The effect parameters vary with the type of effect. Generally if an effect is placed in an Aux Send, the wet/dry mix in the effect should be set to 100% wet since the Aux Return amount controls how much effect is applied.

The User Preset section is located at the bottom of the FX Edit screen. User presets are variations of the main effect and can be edited, deleted, renamed or overwritten as you wish.

5 - Effects

FX Edit Screen

E Note: Effects have to

be placed into an insert location before you can program them.

Effects Display

View Button

Wet/Dry Mix Control

 To Bypass an Insert:

Effect Location

Effect Bypass & Solo Buttons

Effect Parameters

User Preset Section

Inserts can be bypassed if you want to temporarily hear the audio without the effect or insert. Bypass can also be used to turn off a Send Insert.

Method #1

1. Click on the Effect (in the Insert section)

2. Click the Bypass button in the TV display.

Method #2

1. Right-click over the Insert you want to bypass (in the Insert section). A pop-up

menu appears.

2. Select “Bypass Insert” from the list of options. The insert effect name will “gray-out”

to indicate that the insert effect is bypassed.

 To Solo an Insert:

Inserts can also be soloed. Solo bypasses all the other inserts in the strip and allows you to hear only the soloed effect. This feature is very useful when adjusting the effect parameters.

Method #1

1. Click on the Insert Effect (in the Insert section).

2. Click the Solo button in the TV display.

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5 - Effects FX Edit Screen

Method #2

1. Right-click over the Insert Effect you want to Solo (in the Insert section). A pop-up

menu appears.

2. Select “Solo Insert” from the list of options. The other Insert Effect names in the

strip will “gray-out” to indicate that they are bypassed.

 To Bypass ALL

All the inserts in a strip can be bypassed with a single command.

1. Right-click over any Effect in the Insert section. A pop-up menu appears.

2. Select “Bypass All Inserts” from the list of options. All the insert names will be

“grayed-out” to indicate that they are bypassed.

 To Un-Bypass ALL

All the inserts in a strip can also be un-bypassed with a single command. This command works even if only some of the effects are bypassed.

1. Right-click over any Effect in the Insert section. A pop-up menu appears.

2. Select “Un-Bypass All Inserts” from the list of options. All the insert names will light

to indicate that they are active.

User Preset Section

Each core effect has a set of User Presets, that you can use to store your favorite effect parameter settings. We’ve included a good collection of user presets to get you started. The user presets are accessed from the bar at the bottom of the TV screen. The user preset edit menu allows you to select stored presets, create new presets, rename or delete existing presets, or overwrite existing presets with your modiﬁed settings. User presets stay with the Mixer application regardless of which Session is open.

Click here for Edit Menu

Click here to Select Presets

 To Select a User Preset

1. Select the FX display in the TV screen.

2. Select the desired insert effect, highlighting it. The effect parameters appear in the TV

screen.

3. Click on the icon on the preset menu. A drop-down preset list appears.

4. Select a preset from the list.

 To Create a New User Preset

1. Select the FX display in the TV screen.

2. Select the desired insert effect, highlighting it. The effect parameters appear in the TV

screen.

3. Click on the Edit button. A pop-up menu appears.

4. Select New. A pop-up dialog box appears asking you to name the new preset.

5. Name the preset and click OK. Your new preset is now saved.

E To copy or share User

Presets, you must save them as FX Palette effects.

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 To Delete a User Preset

1. Select the user preset you wish to delete from the user preset menu.

2. Click on the Edit button. A pop-up menu appears.

3. Select Delete. A pop-up dialog box appears asking you to conﬁrm your action.

4. Click OK to delete the preset or No or Cancel to cancel the operation.

 To Rename a User Preset

1. Select the user preset you wish to rename from the user preset menu.

2. Click on the Edit button. A pop-up menu appears.

3. Select Rename. A pop-up dialog box appears asking you to rename the preset.

4. Type in the new preset name, then click OK to rename the preset or Cancel to cancel

the operation.

 To Overwrite or Save a User Preset

This operation allows you to overwrite an existing preset with a newer version.

1. Select the user preset you wish to modify from the user preset menu and make any

changes you wish.

2. Click on the Edit button. A pop-up menu appears.

3. Select Overwrite/Save. The current preset will be overwritten with the new settings.

5 - Effects

FX Edit Screen

Core Effects and Effects Presets

The Core Effects cannot be removed or copied. Effect presets (stored in “C:\Program Files\Creative Professional\E-MU 1616\E-MU PatchMix DSP\Effect Presets”) can be copied, e-mailed or shared like any other computer ﬁle.

f Hint: You can open

the effects presets with “NotePad” or other word processor to view and edit the name and parameters.

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5 - Effects List of Core Effects

List of Core Effects

Stereo Reverb Frequency Shifter Mono Delay 750

Lite Reverb Auto-Wah Mono Delay 1500

Compressor Vocal Morpher Mono Delay 3000

Leveling Amp 1-Band Para EQ Stereo Delay 100

Chorus 1-Band Shelf EQ Stereo Delay 250

Flanger 3-Band EQ Stereo Delay 500

Distortion 4-Band EQ Stereo Delay 750

Speaker Sim Mono Delay 100 Stereo Delay 1500

Rotary Mono Delay 250

Phase Shifter Mono Delay 500

DSP Resource Usage

There are two main factors which determine the total number of effects available for use at any given time: Tank Memory and DSP Instructions. Using too much of either resource will cause effects to be unavailable (grayed out) in the FX menu. In addition, the strips themselves use DSP Instructions, so only create strips that you actually need.

Tank memory is the memory used by delay-based effects such as reverb and digital delays. All the reverbs and delays aside from the Mono Delay 100 and Stereo Delay 100 use varying amounts of tank memory.

The DSP instructions are used by all the effects. Effects with multiple stages, such as multi-band EQs or the speaker simulator use more DSP instructions than a 1-Band EQ.

Tank memory tends to get used ﬁrst, and so we’ve provided many delay line effects to allow maximum conservation of this precious resource. Use only the longest delay you actually need.

f Tip: Saving a session

“defragments” the effect/ DSP resources. If you have used all your effects and need another, try saving the session.

The chart below shows three possible effects combinations. These were created by using up the reverb resources ﬁrst. Even more simultaneous effects are possible if fewer reverbs and shorter delays are used.

Examples of Effects Usage

(with a WAVE, ASIO Return & 2 Inputs)

Example 1 No. Example 2 No. Example 3 No.

Stereo Reverb 2 Lite Reverb 5 Stereo Reverb 1

4-Band EQ 4 3-Band EQ 5 Lite Reverb 2

3-Band EQ 2 1-Band EQ 4 Stereo Delay 1500 1

1-Band EQ 6 Compressor 1 Mono Delay 250 1

Compressor 6 Mono Delay 1500 1 Compressor 6

Chorus 1 Mono Delay 250 1 Chorus 2

Mono Delay 1500 1 Auto-Wah 1 Flanger 2

4-Band EQ 3

3-Band EQ 3

Total Effects 22 Total Effects 18 Total Effects 21

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Core Effects Descriptions

1-Band Para EQ

+15dB

Boost

Width

Gain

Cut

-15dB

Center

Frequency

Parameter Description

Gain Sets the amount of cut (-) or boost (+) of the selected frequency

band. Range: -15dB to +15dB

Center Frequency Sets the range of frequencies to be cut or boosted with the Gain

control. Range: 80Hz to 16kHz

Bandwidth Sets the width of the frequency range for the Center Frequency

band that will be cut or boosted by the Gain control. Range: 1semitone to 36 semitones

This single band parametric equalizer is useful when you just want to boost or cut a single range of frequencies. For example, if you just want to brighten up the lead vocal a bit, you might choose this EQ. This EQ offers up to ±15dB cut or boost.

5 - Effects

Core Effects Descriptions

1-Band Shelf EQ

This single band shelving equalizer is useful when you just want to boost or cut a single range of frequencies at the high or low end of the spectrum. For example, if you just want to add a little more bass, there’s no need to waste a 3-band EQ. Just choose low shelf, then adjust the gain and frequency. This EQ offers up to ±15dB cut or boost.

Low Shelf or… High Shel

+15dB

Corner

Freq

Corner

Freq

Boost

Gain

Cut

-15dB

Parameter Description

Shelf Type Allows you to choose either low shelving or high shelving EQ.

Gain Sets the amount of cut (-) or boost (+) of the shelf.

Corner Frequency Sets the frequency where the signal begins getting cut or boosted

Frequency

Range: -15dB to +15dB

with the Gain control. Range: 80Hz to 16kHz

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5 - Effects

Core Effects Descriptions

3-Band EQ

This versatile equalizer provides two shelving ﬁlters at the high and low ends of the frequency range and a fully parametric band in the center. Up to ±24 dB of boost or cut is provided for each band.

Low Shelf Mid Band High Shel

+24dB

Corner

Freq.

Corner

Freq.

E Note: The Wet/Dry

Mix control on an equalizer should normally be set to 100% wet or unpredictable results may occur.

Width

Center

Boost

Gain

Cut

-24dB

Frequency

 Setting up a Parametric EQ

1. Turn up the gain on the band you are working with. This allows you to easily hear

the effect of the ﬁlter.

2. Reduce the bandwidth if you are working with a mid-band.

3. Adjust the Center Frequency to “zero-in” on the frequencies you wish to boost/cut.

4. Set the Gain to a positive value to boost frequencies or to a negative value to cut out

frequencies.

5. Widen the Bandwidth to create a more natural sound.

6. Adjust and tweak as needed.

Parameter Description

High Shelf Gain Sets the amount of cut (-) or boost (+) of the high frequency shelf.

Range: -24dB to +24dB

High Corner Freq. Sets the frequency where the signal begins getting cut or boosted

with the High Gain control. Range: 4kHz to 16kHz

Mid Gain Sets the amount of cut (-) or boost (+) of the mid frequency band.

Range: -24dB to +24dB

Mid Freq. 1 Sets the range of frequencies to be cut or boosted with the Mid

Gain control. Range: 200Hz to 3kHz

Mid Bandwidth Sets the width of the frequency range for the Mid Center

Frequency band that will be cut or boosted by the Mid Gain control. Range: 1 semitone to 1 octave

Low Shelf Gain Sets the amount of cut (-) or boost (+) of the low frequency shelf.

