Mark of the Unicorn 828mk3 Hybrid User's Guide

Download

Page 1

MOTU 828mk3 Hybrid

User Guide for Windows

™

1280 Massachusetts Avenue

Cambridge, MA 02138

Business voice: (617) 576-2760

Business fax: (617) 576-3609

Web site: www.motu.com

Tech support: www.motu.com/support

Page 2

SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS

CAUTION! READ THIS SAFETY GUIDE BEFORE YOU BEGIN INSTALLATION OR OPERATION. FAILURE TO COMPLY WITH SAFETY INSTRUCTIONS COULD RESULT IN BODILY INJURY OR EQUIPMENT DAMAGE.

HAZARDOUS VOLAGES: CONTACT MAY CAUSE ELECTRIC SHOCK OR BURN. TURN OFF UNIT BEFORE SERVICING.

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR OTHER MOISTURE.

CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

WARNING: DO NOT PERMIT FINGERS TO TOUCH THE TERMINALS OF PLUGS WHEN INSTALLING OR REMOVING THE PLUG TO OR FROM THE OUTLET.

WARNING: IF NOT PROPERLY GROUNDED THE MOTU 828mk3 COULD CAUSE AN ELECTRICAL SHOCK.

The MOTU 828mk3 is equipped with a three-conductor cord and grounding type plug which has a grounding prong, approved by Underwriters' Laboratories and the Canadian Standards Association. This plug requires a mating three-conductor grounded type outlet as shown in Figure A below. If the outlet you are planning to use for the MOTU 828mk3 is of the two prong type, DO NOT REMOVE OR ALTER THE GROUNDING PRONG IN ANY MANNER. Use an adapter as shown below and always connect the grounding lug to a known ground. It is recommended that you have a qualiﬁed electrician replace the TWO prong outlet with a properly grounded THREE prong outlet. An adapter as illustrated below in Figure B is available for connecting plugs to two-prong receptacles.

Figure A Figure B

Grounding lug

Screw

3-prong plug

Grounding prong

Properly grounded 3-prong outlet

3-prong plug

Mak e sur e th is i s con nec ted to a known ground.

Adapter

Two-prong receptacle

WARNING: THE GREEN GROUNDING LUG EXTENDING FROM THE ADAPTER MUST BE CONNECTED TO A PERMANENT GROUND SUCH AS TO A PROPERLY GROUNDED OUTLET BOX. NOT ALL OUTLET BOXES ARE PROPERLY GROUNDED.

If you are not sure that your outlet box is properly grounded, have it checked by a qualiﬁed electrician. NOTE: The adapter illustrated is for use only if you already have a properly grounded two-prong receptacle. Adapter is not allowed in Canada by the Canadian Electrical Code. Use only three wire extension cords which have three-prong grounding type plugs and three-prong receptacles which will accept the MOTU 828mk3 plug.

IMPORTANT SAFEGUARDS

1. Read these instructions. All the safety and operating instructions should be read before operating the 828mk3.

2. Keep these instructions. These safety instructions and the 828mk3 owner’s manual should be retained for future reference.

3. Heed all warnings. All warnings on the 828mk3 and in the owner’s manual should be adhered to.

4. Follow all Instructions. All operating and use instructions should be followed.

5. Do not use the 828mk3 near water.

6. Cleaning - Unplug the 828mk3 from the computer and clean only with a dry cloth. Do not use liquid or aerosol cleaners.

7. Ventilation - Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

8. Heat - Do not install the 828mk3 near any heat sources such as radiators, heat registers, stoves, or another apparatus (including an ampliﬁer) that produces heat.

9. Overloading - Do not overload wall outlets and extension cords as this can result in a risk of ﬁre or electrical shock.

10. Grounding - Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not ﬁt into your outlet, consult and electrician for replacement of the obsolete outlet.

11. Power cord - Protect the 828mk3 power cord from being walked on or pinched by items placed upon or against them. Pay particular attention to cords and plugs, convenience receptacles, and the point where they exit from the unit.