Range: -24dB to +24dB

Low Corner Freq. Sets the frequency where the signal begins getting cut or boosted

with the Low Gain control. Range: 50Hz to 800Hz

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4-Band EQ

This 4-band equalizer provides two shelving ﬁlters at the high and low ends of the frequency range and two fully parametric bands in the center. Up to ±24 dB of boost or cut is provided for each band.

Note: The Wet/Dry Mix control on an equalizer should normally be set to 100% wet or unpredictable results may occur.

For more information about setting up a parametric EQ, see page 62.

5 - Effects

Core Effects Descriptions

Low-Shelf Mid 1-Band High-Shelf

Corner

Frequency

Width

Center

Frequency

Boost

Gain

Cut

Mid 2-Band

Corner

Frequency

Width

Center

Frequency

Parameter Description

High Shelf Gain Sets the amount of cut (-) or boost (+) of the high frequency shelf.

Range: -24dB to +24dB

High Corner Freq. Sets the frequency where the signal begins getting cut or

boosted with the High Gain control. Range: 4kHz to 16kHz

Mid 2 Gain Sets the amount of cut (-) or boost (+) of the Mid 2 Frequency

band. Range: -24dB to +24dB

Mid 2 Center Freq. Sets the range of frequencies to be cut or boosted with the Mid 2

Gain control. Range: 1kHz to 8kHz

Mid 2 Bandwidth Sets the width of the frequency range for the Mid 2 Center

Frequency band that will be cut or boosted by the Mid 2 Gain control. Range: .01 octave to 1 octave

Mid 1 Gain Sets the amount of cut (-) or boost (+) of the Mid 1 Frequency

band. Range: -24dB to +24dB

Mid 1 Center Freq. Sets the range of frequencies to be cut or boosted with the Mid 1

Gain control. Range: 200Hz to 3kHz

Mid 1 Bandwidth Sets the width of the frequency range for the Mid 1 Center

Frequency band that will be cut or boosted by the Mid 1 Gain control. Range: .01 octave to 1 octave

Low Shelf Gain Sets the amount of cut (-) or boost (+) of the low frequency shelf.

Range: -24dB to +24dB

Low Corner Freq. Sets the frequency where the signal begins getting cut or

boosted with the Low Gain control. Range: 50Hz to 800Hz

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5 - Effects Core Effects Descriptions

Auto-Wah

This effect creates the sound of a guitar wah-wah pedal. The “Wah” ﬁlter sweep is automatically triggered from the amplitude envelope of the input sound. Auto-wah works well with percussive sounds such as guitar or bass.

The Auto-Wah is a bandpass ﬁlter whose frequency can be swept up or down by an envelope follower, which extracts the volume contour of the input signal. The Envelope Sensitivity setting allows you to properly set up the envelope follower to receive a wide variety of input signals. This “envelope”, or volume contour, controls the frequency of the bandpass ﬁlter so that it sweeps up and down with each new note. The Attack controls the rate of the note-on sweep. As the input sound fades away, the ﬁlter sweeps back at a rate determined by the Release setting.

The wah direction allows the ﬁlter to be swept either up or down in frequency. Use a higher Center Frequency setting when the wah direction is down.

Auto-Wah Filter

Center

Frequency

Bandwidth

Envelope Sensitivity

Input Wave

Sweep Range

Attack Release

Envelope Follower

Parameter Description

Wah Direction Allows you to sweep the wah up or down.

Env. Sensitivity Controls how closely the wah sweep follows the input signal.

Range: -12dB to +18dB

Env. Attack Time Sets the starting rate of the “wah” sweep.

Range: 0ms to 500ms

Env. Release Time Sets the ending or release rate of the “wah” sweep.

Range: 10ms to 1000ms

Sweep Range Controls the amount of “wah” sweep. Range: 0% to 100%

Center Frequency Sets the initial bandpass ﬁlter frequency.

Range: 80Hz to 2400Hz

Bandwidth Sets the width of the bandpass ﬁlter. Range: 1Hz to 800Hz

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Chorus

An audio delay in the range of 15-20 milliseconds is too short to be an echo, but is perceived by the ear as a distinctly separate sound. If we now vary the delay time in this range, an effect called chorus is created, which gives the illusion of multiple sound sources. A slight amount of feedback serves to increase the effect. A very slow LFO rate is usually best for a realistic effect, but a faster LFO rate can also be useful with minimal LFO depth (.2). Since this is a stereo chorus, an LFO phase parameter is included which can be used to widen the stereo image.

Parameter Description

Delay Sets the length of the delay. Range: 0ms to 20ms.

Feedback Sets the amount of delayed signal that will be recirculated through

the delay line. Range: 0% to 100%

LFO Rate Sets the frequency of the low frequency oscillator.

Range: .01Hz to 10Hz

LFO Depth Sets how much the LFO affects the delay time. Increases the

animation and amount of the chorus effect. Range: 0% to 100%

LFO Waveform Selectable between Sine or Triangle wave.

LFO L/R Phase Controls the stereo width by adjusting the phase difference of the LFO

waveform between left and right channels. Range: -180° to +180°

5 - Effects

Core Effects Descriptions

Compressor

In its simplest form, an audio compressor is just an automatic gain control. When the volume gets too loud, the compressor automatically turns it down. Compressors are useful in musical applications because they allow you to record a “hotter” signal without overloading the recording device.

Since the compressor turns down the gain of the signal, you might wonder how can it make the signal level stronger. A Post Gain control allows you to boost the output gain of the compressor in order to make up for the gain reduction. The overall level is higher and only turned down when the signal level gets too loud. This level is called the Threshold, which just happens to be the most important control on the compressor.

Signal path = Stereo

Delay

Level

VCA

Control

Threshold

Ratio

E-MU PCI Digital Audio System 65

Attack

Release

Post Gain

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5 - Effects Core Effects Descriptions

Basic Controls

The three main controls of a compressor are the Ratio control, the Threshold control and the Gain control.

If the signal falls below the Threshold, no processing will take place. Signals exceeding the Threshold will have gain reduction applied as set by the ratio control. This important control allows you to dial in the range of amplitudes you want to tame. For example, if you’re trying to trim off just the loudest peaks, set the threshold so the gain reduction meter only shows compression during these peaks. One of the biggest mistakes in using a compressor is having the threshold set too low. This adds noise as the compressor will always be reducing the volume.

The Ratio control determines how strongly the compressor will affect the signal. The higher the ratio, the more reduction will be applied. If the ratio is high enough, (above 10:1) the signal will effectively be prevented from getting any louder. In this situation, the compressor will be acting as a Limiter, placing an upper limit on the signal level. In general, ratios from 2:1 to 6:1 are considered compression and higher ratios above 10:1 are considered limiting.

The Post Gain control ampliﬁes the signal after it has been compressed to bring it back up in volume. If you don’t increase the gain, the compressed signal will be much lower in volume.

Two other important controls are Attack and Release. Attack controls how quickly the gain is turned down after the signal exceeds the threshold. Release controls how fast the gain is returned to its normal setting after the signal has fallen below the threshold again. An attack setting of about 10 milliseconds will delay the onset of compression long enough to preserve the attack transients in guitar, bass or drums while allowing the sustain portion of the sound to be compressed. Longer release times are generally used to reduce the so called “pumping” effect as the compressor turns on and off. Don’t make the release time too long, however, or the compressor won’t have time to recover for the next pluck or hit. In general, the attack and release controls are used to smooth out the action of the compressor, but they can also be used to create special effects.

The Pre-Delay parameter lets the level detector “look into the future” up to 4 milli-

seconds in order to anticipate upcoming peaks in the signal. This is accomplished of course, by inserting delay into the signal path. This lookahead technique allows the use of slower attack times without missing signal peaks. This parameter is especially effective on drums and percussion.

The Input Meter allows you to monitor the strength of your input signal. Always try to boost the signal before the compressor if you can.

The Compression Meter shows the amount of gain reduction being applied. Since this meter displays how much the gain is being turned down, the meter moves from right to left, instead of left to right like a normal meter.

Parameter Description

Threshold Threshold sets the input signal level above which dynamic range

compression takes place. Everything above the threshold will be brought down in volume. Range: -60dB to +12dB

Ratio Sets the ratio of input signal level to output signal level, or

“how much” compression will be applied. Range: 1:1 to ∞:1

Post Gain Ampliﬁes the signal after it has been compressed to bring up the

volume. Range -60dB to +60dB

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Parameter Description

Attack Time Controls how quickly the gain is turned down after the signal

exceeds the threshold. Range .1ms to 500ms

Release Time Controls how fast the gain is returned to its normal setting after

the signal has fallen below the threshold. Range: 50ms to 3000ms

Pre-Delay Allows the use of slower attack times without missing signal peaks.

Range: 0ms to 3 ms

Input Meter Allows you to monitor the strength of the input signal.

Gain Reduction Meter Shows the amount of gain reduction being applied.

Distortion

Most audio processors aim to provide low distortion, but not this one! The sole purpose of this effect is to add distortion, and lots of it. This effect provides “fuzz box” style, clipping distortion which is particularly effective on guitar, bass, organs, electric pianos or whatever.

The input signal ﬁrst passes through a lowpass ﬁlter. The Lowpass Filter Cutoff Frequency allows you to control the number of new harmonics that will be generated by the distortion element. The distortion element has an Edge control which controls “how much” distortion will be added. A bandpass ﬁlter follows the distortion generator. The EQ Center control lets you select a particular band of frequencies to be output. The EQ Bandwidth controls the width of the center frequency band. Finally, a gain control allows you to make up for any gain loss through the effect.

Use the Wet/Dry mix control in conjunction with the Edge control to reduce the amount of distortion, or go wild and turn everything to 11!

5 - Effects

Core Effects Descriptions

Lowpass

Filter

Signal path = Stereo

Distortion

LP Filter

Cutoff

Parameter Description

Pre EQ LP Cutoff Controls the amount of high frequency audio admitted to

the distortion. Range: 80Hz to 24kHz

Edge Sets the amount of distortion and new harmonics

generated. Range: 0-100

Gain Sets the output volume of the effect. Range: -60dB to 0dB

Post EQ Center Freq. Sets the frequency of the output bandpass ﬁlter.

Range: 80Hz to 24kHz

Post EQ Bandwidth Sets the width of the output bandpass ﬁlter.

Range: 80Hz to 24kHz

Edge

Bandpass

Filter

GainEQ BW

EQ Center

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5 - Effects

Core Effects Descriptions

Flanger

A ﬂanger is a very short delay line whose output is mixed back together with the original sound. Mixing the original and delayed signals results in multiple frequency cancellations known as a comb ﬁlter. Since the ﬂanger is a type of ﬁlter, it works best with harmonically rich sounds.

A low frequency oscillator is included to slowly change the delay time. This creates a rich, sweeping effect as the notches move up and down across the frequency range. The amount of feedback deepens the notches, intensifying the effect. You can invert the feedback signal by choosing a negative feedback value. Inverting the feedback signal creates peaks in the notch ﬁlter and deepens the effect.

Feedback

Flanger

Signal path = Stereo

Delay

Parameter Description

Delay Sets the initial delay of the ﬂanger in .01 millisecond increments.

This parameter allows you to “tune” the ﬂanger to a speciﬁc frequency range. Range: .01ms to 4ms

Feedback Controls how much signal is recirculated through the delay line

and increases resonance. Negative values can produce intense ﬂanging with some signals. Range 0% to 100%

LFO Rate Sets the speed of the ﬂanger sweep. Range: .01 Hz to 10Hz

LFO Depth Sets how much the LFO affects the delay time. Increases the

animation and amount of the ﬂanging effect. Range 05 to 100%

LFO Waveform Selectable between Sine or Triangle wave.

LFO L/R Phase Controls the stereo width by adjusting the phase difference

between the left and right sweeps. Range: -180° to +180°

LFO

Waveform

Phase

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Freq Shifter

This unusual effect is sometimes called “spectrum shifting” or “single sideband modulation”. Frequency shifting shifts every frequency in the signal by a ﬁxed number of Hz which causes the harmonics to lose their normal relationship. The more common pitch shifter, in contrast, preserves the harmonic relationships of the signal and so is better suited to creating “musical” harmonies.

This isn’t to say that the frequency shifter can’t be used musically. Small intervals of frequency shifting (1 Hz and below) can produce a wonderful, lush chorusing or phasing effect. For bizarre frequency shifting effects, simply crank up the frequency knob. Frequencies can be shifted up or down by any speciﬁed amount from .1 Hz to 24 kHz. You can also shift pitch up on one side and down on the other if you wish.

Comparison between Pitch and Frequency Shifting

5 - Effects

Core Effects Descriptions

f You can also type in

exact frequencies to a resolution of 1/10 Hz.

Harmonic

Original

(Hz)

Pitch Shifted

(100 Hz)

Frequency Shifted

(100 Hz)

1 200 300 300

2 400 600 500

3 600 900 700

4 800 1200 900

5 1000 1500 1100

6 1200 1800 1300

7 1400 2100 1500

8 1600 2400 1700

Parameter Description

Frequency Sets the number of Hz that will be added or subtracted with every

harmonic in the signal. Range: .01Hz to 24kHz

Left Direction Sets pitch shift up or down for the left channel.

Right Direction Sets pitch shift up or down for the right channel.

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5 - Effects Core Effects Descriptions

Leveling Amp

The ﬁrst compressors developed in the 1950’s were based on a slow-acting optical gain cells which were able to control the signal level in a very subtle and musical way. This effect is a digital recreation of the leveling amps of yesteryear.

The leveling amp uses a large amount of “lookahead delay” to apply gentle gain reduction. Because of this delay, the leveling amp is not suitable for applications which require realtime monitoring of the signal. This smooth and gentle compressor is designed to be used in situations where delay does not pose a problem, such as mastering a mix or compressing prerecorded stereo material.

Post Gain is the only control on the leveling amp. This control is used to make up the volume lost by the compression. The Compression Ratio is ﬁxed at about 2.5:1. If a large peak is detected, the effect will automatically increase the compression ratio to keep the audio output controlled.

The gain reduction meter shows you how much gain reduction is being applied. Since the gain reduction meter displays how much the gain is being turned down, the meter moves from right to left, instead of left to right like most meters.

Post Gain Ampliﬁes the signal after it has been compressed to

bring up the volume. Range 0dB to 36dB

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Lite Reverb

Reverberation is a simulation of a natural space such as a room or hall. The Lite Reverb algorithm is designed to simulate various rooms and reverberation plates while using fewer DSP resources than the Stereo Reverb. Up to ﬁve Lite Reverbs can be used at once.

Decay time deﬁnes the time it takes for the reﬂected sound from the room to decay or die away. The diagram below shows a generalized reverberation envelope.

5 - Effects

Core Effects Descriptions

Early Reflections

After a short pre-delay period, the echoes from the closest walls or ceiling are heard. These ﬁrst echoes, or Early Reﬂections, vary greatly depending on the type of room. Some time after the early reﬂection cluster ends, the actual Reverberation (a dense cloud of complex wall reﬂections) begins and decays according to the time set by the Decay Time parameter. The Reverberance parameter controls the density and smearing of both the early reﬂections and the reverberation cloud.

High frequency energy tends to fade away ﬁrst as a sound is dissipated in a room. The High Frequency Decay Factor adjusts the time it takes for the high frequency energy to die away and thus changes the characteristics of the room. Rooms with smooth, hard surfaces are more reﬂective and have less high frequency damping. Rooms ﬁlled with sound absorbing materials, such as curtains or people, have more high frequency damping.

The Low Frequency Decay Factor parameter adjusts the time it takes for the low frequencies to die away. This control adjusts the “boominess” of the room.

Parameter Description

Decay Time Sets the reverb decay time. Range: 0% to 100%

HF Decay Factor Sets the rate at which high frequencies die away. The high

LF Decay Factor Sets the rate at which low frequencies die away. The low

Early Reﬂections Sets the volume of the initial wall reﬂections.

Reverberance Sets the amount of scattering of the early reﬂections and

Reverberation

frequencies last longer as the percentage is increased. Range: 0% to 100%

Range: 0% to 100%

the reverberation cloud. Range: 0% to 100%

Time

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5 - Effects

Core Effects Descriptions

Mono Delays - 100, 250, 500, 750, 1500, 3000

A delay line makes a copy of the incoming audio, holds it in memory, then plays it back after a predetermined time. The delay number refers to the maximum delay time that can be produced by the delay line. The six lengths, from 100 ms to 3 seconds, allow you to make the most efﬁcient use of the effect memory resource.

Long delays produce echoes, short delays can be used for doubling or slapback effects. Very short delays can be used to produce resonant ﬂanging and comb ﬁlter effects or create monotone robotic-sounding effects (Hint: use feedback). Stereo signals are summed together before entering the Mono Delay.

There is also a feedback path to send the delayed audio back through the delay line. When creating echo effects, the feedback controls how many echoes will be produced. With short delays, the feedback control acts as a resonance control, increasing the amount of comb ﬁltering produced by the delay line. Comb ﬁ

A High Frequency Rolloff ﬁlter in the feedback path cuts some of the high frequency energy each time the audio goes through the delay line. This simulates the natural absorption of high frequencies in a room and can also be used to simulate tape-based echo units.

The Wet/Dry mix controls how loud the echoes are in relation to the original signal.

ltering: See page 68.

Feedback

Rolloff

L In

L Out

Delay

R In

Delay Time

Parameter Description

Delay Time

Mono Delay 100 Mono Delay 250 Mono Delay 500

Mono Delay 750 Mono Delay 1500 Mono Delay 3000

Feedback Sets the amount of delayed signal that will be recirculated through

High Freq. Rolloff Damps high frequencies in the feedback path.

Sets the length of the delay in milliseconds.

(.01ms. minimum increment between settings)

Range: 1 millisecond to 100 milliseconds Range: 1 millisecond to 250 milliseconds Range: 1 millisecond to 500 milliseconds Range: 1 millisecond to 750 milliseconds Range: 1 millisecond to 1.5 seconds Range: 1 millisecond to 3 seconds

the delay line. Range: 0% to 100%

Range: 0% to 100%

R Ou

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Phase Shifter

A phase shifter produces a ﬁxed number of peaks and notches in the audio spectrum which can be swept up and down in frequency with a low frequency oscillator (LFO). This creates a swirly, ethereal sound with harmonically rich sound sources of a type of pitch shift with simpler sounds. The phase shifter was invented in the 1970’s and the characteristic sound of this device evokes emotions of that musical era.

By setting the LFO Depth to zero and tuning the LFO Center, a ﬁxed multi-notch ﬁlter is created.

Feedback

Phase

Signal path = Stereo

Shifter

5 - Effects

Core Effects Descriptions

LFO Center

LFO

LFO Rate

Parameter Description

LFO Center Sets the initial offset of the LFO and changes the position of the

peaks and notches. Range: 0% to 100%

Feedback Increases the depth of the notches and height of the peaks.

Range: 0% to 100%

LFO Rate Controls the sweep rate of the Low Frequency Oscillator.

Range: .01Hz to 10Hz

LFO Depth Controls how much the Center Frequency is swept by the LFO.

Range: 0% to 100%

Waveform Selects a Sine or Triangle wave for the LFO

LFO L/R Phase Controls the stereo width by adjusting the phase difference

between the left and right sweeps. Range: -180° to +180°

Rotary

This is a simulation of a rotating speaker used on organs. The rotating speaker was invented to give static organ tones a pipe organ type of animation, but this distinctive sound became a legend in its own right. Spinning a sound around the room creates a doppler pitch shift along with many other complex and musically pleasing sonic effects.

The Rotary incorporates acceleration and deceleration as you switch between the two speeds.

Parameter Description

Speed Switches between slow or fast rotor speeds with

acceleration and deceleration as the speed changes.

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5 - Effects Core Effects Descriptions

Speaker Simulator

The Speaker Simulator provides realistic guitar speaker responses and is designed for use with guitar, bass or synthesizer. Twelve popular guitar amp speaker cabinets are modeled.