12. Power switch - Install the 828mk3 so that the power switch can be accessed and operated at all times.

13. Disconnect - The main plug is considered to be the disconnect device for the 828mk3 and shall remain readily operable.

14. Accessories - Only use attachments/accessories speciﬁed by the manufacturer.

15. Placement - Use only with the cart, stand, tripod, bracket or table speciﬁed by the manufacturer, or sold with the 828mk3. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

16. Surge protection - Unplug the 828mk3 during lightning storms or when unused for long periods of time.

17. Servicing - Refer all servicing to qualiﬁed service personnel. Servicing is required when the 828mk3 has been damaged in any way, such as when a power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the 828mk3, the 828mk3 has been exposed to rain or moisture, does not operate normally, or has been dropped.

18. Power Sources - Refer to the manufacturer’s operating instructions for power requirements. Be advised that different operating voltages may require the use of a different line cord and/or attachment plug.

19. Installation - Do not install the 828mk3 in an unventilated rack, or directly above heat-producing equipment such as power ampliﬁers. Observe the maximum ambient operating temperature listed below.

20. Power ampliﬁers- Never attach audio power ampliﬁer outputs directly to any of the unit’s connectors.

21. Replacement Parts - When replacement parts are required, be sure the service technician has used replacement parts speciﬁed by the manufacturer or have the same characteristics as the original part. Unauthorized substitutions may result in ﬁre, electric shock or other hazards.

22. Safety Check - Upon completion of any service or repairs to this MOTU 828mk3, ask the service technician to perform safety checks to determine that the product is in safe operating conditions.

ENVIRONMENT

Operating Temperature: 10°C to 40°C (50°F to 104°)

TO REDUCE THE RISK OF ELECTRICAL SHOCK OR FIRE

Do not handle the power cord with wet hands. Do not pull on the power cord when disconnecting it from an AC wall outlet. Grasp it by the plug. Do not expose this apparatus to rain or moisture. Do not place objects containing liquids on it.

AC INPUT

100 - 240VAC ~ • 50 / 60Hz • 20 Watts.

Page 3

Contents

Quick Reference: 828mk3 Front Panel

Quick Reference: 828mk3 Rear Panel

Quick Reference: MOTU Audio Console

About the 828mk3

Packing List and System Requirements

IMPORTANT! Run the 828mk3 Software Installer First

Installing the 828mk3 Hardware

MOTU Audio Console

Front Panel Operation

Configuring Windows Audio Software

Reducing Monitoring Latency

CueMix FX

MOTU SMPTE Console

111

Troubleshooting

115

III

Page 4

About the Mark of the Unicorn License Agreement and Limited Warranty on Software

TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the terms and conditions of the “click-wrap” license agreement presented to you when you install the software. Using the software or this documentation indicates your acceptance of the terms and conditions of that license agreement.

Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation. Both the program and the documentation are protected under applicable copyright, trademark, and trade-secret laws. Your right to use the program and the documentation are limited to the terms and conditions described in the license agreement.

Reminder of the terms of your license

This summary is not your license agreement, just a reminder of its terms. The actual license can be read and printed by running the installation program for the software. That license agreement is a contract, and clicking “Accept” binds you and MOTU to all its terms and conditions. In the event anything contained in this summary is incomplete or in conﬂict with the actual click-wrap license agreement, the terms of the click-wrap agreement prevail.

YOU MAY: (a) use the enclosed program on a single computer; (b) physically transfer the program from one computer to another provided that the program is used on only one computer at a time and that you remove any copies of the program from the computer from which the program is being transferred; (c) make copies of the program solely for backup purposes. You must reproduce and include the copyright notice on a label on any backup copy.

YOU MAY NOT: (a) distribute copies of the program or the documentation to others; (b) rent, lease or grant sublicenses or other rights to the program; (c) provide use of the program in a computer service business, network, time-sharing, multiple CPU or multiple user arrangement without the prior written consent of MOTU; (d) translate, adapt, reverse engineer, decompile, disassemble, or otherwise alter the program or related documentation without the prior written consent of MOTU.