There is only one parameter on this effect. Just select the speaker you want and listen. Normally this effect should be used with the Mix control set to 100%.

Speaker Type Description

British Stack 1 & 2 Modeled from a British 8-speaker high power ampliﬁer stack.

British Combo 1-3 Modeled from a British 2-speaker combo ampliﬁer.

Tweed Combo 1-3 Modeled from an American, 1950’s era, 2-speaker combo ampliﬁer.

2 x 12 Combo Modeled from an American, 1960’s era, 2-speaker combo ampliﬁer.

4 x 12 Combo Modeled from an American, 1960’s era, 4-speaker ampliﬁer set.

Metal Stack 1 & 2 Modeled from a modern era, power ampliﬁer stack.

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Stereo Delays - 100, 250, 500, 750, 1500

The Stereo Delays are true stereo delay lines in that the left and right channels are kept entirely separate from each other. The delay number refers to the maximum delay time that can be produced by the delay lines. The ﬁve different lengths, from 100 ms to 1.5 seconds, allow you to make the most efﬁcient use of the effect memory resource.

Because the left and right channels can have different delay times, you can create a panning effect by setting one delay long and the other short. Very short delay times combined with a high feedback amount can be used to create monotone roboticsounding effects. Using the longer stereo delays, you can “overdub” musical lines one on top of the other with the feedback control turned up.

Feedback

Rolloff

5 - Effects

Core Effects Descriptions

Delay

Signal path = Stereo

L Delay

Time

Parameter Description

Left Delay Time Sets the length of the delay for the left channel in milliseconds.

Right Delay Time Sets the length of the delay for the right channel in milliseconds.

Delay Time (L & R) Stereo Delay 100 Stereo Delay 250 Stereo Delay 500

Stereo Delay 750 Stereo Delay 1500

Feedback Sets the amount of delayed signal that will be recirculated through

High Freq. Rolloff Damps high frequencies in the feedback path. Range: 0% to 100%

(.01ms. minimum increment between settings)

Range: 1 millisecond to 100 milliseconds Range: 1 millisecond to 250 milliseconds Range: 1 millisecond to 500 milliseconds Range: 1 millisecond to 750 milliseconds Range: 1 millisecond to 1.5 seconds

the delay line. Range: 0% to 100%

R Delay

Time

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5 - Effects Core Effects Descriptions

Stereo Reverb

Reverberation is a simulation of a natural space such as a room or hall. The stereo reverb algorithm is designed to simulate various halls, rooms and reverberation plates.

Decay time deﬁnes the time it takes for the reﬂected sound from the room to decay or die away. The diagram below shows a generalized reverberation envelope.

Time

Early Reflections

Late Reverb

After a short pre-delay period, the echoes from the closest walls or ceiling are heard. These ﬁrst echoes, or early reﬂections, vary greatly depending on the type of room. Some time after the early reﬂection cluster ends (late reverb delay), the late reverberation (a dense cloud of complex wall reﬂections) begins and decays according to the time set by the Decay Time parameter.

Diffusion is the amount of scattering and density of the late reverberation cloud. Rooms with many complex surfaces have more diffusion than bare rooms.

High frequency energy tends to fade away ﬁrst as a sound is dissipated in a room. The High Frequency Damping parameter adjusts the time it takes for the high frequency energy to die away and thus changes the characteristics of the room. Rooms with smooth, hard surfaces are more reﬂective and have less high frequency damping. Rooms ﬁlled with sound absorbing materials, such as curtains or people, have more high frequency damping.

The Low Frequency Damping parameter adjusts the time it takes for the low frequencies to die away. This control adjusts the “boominess” of the room.

Parameter Description

Decay Time Sets the length of the Late Reverb. Range 1.5 to 30 seconds

Early Reﬂections Level Sets the volume of the initial wall reﬂections.

Range: 0% to 100%

Early/Late Reverb Bal Adjusts the balance between early refections and late reverb.

Range: 0% to 100%

Late Reverb Delay Sets the time between early reﬂections and the onset of the late

reverb cloud. Range: 1ms to 350ms

Diffusion Sets the amount of scattering of the late reverb cloud.

Range: 0% to 100%

High Freq. Damping Sets the rate at which high frequencies die away.

Range: -10.0 to +3.0 damping factor

Low Freq. Damping Sets the rate at which low frequencies die away.

Range: -10.0 to +3.0 damping factor

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Vocal Morpher

This unique effect allows you to select two vocal phonemes and morph between them using an LFO. Phonemes are the consonants and vowels we use in articulating speech sounds and these sounds are very distinctive and evocative. 30 different phonemes are available and these can be shifted up or down in pitch for even more effects.

To use the Vocal Morpher, you just select Phoneme A and Phoneme B from the list of thirty. Now the LFO automatically morphs back and forth between the two selected phonemes, creating interesting vocal articulations. The rate of the LFO is adjustable and you can select between Sine, Triangle or Sawtooth waveforms. The sine and triangle waves fade smoothly. The sawtooth wave gradually fades, then jumps abruptly back.

When the frequency of the A or B Phonemes is shifted up or down, entirely new effects can be produced. These frequency controls can also be used to tune the phoneme frequencies to the range of audio you are processing.

Phoneme B

5 - Effects

Core Effects Descriptions

Frequency

Time

Phoneme A

List of Available Phonemes

A E I O U AA

AE AH AO EH ER IH

IY UH UW B D F

G J K L M N

P R S T V Z

Parameter Description

Phoneme A Select any of the available Phonemes for Phoneme A.

Phoneme A Tuning

Adjusts the frequency of Phoneme A up or down 2 octaves in semitone intervals. Range: -24 semitones to +24 semitones

Phoneme B Select any of the available Phonemes for Phoneme B.

Phoneme B Tuning

Adjusts the frequency of Phoneme B up or down 2 octaves in semitone intervals. Range: -24 semitones to +24 semitones

LFO Rate Controls how fast the phonemes morph back and forth.

Range: .01Hz to 10Hz

LFO Waveform Selects the waveform for the morph: Sinusoid, Triangle, Sawtooth

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5 - Effects E-MU PowerFX

E-MU PowerFX

The hardware-accelerated effects of the E-MU Digital Audio System can also be used as VST inserts in Cubase. E-MU PowerFX allow you to use PatchMix DSP effects from within Cubase with minimal load on your CPU.

E-MU PowerFX incorporate smart time alignment technology which automatically compensates for system latencies and ensures proper synchronization of audio throughout the VST chain (if the host application supports this feature).

E-MU PowerFX On/Off Preferences

Input Signal Present

FX Parameters

 E-MU PowerFX are not

available at 88.2kHz, 96kHz, 176.4kHz and 192kHz sample rates.

f Cubase SX/SL 2.0,

Nuendo and Sonar (using the Cakewalk VST adapter 4.4.1) implement VST 2.X auto delay compensation.

FX Palette

FX Inserts

Output Signal Present

FX Presets

Preset Editing

Parameter Description

PowerFX On/Off Enables or bypasses E-MU PowerFX.

FX Palette Select from a single “Core” effect or a Multi -Effect.

FX Inserts Drop Effects from the FX Palette here.

Signal Present LEDs These indicators turn blue to show the presence of input and

output signals.

FX Parameters Select the desired effect in the center insert section, then adjust

the wet/dry mix and parameters for the effect.

FX Presets Select from the list of preprogrammed effect presets here.

Preset Editing Click here to Save, Delete, Rename or Overwrite a User Preset.

See the “User Preset Section” for more information

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Parameter Description

Preferences The Preferences menu allows you to:

• Toggle the Tooltips On or Off

• Extra Buffers - Check this box if excessive stuttering occurs when using E-MU PowerFX in your VST Host application. This box should be checked when using Fruity Loops.

• Render Mode - Induces realtime rendering in applications which do not support realtime rendering (WaveLab, SoundForge).

5 - Effects

E-MU PowerFX

 To Setup & Use E-MU PowerFX:

Setup Cubase or Cubasis

1. Launch Cubase or Cubasis.

2. Instantiate E-MU PowerFX in an Insert or Aux Send location within Cubase.

3. Press the Insert Edit button in Cubase to bring up the E-MU PowerFX plug-in

window shown on the previous page.

Setup E-MU PowerFX

4. Make sure the blue button is illuminated, indicating that E-MU Power FX is on.

The blue “Signal Present” indicators will be illuminated if E-MU PowerFX is properly patched into a signal path.

5. Drag the desired effects from the Effects Palette to the center Insert strip.

6. Click on the Effect you wish to edit in the center Insert Strip (it will highlight in

yellow), then adjust the effects parameters in the right section of the window.

7. You can also select or edit User Presets from the section below the FX parameters.

See the “

Add Delay Compensation

If you are using Cubase VST 5.1, you will have to insert an E-Delay Compensator into any other audio tracks to keep them time-aligned.

8. Simply insert an E-Delay Compensator plug-in into the same insert location you

used for E-MU PowerFX on any other audio tracks. That’s it.

User Preset Section” for more information.

(if needed)

 Using any driver other

than “E-MU ASIO” may produce undesirable results when using E-MU PowerFX.

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5 - Effects E-MU PowerFX

Automating E-MU PowerFX

E-MU PowerFX can be automated in Cubase LE (or other recording host) just like any other VST effect. When “Write Automation” is activated in Cubase, control changes made in the PowerFX window during playback will be recorded on a special “Automation Subtrack”. When “Automation Read” is activated, the recorded control changes will be played back.

 To Record E-MU PowerFX parameter changes in Cubase LE

1. Add E-MU PowerFX as a Channel Insert.

2. Rewind the song and enable “Automation Write” by pressing the WRITE button

on, illuminating it. (Refers to Cubase LE. If you are using another application,

refer to the documentation.)

3. Bring the E-MU PowerFX window to the front and select the Effect you want to

automate. The effect parameters appear in the TV screen. Make sure the blue “On” button is lit.

4. Press the Play button on the Cubase Transport control. The song begins playing.

5. Adjust the E-MU PowerFX controls to achieve the effect you want. Rewind the song

when ﬁnished.

6. Disable “Automation Write” and enable “Automation Read” . Playback the song

to hear and view your changes.

To edit Automation, ﬁrst enable both “Automation Write” and “Automation Read” and press Play. Cubase LE begins overwriting as soon as you change a control.

8. If you don’t like the results and want to try again, select Show Used Automation

from the Project menu. The Automation Subtrack appears. Next, click in the Parameter Display and select Remove Parameter.

Note: This only erases one automation parameter from the Automation Subtrack. To erase multiple control edits, repeat the procedure above. See the Cubase LE manual for more speciﬁc information about automation editing.

 Steinberg Cubasis

does not have the control automation feature.

 Once you have

recorded or drawn automation, do not delete or move effects from the Insert Strip. Doing so will result in unpredictable behavior.

E-MU PowerFX Resource Availability

Because different collections of VST plug-ins and PatchMix Sessions can be run simultaneously, it is possible to load a Cubase Song or PatchMix Session for which resources are not available. If DSP resources are NOT available for an existing setup:

• E-MU PowerFX loads a Hardware I/O Path and simply passes audio through without any effects. The effects insert slot(s) in E-MU PowerFX will be “redded out”.

• If no Hardware I/O Paths are available, the plug-in will be disabled and run in a soft pass-through mode. The effects insert slot(s) in E-MU PowerFX will be “grayed out”.

• If DSP resources ARE available, but no Hardware I/O Paths are available, the plug-in will run in soft pass-through mode.

• If the sample rate is changed in the middle of a E-MU PowerFX session, E-MU PowerFX plug-ins will be bypassed, since the hardware effects cannot operate at 88kHz, 96kHz, 176.4kHz or 192kHz.

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E-MU PowerFX Compatibility Chart

5 - Effects

E-MU PowerFX

Application Name Compatible? Note Render

Extra

Buffers

Steinberg Cubase VST 5.1 Yes Off Off

Steinberg Cubase SX 1 Yes Off Off

Steinberg Cubase SX 2 Yes Instrument

Off Off Freeze triggers error if not in render mode.

Steinberg Cubase LE Yes Off Off

Steinberg Cubase SL Yes Off Off

Steinberg WaveLab 4 Yes On Off

Steinberg WaveLab Lite (ver 4) Ye s On Off

Steinberg WaveLab 5 No Pops & clicks

On Either may occur. (Try 8 buffers at

1024)

Sony Acid 4 Yes On Off

Sony Vegas 5 Yes On Off

Sony SoundForge 7 No Power FX

On Off crashes when launched.

Adobe Audition 1.5 No Audio

Any Any distortion & immediate lockup.

FruityLoops Studio 4.5 Yes Off On

Ableton Live 3.5 No Distortion

On Off when FX parameters are changed.

Cakewalk Sonar 3 Yes Off Off

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5 - Effects Rendering Audio with E-MU PowerFX

Rendering Audio with E-MU PowerFX

Rendering (sometimes called Export) is a mixdown process performed by the host application, which creates a new digital audio ﬁle from a multitrack song. Rendering allows a virtually unlimited number of VST effects to be used because the audio processing is performed out of realtime.

E-MU PowerFX and the PatchMix DSP effects are strictly realtime processes. When E-MU PowerFX are used while rendering audio, the rendering process must proceed at realtime rate. Some host applications are not designed to handle realtime rendering and this can cause problems. E-MU PowerFX can be used with these applications if you are willing to follow certain guidelines.

General Tips for Rendering using PowerFX

• If an error message occurs, increase the “ASIO Buffer Latency” setting located in the device Setup dialog box. Depending on your setup, you may have to increase or decrease the Buffer Latency settings to ﬁnd the setting that works.

• Instead of rendering with E-MU PowerFX, bounce the E-MU PowerFX processed tracks to another track in realtime.

• Check “Realtime Render” in the Render dialog box when using Cubase LE, Cubase SX2 or Cubase SL2. This setting will give the best results.

Tips for using Freeze Mode on Cubase LE

•Make the project length as short as possible. Freeze always renders the entire project length, even if the MIDI track being rendered is shorter.

• Great Tip: Temporarily bypass E-MU PowerFX (and any other effects) even when “Freezing” another track. This will allow the track to Freeze faster than realtime.

Using E-MU PowerFX with WaveLab and SoundForge

Stuttering in the audio can occur when rendering with SoundForge or any version of Steinberg WaveLab. This problem is caused by discontinuities in the ﬁrst few audio buffers as they are fed by WaveLab to E-MU PowerFX. The problem can be eliminated by following these guidelines.

• Check “Render Mode” box in the E-MU PowerFX preferences. See page 79.

•We recommend that you only use the MME/WAVE E-DSP Wave [xxxx] drivers.

• Reduce the “Buffer Size” in the WaveLab, Audio Preferences dialog box. This moves the stuttering to beginning of the ﬁle.

• Pad the beginning (and/or end) of your audio ﬁle with silence (.5 to several seconds depending on the ﬁle). This action causes the buffer discontinuities to occur

before

the song begins.

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E-MU VST E-Wire

E-Wire is a special VST/ASIO Bridge which allows you to route digital audio via ASIO to PatchMix and back again.

E-Wire VST incorporates smart time alignment technology that automatically compensates for system latencies and ensures proper synchronization of audio throughout the VST chain. In addition, E-Wire also allows you to insert outboard audio gear into the VST environment.

5 - Effects

E-MU VST E-Wire

E-Wire has three main components:

•A VST plug-in which handles the audio routing to PatchMix DSP.

• An ASIO mixer strip in PatchMix DSP conﬁgured to route audio to the E-Wire

plug-in. You simply drop the effects you want to use into this strip.

•For hosts that don’t support automatic delay compensation, a manual delay-

compensation plug-in can be inserted in Cubase tracks or channels that don’t use E-Wire to compensate for ASIO delay.

The diagram below may give you a better idea of how E-Wire works:

E-Wire VST plug-in

Send to Strip

E Note: It’s easier to use

E-MU PowerFX instead of E-Wire if you just want to use the hardware effects. (E-Wire was the precursor to E-MU PowerFX.) However, E-Wire can be very useful because it allows you to route VST inserts or Sends to Physical Inputs and Outputs via PatchMix DSP.

Stereo Reverb

Return to VST

ASIO Send

PatchMix DSP

Strip configured

for E-Wire

E-Wire bridges the gap between hardware I/O and the VST world. The E-Wire VST plug-in sends audio to a strip containing the desired effect. An ASIO Send routes the audio back to E-Wire VST.

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5 - Effects E-MU VST E-Wire

 To Setup and use E-Wire:

Setup PatchMix DSP

1. Open PatchMix DSP application.

2. Insert an ASIO Input mixer strip into PatchMix DSP. (Alternately, you can select

“New Session”, select “E-Wire Example” and skip to step 6.)

3. Mute the strip or turn the Fader all the way down.

4. Insert an ASIO Send plug-in into one of the inserts on your ASIO strip.

5. Name your ASIO strip as an E-Wire strip.

6. Insert the desired PatchMix DSP effects into slots above the ASIO Send.

7. Save the Session.

Setup Cubase

8. Launch Cubase.

9. Instantiate E-Wire VST in an Insert or Aux Send location within Cubase.

10. Edit the E-Wire plug-in and activate the plug-in by pressing the blue button.

11. Set the ASIO Send and Return on the E-Wire plug-in to match the strip you set up

for E-Wire.

12. Done.

E-Delay Compensation

An E-Delay Compensator must be inserted into any other audio tracks that are not using E-Wire in order to keep them time-aligned.

13. Simply insert an E-Delay Compensator plug-in into the same insert location you

used for E-Wire on any other audio tracks. That’s it.

E-Delay Compensator

As audio is transferred back and forth between the VST host application and the E-MU sound hardware, a delay in the audio stream is incurred. Normally this delay is compensated for automatically by the host application, but not all VST host applications support this automatic compensation.

A host will support PowerFX and E-Wire’s plug-in delay compensation if it supports the SetInitialDelay feature of the VST 2.0 speciﬁcation.

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Currently automatic delay compensation is supported by the Steinberg 2.0 family (Nuendo 2.x, Cubase SX 2.0), Magix Samplitude 7.x, and Sonar (using the Cakewalk VST adapter 4.4.1), but not, unfortunately, by Steinberg Cubase VST 5.1, Cubase LE and Cubasis.

The E-Delay Compensator utility plug-in is used to manually compensate for the transfer delay for hosts that DO NOT support plug-in delay compensation.

The E-Delay Compensator plug-in is used to delay the “dry” tracks (tracks without a PowerFX or E-Wire as an insert effect) or auxiliary (send) channels. For each dry track or send, add an E-Delay Compensator plug-in to re-align the track. The E-Delay Compensator is automatic and requires no user interaction to operate.

For example, consider a Cubase VST session with two audio tracks. If PowerFX or E-Wire is applied as an insert effect to the ﬁrst audio track, but not to the second, the ﬁrst track will be delayed in relation to the second track. The E-Delay Compensator should be added as an insert effect on the second track in order to provide delay compensation.

Cubase VST or Cubasis

5 - Effects

E-MU VST E-Wire

Track 1

Insert

E-Wire

PatchMix

DSP

Track 2

Insert

Track 3

Insert

E-Delay E-Delay

E-Delay Compensator Use

For host applications that don’t support automatic delay compensation.

An E-Delay Compensator should be used when unprocessed audio tracks are played alongside tracks using a PowerFX or E-Wire plug-in.

2. Simply insert an E-Delay Compensator into

each track that doesn’t use a PowerFX or E-Wire send.

E-Delay Units Parameter

The Units value in the E-Delay dialog box should be set for the number of times you send ASIO down to the PatchMix DSP mixer and back in a single track. A single PowerFX insert chain with any number of effects only requires one delay unit because there was only one trip to the hardware and back. If you use two Cubase inserts in series on a track both using PowerFX or E-Wire, you would set the number parameter to 2 on all other audio tracks. Each trip down to PatchMix DSP and back to Cubase equals one unit.

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5 - Effects E-MU VST E-Wire

In practical use, however, you’ll probably never need to use more than one E-Wire VST on a single track since PowerFX effects can be placed in series. We have included this feature “just in case” you need it.