MOTU warrants to the original licensee that the disk(s) on which the program is recorded be free from defects in materials and workmanship under normal use for a period of ninety (90) days from the date of purchase as evidenced by a copy of your receipt. If failure of the disk has resulted from accident, abuse or misapplication of the product, then MOTU shall have no responsibility to replace the disk(s) under this Limited Warranty.

THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF, AND YOU HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH EXPRESS AND IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE LIABILITY OF MOTU PURSUANT TO THIS LIMITED WARRANTY SHALL BE LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK(S), AND IN NO EVENT SHALL MOTU OR ITS SUPPLIERS, LICENSORS, OR AFFILIATES BE LIABLE FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, INCLUDING BUT NOT LIMITED TO LOSS OF USE, LOSS OF PROFITS, LOSS OF DATA OR DATA BEING RENDERED INACCURATE, OR LOSSES SUSTAINED BY THIRD PARTIES EVEN IF MOTU HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS WHICH MAY VARY FROM STATE TO STATE. SOME STATES DO NOT ALLOW THE LIMITATION OR EXCLUSION OF LIABILITY FOR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU.

Update Policy

In order to be eligible to obtain updates of the program, you must complete and return the attached Mark of the Unicorn Purchaser Registration Card to MOTU.

Copyright © 2011, 2010, 2009, 2008, 2007, 2006, 2005, 2004, 2003 by Mark of the Unicorn, Inc. All rights reserved. No part of this publication may be reproduced, transmitted, transcribed, stored in a retrieval system, or translated into any human or computer language, in any form or by any means whatsoever, without express written permission of Mark of the Unicorn, Inc., 1280 Massachusetts Avenue, Cambridge, MA, 02138, U.S.A.

Limited Warranty on Hardware

Mark of the Unicorn, Inc. and S&S Research (“MOTU/S&S”) warrant this equipment against defects in materials and workmanship for a period of TWO (2) YEARS from the date of original retail purchase. This warranty applies only to hardware products; MOTU software is licensed and warranted pursuant to separate written statements.

If you discover a defect, ﬁrst write or call Mark of the Unicorn at (617) 576-2760 to obtain a Return Merchandise Authorization Number. No service will be performed on any product returned without prior authorization. MOTU will, at its option, repair or replace the product at no charge to you, provided you return it during the warranty period, with transportation charges prepaid, to Mark of the Unicorn, Inc., 1280 Massachusetts Avenue, MA 02138. You must use the product’s original packing material for in shipment, and insure the shipment for the value of the product. Please include your name, address, telephone number, a description of the problem, and the original, dated bill of sale with the returned unit and print the Return Merchandise Authorization Number on the outside of the box below the shipping address.

This warranty does not apply if the equipment has been damaged by accident, abuse, misuse, or misapplication; has been modiﬁed without the written permission of MOTU, or if the product serial number has been removed or defaced.

ALL IMPLIED WARRANTIES, INCLUDING IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE LIMITED IN DURATION TO TWO (2) YEARS FROM THE DATE OF THE ORIGINAL RETAIL PURCHASE OF THIS PRODUCT.

THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE AND IN LIEU OF ALL OTHERS, ORAL OR WRITTEN, EXPRESS OR IMPLIED. No MOTU/S&S dealer, agent, or employee is authorized to make any modiﬁcation, extension, or addition to this warranty.

MOTU/S&S ARE NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF WARRANTY, OR UNDER ANY LEGAL THEORY, INCLUDING LOST PROFITS, DOWNTIME, GOODWILL, DAMAGE OR REPLACEMENT OF EQUIPMENT AND PROPERTY AND COST OF RECOVERING REPROGRAMMING, OR REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH MOTU/S&S PRODUCTS.

Some states do not allow the exclusion or limitation of implied warranties or liability for incidental or consequential damages, so the above limitation or exclusion may not apply to you. This warranty gives you speciﬁc legal rights, and you may have other rights which vary from state to state.

MOTU, AudioDesk, Mark of the Unicorn and the unicor n silhouette logo are trademarks of Mark of the Unicorn, Inc.