Here’s one more example of how to use the E-Delay Compensator with different numbers of PowerFX/E-Wire sends on each track. The delay compensation on each track must equal the track with the maximum number of PowerFX/E-Wire sends. See the diagram below.

Cubase VST or Cubasis

Track 1

Insert

PowerFX or E-Wire

Insert

PowerFX

or E-Wire

Track 2

Insert

PowerFX

or E-Wire

Insert

E-Delay

Track 3

Insert

E-Delay

PatchMix

DSP

Since track 1 uses two PowerFX/E-Wire inserts, the delay of all the other tracks must equal two. Track 2 has one PowerFX/E-Wire insert and so adding one unit of E-Delay keeps it time aligned. Track 3 doesn’t use a PowerFX/E-Wire insert and so it needs two E-Delay Units to remain in alignment.

Grouping Tracks

When several tracks require E-Delay Compensation, you can send the output of each track to a group or bus and use a single E-Delay Compensator on the output of the group or bus.

• E-MU Digital Audio System and PatchMix DSP must be installed.

• E-Wire is compatible with Cubase SX/SL/LE, Cubase VST, Wavelab, and Cakewalk

Sonar (via DirectX-VST adapter) among others.

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6 - Appendix

Using High Sample Rates

Overview

When operating at 176.4k or 192k sample rates, the mixer functionality and number of I/O channels are slightly reduced. The number of ADAT channels also decreases at the 88k/96k and 176/192k sample rates (due to the bandwidth limitations of the optical components).

When using 88.2kHz, 96kHz, 176.4kHz or 196kHz sample rates:

6 - Appendix

Using High Sample Rates

• Effect processors are disabled.

• ADAT is reduced to 4 channels at 88k/96k, and 2 channels at 176k/192kHz.

• ASIO channels are reduced to 8 ASIO (4 stereo) channels at 88k/96k, and 4 ASIO (2 stereo) channels at 176k/192kHz.

• At the 176.4kHz & 192kHz sample rates, the number of physical inputs and outputs is reduced.

• At the 176.4kHz & 192kHz sample rates, S/PDIF optical is disabled

The ADAT optical interface was originally designed to carry 8 channels at a 48kHz sample rate. We use the Sonorus® S/MUX™ standard to encode audio with higher sample rates onto the ADAT light pipe. In this multiplexing scheme, two ADAT channels are used to carry one 88.2k or 96k stream and four ADAT channels are used to carry one 176k or 192k audio stream. In order to use the ADAT interface at these higher sample rates, you must have other equipment that supports the Sonorus S/MUX standard.

 Selecting a 176/192k Session

The three possible input conﬁgurations are selected by choosing a session template containing the desired I/O from the New Session window. Once you have selected one of the three session types, you will not be able to change to another type without starting a new session.

(Output sends & returns are still available.)

Select the Type of Session you need

Analog & S/PDIF Session

Analog & ADAT Session

S/PDIF & ADAT Session

1. Select New Session from the PatchMix

DSP toolbar.

2. Choose the 176k/192k tab.

3. Select the Template that meets your

requirements and click OK.

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6 - Appendix Using High Sample Rates

or...

At the 192kHz sample rate, you may choose one of these three options:

1. Keep all Analog I/O, but lose S/PDIF 3. Keep S/PDIF & ADAT, but lose

2. Keep all Analog I/O, but lose ADAT Line Inputs 2L/2R & Line Outputs 3L/3R

E-MU 1616 Hardware Inputs & Outputs at 176.4k or 192k

Source Input

Analog &

SPDIF

ADAT 0 0 2 2 2 2

Microphone 2 - - - - - - - - 2 - - - - - - - - 2 - - - - - - - -

Line 1 2 2 2 2 2 2

Line 2 2 2 0 2 2 2

Line 3

(output)

S/PDIF 2 2 2 2 0 0

Total

- - - - - - - - 2 - - - - - - - - 2 - - - - - - - - 2

8 8 8 8 8 8

Output

Analog &

SPDIF

Input

SPDIF &

ADAT

Output

SPDIF &

ADAT

Input

Analog &

ADAT

Output

Analog &

ADAT

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WDM Recording and Playback Behavior

WDM recording and playback is supported at all PatchMix sample rates. The behavior of the driver with respect to PatchMix sample rate is described below.

When PatchMix and the WDM audio content (.WAV ﬁle format, playback and record settings in WaveLab. etc.) are both running at the same sample rate, and when a Wave strip or send is present in the PatchMix mixer conﬁguration, WDM audio will be played or recorded “bit accurate” without sample rate conversion or bit truncation.

When running PatchMix at 44kHz/48kHz, if there is a mismatch between the WDM playback audio content and the PatchMix sample rate, sample rate conversion is performed, so that WDM audio will always be heard or recorded. Also, such non-nativesample-rate audio is truncated to 16-bits.

When running PatchMix at the higher sample rates of 88.2kHz, 96kHz, 176.4kHz or 192kHz, WDM record or playback audio content must be running at the same sample rate as PatchMix. If the sample rates are mismatched, NO AUDIO will be produced or recorded. In other words, the WDM driver does not perform sample rate conversion of any kind when PatchMix is running at 88.2kHz, 96kHz, 176.4kHz or 192kHz.

6 - Appendix

Using High Sample Rates

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6 - Appendix Sync Daughter Card Supplement

Sync Daughter Card Supplement

SMPTE Conversion

One of the main functions of the Sync Daughter Card is to convert SMPTE (LTC) to MIDI Time Code (MTC) and vice-versa. The term “Host MTC” refers to MTC, which is generated or used by the host application (Cubase, etc.). MTC is also available at the MIDI jack on the back of the Sync Card.

SMPTE Features

• Conversion of SMPTE to MTC quarter-frame messages & full-frame messages.

Constant quarter-frame messages are generated with steady SMPTE data input. Occasional MIDI full-frame messages are generated when SMPTE contains data dropouts.

• Conversion of MTC (quarter frame & full frame) messages from the host

computer to SMPTE out.

Simultaneous SMPTE and MTC output when receiving MTC from the host computer

• Outputs SMPTE and MTC striping data.

SMPTE Start Time and type can be set via System Settings dialog box.

 Warning: SMPTE and

MTC do not provide sample sync for digital I/O. You must use Word Clock, S/PDIF or ADAT sync.

SMPTE Options

When the Sync Daughter Card is installed in your system a SMPTE button in the PatchMix DSP mixer becomes visible. Pressing the SMPTE button brings up the SMPTE window.

Current Time

SMPTE Status/

Error Indicators

Start Striping

SMPTE Frame

Rate Settings

SMPTE

Start Time

Flywheel Mode

• Off • Continuous

• Fixed •1-time Jam

Stop

Striping

Output Source

Flywheel

Amount

Word Clock Termination

Output

Level

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6 - Appendix

Sync Daughter Card Supplement

Mode (fps)

SMPTE Striping

Stripe Button

Stop Button

Flywheel Mode

Output Level

FLY/JAM Frames

Word Clock Termination

SMPTE/MTC Output Source

Sets the transmitted frame rate when striping SMPTE.

Edit this ﬁeld to set the start time in hours:minutes:seconds:frames for striping SMPTE.

Initiates SMPTE Time Code generation at the SMPTE output beginning at the time set in the striping display.

Stops SMPTE striping. This button also stops SMPTE when One-Time Jam Sync has been initiated.

Selects one of the four Flywheel modes. See the descriptions below.

Sets the SMPTE output level from -10dBV (consumer) to +4dBu (pro).

If ﬂywheel mode is on and a dropout is detected this is the number of ﬂywheel frames that will be output before the sync card stops and chases.

Turns word clock termination on or off. Except in special cases, this control should normally be left on. See “

This control selects the source of the SMPTE output jack. The choices are: Host MTC or the SMPTE Input jack (to regenerate SMPTE).

Word Clock In/Out”.

SMPTE Modes of Operation

Host Mode

The host computer is the source of synchronization. MTC messages are sent to the Sync Daughter Card from the computer application and converted into SMPTE. MTC is also output from the MIDI port on the Sync Daughter Card.

External Mode

SMPTE messages from SMPTE In are converted to MTC (quarter-frame messages) and sent to the host application. This happens automatically whenever LTC is received at the SMPTE input jack. Clean SMPTE data is also transmitted from SMPTE Out if “SMPTE (Regenerate)” is set.

Flywheel Mode

If the incoming SMPTE data is corrupted or missing frames, MTC code will continue to be output if “Flywheel mode” is enabled. The ﬂywheel modes are described below.

Flywheel Modes

Off

Fixed 0-127

Continuous

1-Time Jam Sync

Upon any dropout, MTC stops and the Sync card monitors the input for valid code. If valid code is again received, it chases and relocks.

Upon any dropout, MTC continues outputting Quarter-frame messages at the same rate (ﬂywheeling). When a dropout is detected, this is the number of frames that will be output before the Sync card stops outputting MTC and monitors the input for valid code. If valid code is again received, it chases and relocks.

Upon any dropout, MTC continues outputting Quarter-frame messages at the same rate (ﬂywheeling). The Sync card monitors the input for valid code and continues ﬂywheeling until valid code is received, then relocks.

Upon any dropout, MTC continues outputting Quarter-frame messages at the same rate (ﬂywheeling) without monitoring the SMPTE input until the Stop button is pressed.

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6 - Appendix

 When the MicroDock

is connected to the 1010 PCI card, the digital I/O on the PCI card is disabled. Use the digital I/O on the MicroDock.

Sync Daughter Card Supplement

Stripe Mode

This mode is used to record SMPTE time code onto an audio track of another recorder. SMPTE is output when the Start button is pressed in the System Settings menu and begins at the time set by the Start Time setting. MTC is also simultaneously output from the Sync Daughter Card MIDI out. SMPTE and MTC will continue to be output until the Stop button is pressed.

Example SMPTE Connection

In the diagram below, Cubase is controlling the entire system by sending MTC to the Sync Card which converts MTC to SMPTE. SMPTE is fed to the ADAT/BRC to convey the absolute time information (hours-minutes-seconds-frames). ADAT/BRC is the word clock master, controlling the Digital Audio System either through the embedded clock in the ADAT optical stream or using word clock.

Cubase

1010

CARD

EDI

DAT

SYNC

CARD

optional

if ADAT

sync isn't

used

LTC

MTC

BRC

105

106

113

114

121

122

TRACK 1-32 TRACK 33-64 TRACK 65-96 TRACK 97-128

AUTO INPUT ALL SAFE ALL INPUT ALL CLEAR

GROUP 1 GROUP 2 GROUP 3 GROUP 4 SET GROUP

MASTER REMOTE CONTROL

103

111

119

127

104

112

120

128

PITCH UP

PITCH DOWN

PITCH MODE

MIDI UTIL

COPY SONGDELETE SONG

SET LOCATELOCATE SONG

PITCH CONTROL TAPE LOCATION

CENTS

HOURS MINUTESSECONDS FRAMES

PITCH MODE

FIXED VARIABLE

SMPTE IN MIDI IN

NAME

TEMPO MAP

RECORD XFADE

STUV8WXYZ0(CHARS)

SAVE SETUP

TO TAPE

JKL5MNO6PQR

LOAD SETUP

FROM TAPE

ABC2DEF3GHI

LOCATE 0

SET LOCATE

LOCATE

BARS BEATS SUB BEATS

CURSOR

RECORD

INPUT

100

101

102

RECORD

INPUT

107

108

109

110

RECORD

INPUT

115

116

117

118

RECORD

INPUT

123

124

125

126

NORMAL

ABSOLUTE

RELATIVEE

DROP FRAME

29.97 FPS

SMPTE

BARS

30 FPS

25 FPS

24 FPS

COPY TAPE LOCATION

AUTO-PUNCH

DIGITAL I/O

AUTO PLAY

DISPLAY TYPE EJECT

DISPLAY MODE RESET 0 FORMAT TAPE

SMPTE START

SMPTE

PRE-ROLL POST-ROLL

LOOP TAPE OFFSETTRACK DELAY

GEN SYNC EDIT

REHEARSE

RECORDPLAYSTOPFAST FORWARDREWIND

EXT SYNC

OFFSET

PatchMix DSP set to

The Sync Card should not be used as both the SMPTE and word clock master. Word Clock is generated by the Digital Audio System and NOT by the software application (Cubase). SMPTE is not locked to Word Clock inside the Sync Card—they are completely independent.

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ADAT Sync

ADAT Optical

carries embedded

word clock

ADAT

ADAT 9-pin

REWIND FAST FWD STOP PLAY RECORD

EJECT

Page 93

MIDI Time Code (MTC)

MIDI time code is basically SMPTE time code adapted to the world of MIDI. MTC speciﬁes “absolute” location information in hours:minutes:seconds:frames, just like SMPTE. There are two main kinds of messages in MTC: Full-frame messages and Quarter-frame messages.

Full-frame messages are ten bytes long and are sent when SMPTE start, stops, or relocates. Full-frame messages contain the entire SMPTE number of, hours, minutes, seconds, frames, as well as the SMPTE type: 24fps, 25fps, 30fps non-drop, 30fps drop.

Quarter-frame messages are sent at each quarter of a SMPTE frame and only carry 1/8th of the SMPTE time message. Quarter-frame messages require two entire SMPTE frames to send the complete time stamp (h:m:s:f). Timing accuracy is maintained as long as the quarter-frame messages continue to come in at a constant rate.

 To Enable MTC:

MIDI Time code disables the use of MIDI port 2 on the MicroDock

1. Open Session Settings from the toolbar.

2. Select the MIDI tab and choose Sync Card/MTC from the MIDI options.

3. Click OK to close the window.

Since it is important to have a stable timing reference for your song or sequence, we have given MTC its own MIDI output port on the Sync Daughter Card. This ensures that the timing information will not be affected by other MIDI data on the line.

6 - Appendix

MIDI Time Code (MTC)

 MTC and SMPTE do

NOT synchronize at the sample rate and are not locked to word clock in any way.

SMPTE and MTC are used to synchronize music but do not have the required resolution to sample-lock digital audio.

Word Clock In/Out

Word clock provides a standardized means of synchronizing multiple digital audio devices so that data can be transferred digitally. In order to digitally transfer from one device to another, the two devices MUST be synchronized. Clicks and pops in the audio will result when transferring digital audio which is not synchronized.

The E-MU 1010 PCI card can be externally clocked from the ADAT input, S/PDIF input or from the Sync Daughter card (if installed). In a digital studio, all digital devices in the system should run off the same master Word Clock.

 To Synchronize PatchMix DSP to an External Clock Source:

1. Make sure an external clock source is connected to the E-MU Digital Audio System

hardware via the word clock, ADAT or S/PDIF input.

2. Open the Session Settings dialog box.

3. Under the System tab, select External Source, then select either word clock, ADAT

or S/PDIF.

4. Press OK to close the dialog box.

5. Check the Sync section of PatchMix DSP to verify that the Locked indicator is

illuminated.

Devices can be connected in daisy chain fashion (word clock out connected to the next unit’s word clock in) or in parallel for one or two devices, but professional digital studios normally use a master word clock generator or “House Sync” with a distribution system so that each device receives a phase-coherent and jitter-free word clock.

f Word clock, ADAT and

S/PDIF synchronize at the sample rate and are used to transfer digital data between machines.

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6 - Appendix

Word Clock In/Out

Digital

Device 1

Digital

Device 3

House Sync

Generator

Digital

Device 2

A master word clock generator is preferable for larger digital setups.

Word Clock In: Receives word clock (sample clock) from another digital device such as a digital video deck, digital recorder or digital mixer.

Word Clock Out: Sends word clock (sample clock) to another digital recorder. Word clock is always output, whether it is generated by the internal clock or passed through from the word clock input.

75Ω On/Off: Termination for the word clock input can be switched on or off in the Sync Card menu of the PatchMix DSP application. Normally word clock termination should be left on. If you have problems with a weak word clock signal, try turning termination off. See Word Clock Termination.

The diagram below shows the proper way to connect and terminate a serial word clock chain. Using a BNC “T” connector ensures that word clock is precisely in phase for both devices. The middle device has termination turned Off and the last device in the word clock chain has termination turned On.

Digital

Device 4

Digital Mixer

 When the MicroDock

is connected to the 1010

Word Clock

DAT Optical

or AES Digital

ADAT Optical

Word Clock Termination OFF

T - connector

Word Clock

PCI card, the digital I/O on the PCI card is disabled. Use the digital I/O on the MicroDock.

AES

E-MU 1010 CARD

EDI

SYNC CARD

Word Clock Termination ON

This diagram shows the proper way to connect word clock if you don’t have a multi-output word clock generator. The last device in a Word Clock chain should have Termination ON.

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Getting in Sync

 When the MicroDock

is connected to the 1010 PCI card, the digital I/O on the PCI card is disabled. Use the digital I/O on the MicroDock.

Whenever you connect external digital audio devices together, you need to be aware of how they are synchronized to each other. Simply connecting digital out to digital in doesn’t guarantee that two digital devices are synced, even if audio is being passed. Unless you have set one to be the Master and the other a Slave, they are probably NOT synchronized and the quality of your audio will suffer.

S/PDIF and ADAT are two commonly used digital audio formats. Both these digital formats carry an embedded word clock which can be used to synchronize the digital equipment. You must enable “External Clock” on the slave device to have clock sync!

The diagrams below show two ways to synchronize an external A/D - D/A converter to the E-MU Digital Audio System using the ADAT lightpipe connection.

In the ﬁrst example, only the A/D converters on the external device are being used. Only one lightpipe is needed as long as PatchMix is set to receive its word clock signal from the external device. The external A/D is the Master and the E-MU DAS is the Slave.

6 - Appendix

Getting in Sync

EXTERNAL

Slave

EXTERNAL

External Device supplies Master Clock

The lightpipe carries eight

channels of audio data and

an embedded clock.

1 2 3 4 5 6 7 8

Master

Set PatchMix DSP to receive:

External ADAT Sync

PatchMix DSP supplies Master Clock

This lightpipe carries eight

channels of audio data.

(via ADAT)

ADAT Out

External A/D - D/A Converter

(via ADAT)

Set External Device to receive:

ADAT Out

External ADAT Sync

Master

In the second example a second lightpipe is used to supply “embedded word clock”, as well as eight channels of audio to the external A/D - D/A. The external device MUST be set to receive external clock via ADAT or the units will not be synchronized. The E-MU Digital Audio System is the Master and the external A/D - D/A is the Slave.

E-MU PCI Digital Audio Systems 95

Slave

1 2 3 4 5 6 7 8

ADAT In

This lightpipe carries an

embedded clock signal

& eight channels of audio.

External A/D - D/A Converter

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6 - Appendix Useful Information

Useful Information

Cables - balanced or unbalanced?

All inputs and outputs on the E-MU Digital Audio System are designed to use either balanced or unbalanced cables. Balanced signals provide an additional +6dB of gain

on the inputs and are recommended for best audio performance, although unbalanced cables are ﬁne for most applications. If you’re having problems with hum and noise or just want the best possible performance, use balanced cables.

Balanced Cables

Balanced cables are used in professional studios because they cancel out noise and interference. Connector plugs used on balanced cables are XLR (3-prong mic connector) or TRS (Tip, Ring, Sleeve) 1/4" phone plugs.

Balanced XLR Connectors

1 = Ground/shield 2 =

Hot (+)

3 =

Cold (-)

OutputInput

Sleeve = Ground

Balanced 1/4” TRS Connectors

Sleeve = Ground

Unbalanced 1/4” Connectors

Tip = Hot (+)

Ring = Cold (-)

Tip = Signal

 WARNING: Do NOT

use balanced audio cables when connecting balanced outputs to unbalanced inputs. Doing so can increase noise level and introduce hum. Use balanced (3-conductor) cables ONLY if you are connecting balanced inputs to balanced outputs.

Balanced cables have one ground (shield) connection and two signal-carrying conductors of equal potential but opposite polarity. There is one “hot” or positive lead, and a “cold” or negative lead. At any point in time, both conductors are equal in voltage but opposite in polarity. Both leads may pick up interference, but because it is present both in and out of phase, this interference cancels out at the balanced input connection.