This equipment has been type tested and found to comply with the limits for a class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference to radio or television equipment reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by any combination of the following measures:

• Relocate or reorient the receiving antenna

• Increase the separation between the equipment and the receiver

• Plug the equipment into an outlet on a circuit different from that to which the receiver is connected

If necessary, you can consult a dealer or experienced radio/television technician for additional assistance.

PLEASE NOTE: only equipment certiﬁed to comply with Class B (computer input/output devices, terminals, printers, etc.) should be attached to this equipment, and it must have shielded interface cables in order to comply with the Class B FCC limits on RF emissions.

WARNING: changes or modiﬁcations to this unit not expressly approved by the party responsible for compliance could void the user's authority to operate the equipment.

Page 5

This section provides two ten-segment meters for the two front-panel mic/guitar inputs. The

meters show input levels from -42 to -1 in the ﬁrst column of LEDs, plus an additional range in a

second column from zero to +12 dB (including clip). Both inputs are equipped with V-Limit™, a

hardware limiter. With the limiter turned off, signals that hit zero or above will clip (a hard digital

clip). However, with V-Limit turned on, signals can go as high as +12 dB above zero with no

FireWire and USB are “plug-

and-play” protocols. That

means that you can turn off

the 828mk3 and turn it back

on without restarting your

computer.

When the 828mk3 is resolving

to SMPTE time code, the LOCK/

TACH LED glows when lockup

has been achieved. The ADAT

and MIDI LEDs blink when there

is optical audio or MIDI activity,

These lights indicate the global

sample rate at which the 828mk3

is operating. Use the MOTU Audio

Console software to set the sample

rate or to choose an external clock

source, from which the sample rate

will be derived. When no clock

signal is currently present, one of

these LEDs ﬂashes rapidly.

5-segment

metering for the

main outs. Use

the MASTER VOL

knob to control

output level.

4-segment

metering for

SPDIF input.

This bank of

input meters

is for the 8

analog TRS

input jacks on

the rear panel.

digital clipping. If the signal then goes above +12 dB, it will clip, even with V-Limit engaged.

These round LEDs indicate

signal presence on the 8 rear-

panel TRS analog and SPDIF

outputs. Their threshold is

The multi-purpose backlit LCD shows

system settings or CueMix FX

settings, depending on which knobs

you turn. The labels above and below

around -42 dB. They do not

indicate clipping in any way;

use your host audio software

level meters to calibrate

the LCD refer to the four digital rotary

encoders to the left of the LCD. These

knobs let you access and program all

settings in the 828mk3.

output levels.

respectively.

Quick Reference: 828mk3 Front Panel

These two trim knobs provide approximately 53 dB of gain for the lo-Z XLR mic input and the hi-Z TRS guitar/instrument input. Both

inputs have preamps, so you can plug just about anything into them: a microphone, a guitar, a synth — but don’t plug in a +4 signal

here (due to the preamps): use a rear-panel TRS input instead. Use the trim knob and the “MIC” input level meters over in the metering

section to calibrate the input signal level. The meters cover both the TRS and XLR input. These mic inputs are also equipped with the

828mk3’s V-Limit™ hardware limiter, which provides an additional +12 dB of headroom above zero with no clipping or digital distor-

This section controls the 828mk3’s built-in CueMix FX mixer and

effects. There are eight stereo mix busses: each bus mixes all

inputs (or any subset you wish) to a stereo output of your choice.

From the factory, the

PHONES jack is a discrete

output (at 44.1/48 kHz),

tion. See “Mic/guitar inputs meters with V-Limit™ compressor” on page 42 for details.

These XLR/TRS combo jacks accept either a mic cable or

a quarter-inch guitar cable. Both the low-impedance

XLR jack and the high-impedance TRS jack are

You can apply EQ, compression, and reverb to inputs, outputs and

mix busses. The four knobs to the left of the LCD correspond

directly to the four labeled sections of the LCD. Use the CHANNEL

knob to choose the input, output or mix you wish to edit. Push it to

switch among inputs, outputs and busses, then turn it to choose

but it can mirror any other

output pair (digital or

analog). For example, at

88.2/96 kHz, it defaults to

mirroring the main outs.

equipped with a preamp (so don’t connect a +4 line

level XLR cable!). For the Mic (XLR) input, push the TRIM

encoder to toggle a 20 dB pad; push and hold to toggle

48V phantom power. The Precision Digital Trim™ knob

provides 53 dB of gain. Use the rear panel sends to

the desired channel or bus. Use the PAGE, PARAM and VALUE knobs

to access the mix settings for the chosen channel.

As the primary phone jack,

it has its own dedicated

route these inputs to your favorite outboard gear. Use

any rear-panel input as a return.

Push the CHANNEL knob repeat-

edly to cycle among the four

main sections of the mixer: mix

busses, inputs, outputs and the

reverb module. Push the PARAM

knob to enter the SETUP menu,

which provides global 828mk3

settings, such as the global

sample rate, etc.

volume knob.

The phone jack labeled (MAIN) is a standard quarter-inch stereo

headphone jack. Its output is hard-wired to mirror the XLR main outs on

the rear panel. From the factory, the MASTER VOL knob above it controls

the main outs and this jack, but MASTER VOL can be programmed to

control any combination of outputs. See “The Monitor Group” on

page 88 for details. Push the knob once to view the current volume

setting in the LCD display; push it again to mute the monitor group; push

a third time to return to the previous volume. Note: if the Monitor group

is programmed to not include the main outs, the MASTER VOL knob will

no longer control the volume of this phone jack, either.

Page 6

These are quarter-inch analog

SMPTE input and output jacks. Use

them to resolve the 828mk3

directly to time code and transmit

The 828mk3’s eight analog outputs are

gold-plated, balanced +4dB TRS (tip/

ring/sleeve) quarter-inch connectors

that can also accept an unbalanced plug.

Connect a standard foot switch

here for hands-free punch-in and

punch-out during recording. For

details about how to set this up,

time code to other devices.

They are equipped with 24-bit 192 kHz

converters.

see “Enable Pedal” on page 39.

These two XLR jacks serve as the

828mk3’s main outputs. You can connect

These two quarter-inch

balanced TRS send

Equipped with 24-bit 192 kHz converters,

these 8 analog inputs are gold-plated,

them to a set of powered studio monitors

outputs supply the pre

balanced TRS (tip/ring/sleeve) quarter-inch

and then control the volume from the

front panel MASTER VOL knob.

To hear audio playback from your host

audio software on these main outs,

assign the audio tracks (and master

ampliﬁed input signal

from the mic/guitar/

instrument inputs on

the front panel. Use

them to insert your

favorite compressor, EQ,

connectors that can also accept an unbal-

anced plug. They do not have microphone

preamps, so they are best used for synthe-

sizers, drum machines, effects processors,

and other instruments with line level signals

(either -10 dB or +4 dB). These inputs are

fader) to these main outs. You can also

use CueMix FX to monitor live 828mk3

inputs here as well.

reverb or other

outboard effect. Use

any TRS input as a

also equipped with the 828mk3’s Precision

Digital Trim™ feature: digitally controlled

analog trims that let you adjust input level

return.

in 1 dB increments from either front panel

LCD or the included CueMix FX software. The

trim can be adjusted over a range of -96 to

+22 dB.

Quick Reference: 828mk3 Rear Panel

These optical digital I/O connectors can be connected either to an ADAT-compatible “lightpipe” device (such as a digital mixer) or to a S/PDIF optical

(“TOSLink”) compatible device, such as an effects processor or DAT machine. Be sure to set the format in the MOTU Audio Console software (or using the

front panel LCD). (see “Optical input/output” on page 39) for details.) ADAT optical supplies eight channels of 24-bit digital I/O per bank (4 channels per

bank at 96kHz). TOSLink is stereo at sample rates up to 96 kHz.

One special note: you can choose independent formats for each bank, A and B, as well as IN and OUT within each bank. For example, you could choose

ADAT for the optical A IN (for, say, eight channels of input from your digital mixer) and stereo TOSLink for the optical A OUT (for, say, your DAT machine).