Unbalanced Cables

Unbalanced cables have one conductor and one ground (shield) and usually connect via unbalanced 1/4" phone plugs or RCA phono plugs. The shield stays at a constant ground potential while the signal in the center conductor varies in positive and negative voltage. The shield completely surrounds the center “hot” conductor and is connected to ground in order to intercept most of the electrical interference encountered by the cable. Unbalanced cables are more prone to hum and interference than balanced cables, but the shorter the cable, the less hum and noise is introduced into the system.

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Page 97

Adapter Cables

1/8” Mini-phone to 1/4” Adapters

To connect headphones with an 1/8” (mini-phone) plug to the headphone jack on the MicroDock, you need a 1/8” to 1/4” adapter. These handy devices are available at electronic department stores everywhere.

1/8" to 1/4"

Headphones with 1/8" plug

Cinch (RCA) to 1/4” Adapters

Equipment (such as consumer audio gear) which uses Cinch/RCA type connectors can be connected to the MicroDock using readily available adapter cables. These adapters can be found at most stores that sell audio equipment.

Headphone Adapte

6 - Appendix

Useful Information

Tip = Hot (+)

Cinch/RCA

Plug

Sleeve = Ground

1/4" Phone Plug

Shaft = Ground

Tip = Hot (+)

Digital Cables

Don’t cheap out! Use high quality optical ﬁber Toslink (ADAT) cables. It’s also a good idea to keep digital cabling as short as possible (1.5 meters for plastic light pipes; 5 meters for high quality glass ﬁber light pipes).

Use low-capacitance, video-grade cable for coaxial S/PDIF to avoid data corruption.

AES/EBU to S/PDIF Cable Adapter

This simple adapter cable allows you to receive AES/EBU digital audio via the S/PDIF input on the E-MU 1010 PCI card. This cable may also work to connect S/PDIF out from the 1010 PCI card to the AES/EBU input of other digital equipment.

From AES/EBU

Device

To S/PDIF

N.C.

E-MU PCI Digital Audio Systems 97

Page 98

6 - Appendix

Useful Information

Grounding

In order to obtain best results and lowest noise levels, make sure that your computer and any external audio devices are grounded to the same reference. This usually means that you should be using grounded AC cables on both systems and make sure that both systems are connected to the same grounded outlet. Failure to observe this common practice can result in a ground loop. 60 cycle hum in the audio signal is almost always caused by a ground loop.

Phantom Power

Phantom power is a dc voltage (+48 volts) which is normally used to power the preampliﬁer of a condenser microphone. Some direct boxes also use phantom power.

Pins 2 and 3 of the MicroDock microphone inputs each carry +48 volts dc referenced to pin 1. Pins 2 and 3 also carry the audio signal which “rides” on top of the constant 48 volts DC. Coupling capacitors at the input of the MicroDock block the +48 volt DC component before the signal is converted into digital form. The audio mutes for a second when phantom power is turned on.

After turning phantom power off, wait two full minutes before recording to allow the DC bias to drain from the coupling capacitors since the bias could affect the audio headroom.

Balanced dynamic microphones are not affected by phantom

(grd)

Since ribbon microphones are fairly specialized and generally expensive, you’ll know if you own one. Most microphones are either of dynamic or condenser type and these are not harmed by phantom power.

+48

power. An unbalanced dynamic microphone may not work properly, but will probably not be damaged if phantom power is left on.

Ribbon microphones should NOT be used with phantom power on. Doing so can seriously damage the ribbon element.

Appearance Settings in Windows

Adjusting the “Performance Options” in Windows will improve the screen appearance when moving the mixer around on the screen.

 To Improve the Appearance Settings:

1. Open the Windows Control Panel. (Start, Settings, Control Panel).

2. Select System. Select the Advanced Settings tab.

3. Under Visual Effects, select Adjust for Best Performance. Click OK.

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Technical Speciﬁcations

Speciﬁcations: 1616m PCI System

GENERAL

6 - Appendix

Technical Speciﬁcations

Sample Rates

Bit Depth

Hardware DSP

Converters & OpAmps

WDM Drivers

MicroDockm Power Use

ANALOG LINE INPUTS

Type

Level (software selectable)

Frequency Response

THD + N

SNR

Dynamic Range

Channel Crosstalk

Common-mode Rejection

Input Impedance

44.1 kHz. 48 kHz, 96 kHz, 192 kHz from internal crystal Accepts externally supplied clock from S/PDIF or ADAT

16 or 24-bits

100MIPs custom audio DSP. Zero-latency direct hardware monitoring with effects

ADC - AK5394 (AKM) DAC - CS4398 (Cirrus Logic) OpAmp - NJM2068M, NJM2122, NJM2082 (JRC)

2-in/8-out at 44.1kHz, 48kHz, 88.2kHz, 96kHz 2-in/4-out at 176.4kHz & 192kHz

.32A @ +48VDC 15.4 Watts

Servo-balanced, DC-coupled, low-noise input circuitry

Professional: 18 dBV maximum (balanced)

Consumer: 6 dBV maximum (unbalanced)

20 Hz - 20 kHz, +0.0/-0.03 db

-110 dB (.0003%) (-1 dBFS, 20kHz BW)

120 dB (A-weighted, 20kHz BW)

-120 dB, (1 kHz)

-79 dB at 60Hz

10K ohm

ANALOG LINE OUTPUTS

Type

Level (software selectable)

Frequency Response

THD + N

SNR

Dynamic Range

Stereo Crosstalk

Output Impedance

E-MU PCI Digital Audio Systems 99

Balanced, low-noise, 2-pole low-pass differential ﬁlter, AC-coupled

Professional: 18 dBV maximum (balanced)

Consumer: 6 dBV maximum (unbalanced)

20 Hz - 20 kHz, +0.0/-0.03 dB

-105 dB (.0005%) (-1dBFS, 20kHz BW)

120 dB (A-weighted, 20kHz BW)

< -115 dB, 1kHz

560 ohms

Page 100

6 - Appendix Technical Speciﬁcations

Speciﬁcations: 1616m PCI System

MIC PREAMP/LINE INPUT

HI-Z LINE INPUT

Gain Range:

Max Level:

THD+N:

SNR:

Dynamic Range:

Crosstalk:

Frequency Response:

Input Impedance:

CMRR:

-15 to +51 dB

19 dbV (21.2 dBu)

-105 dB (.00056%), -1 dBFS, 20kHz BW

118 dB, (A-weighted, 20kHz BW)

Minimum Gain: -140 dB (1kHz) Maximum Gain: -80 dB (1kHz)

+0.10/-0.00 dB, 20 Hz - 20 kHz

1M ohm

-44 dB (60Hz)

MICROPHONE PREAMP

Gain Range:

Max Level:

THD+N:

SNR:

Frequency Response:

Input Impedance:

CMRR:

Crosstalk:

HEADPHONES

Frequency Response:

THD+N: (1 kHz, max. level)

SNR:

Dynamic Range:

Stereo Crosstalk:

Max Output Power:

Output Impedance:

-1.3 to +65 dB

-5.6 dbV (7.8 dBu)

Min Gain: -112dB (.00025%), (1kHz, -1 dBFS, 20kHz BW) 40dB Gain: -96dB (.0015%) 60dB Gain: -75dB (.017%)

119 dB (A-weighted, min. gain)

20 Hz - 20 kHz ±0.08 dB (20Hz - 20kHz, gain +40dB)

1.5 Kohm

-95 dB (60Hz, 35 dB gain, -1 dBFS)

-100 dB (1 kHz, 40 dB gain, -1 dBFS)

+0.0/-0.07 dB, 20 Hz - 20 kHz

24 ohm load: -85 dB (0.018%) 600 ohm load: -94 dB (0.002%)

118 dB (A-weighted)

118.5 dB (A-weighted)

24 ohm load: < -43 dB (1kHz at 0 dBFS) 600 ohm load: < -100 dB (1kHz at 0 dBFS)

100 mW (24Ω load)

22 ohms

Gain Range:

100 Creative Professional

85 dB

E-MU 1616 v2 PCI, 1212M v2 PCI Owner`s manual

Specifications and Main Features

Frequently Asked Questions

User Manual

1- Introduction

Welcome!

All Systems Include:

E-MU 1212M System

E-MU 1616 System

E-MU 1616M System

PatchMIx DSP

Notes, Tips and Warnings

2 - Installation

Setting Up the Digital Audio System

Notes for Installation

Safety First!

Connector Types

Installing the E-MU 1010 PCI Card

Install the Sync Daughter Card or 0202 Daughter Card

WARNING: E-MU 0202 & MicroDock

Connecting the MicroDock

Software Installation

Installing the E-MU 1010 Drivers

Windows XP

Uninstalling all Audio Drivers and Applications

Note About Windows Logo Testing

3 - PCI Card & Interfaces

The E-MU 1010 PCI Card

Important

Connections

EDI Connector

S/PDIF Digital Audio Input & Output

ADAT Optical Digital Input & Output

The 0202 Daughter Card

Connections

Analog Inputs and Outputs

MIDI In/Out

The MicroDock

Front Panel Connections

Preamp Section

S/PDIF Digital Audio Input & Output

ADAT Optical Digital Input & Output

Headphone Output & Volume Control

Rear Panel Connections

Line Level Analog Inputs

Turntable Inputs & Ground Lug

Line Level Analog Outputs

Computer Speaker Analog Outputs

MIDI 1 & 2 In/Outs

EDI Connector (Card)

4 - The PatchMix DSP Mixer

PatchMix DSP

Overview of the Mixer

Mixer Window

Mixer Block Diagram

Pre Fader or Post Fader

E-MU Icon in the Windows Taskbar

The Toolbar

The Session

New Session

Open Session

Save Session

Session Settings

System Settings

Using External Clock

I/O Settings

Input Mixer Strips

Input Type

Pan Controls

Aux Sends

Volume Control

Inserts

Mute/Solo Buttons

Scribble Strips

Mixer Strip Creation

Multichannel WAVE Files

Windows Media Player/DVD/Surround Sound Playback

Insert Section

Working with Inserts

The Insert Menu