These are standard BNC word clock jacks. Use them for

a variety of applications, such as for digital transfers

with devices that cannot slave to the clock supplied by

their digital I/O connection with the 828mk3.

When the 828mk3 is operating at a high sample rate

(88.2 or 96 kHz), you can force the word clock output

rate (via software or the front panel) to 44.1 or 48 kHz.

Connect the 828mk3 to the computer

here via either FireWire or USB2, using

either the standard 1394 FireWire B or

USB cable provided with your 828mk3.

Connect a MIDI device here

using standard MIDI cables.

Connect the 828mk3’s MIDI OUT

port to the MIDI IN port on the

These jacks provide

stereo, 24-bit S/PDIF

digital input and

output at all

The 828mk3 is

equipped with an

auto-switching

international

If you use FireWire, you can also use the

second FireWire port to daisy-chain up

to four MOTU FireWire audio interfaces

to a single FireWire bus, or connect

other FireWire devices. Keep in mind

other device. Conversely,

connect the 828mk3’s MIDI IN

port to the MIDI OUT port on the

other device. You can connect

different devices to each port,

supported sample

rates (up to 96 kHz).

power supply.

that the 828mk3 uses more FireWire bus

bandwidth when one or both optical

banks are enabled, or when it operates

at higher sample rates. These operating

conﬁgurations will limit the number of

devices you can daisy chain on a single

FireWire bus. For details, see “Connect-

ing multiple MOTU FireWire interfaces”

on page 31.

such as a controller device to

the IN port and a sound module

to the OUT port. You can also

daisy-chain MIDI devices, but

be sure to manage their MIDI

channels (so that they don’t

receive or transmit on the same

channel).

Page 7

Quick Reference: MOTU Audio Console

CHAPTER

Click the tabs to access general MOTU inter face settings or settings speciﬁc to the

Determines the clock source for your 828mk3. If you’re just using the analog ins and outs, set this to ‘Internal’. The other settings are for digital transfers via S/PDIF or optical ports, or for slaving the 828mk3 to word clock.

Uncheck this option if the Windows audio software you are using with the 828mk3 does not support Windows WaveRT drivers and instead only supports legacy WDM drivers.

If you have a foot switch connected to the 828mk3, these settings let you map the foot switch to any computer keyboard key for both the up and down position. For details about how to set this up, see “Enable Pedal” on page 39.

This menu lets you choose what you will hear from the PHONES jack. To mirror the main outs, choose Main Out 1-2. Or you can mirror any other output pair. To hear the phones as their own independent output, choose Phones 1-2 (at 44.1 or 48 kHz. At higher sample rates, the phones must mirror any other available output pair.)

Choose the output pair you would like the main outs to mirror, or choose Main Outs to operate them as their own independent pair (at sample rates up to 96 kHz).

The 828mk3 driver provides a stereo return back to the computer. This return feeds the signal on any 828mk3 output pair directly back to the computer, where you can record, process, monitor or otherwise use it. This is a great way to “bounce” full mixes, complete with live audio routed through the 828mk3 only, back into the computer.

828mk3 (or other connected interface.)

Choose the global sample rate for the system here.

Choosing a smaller setting here reduces the delay you may hear when listening to live input that you are running through effects plug-ins in your software. But lower settings also increase the strain on your computer. For details, see “Samples Per Buffer” on page 38.

This option should always be left on (checked). There are only a few rare cases in which you would want to turn it off. For details, refer to the MOTU tech support database at www.motu.com.

Click the 828mk3 tab to access these settings.

Each optical bank can be conﬁgured independently: ADAT or TOSLink. Disable them when not in use to conserve DSP and bus bandwidth.

If you are running an 828mk3 interface at a high sample rate (96, 88.2, 176.4 or 192 kHz), this option appears in the interface tab. It lets you choose a word clock output rate that either matches the global sample rate (e.g. 96kHz) or reduces it to the corresponding 1x rate (e.g. 48kHz instead of 192 kHz).

How to access these settings

There are several ways to access these settings:

■ From the Windows Start menu, choose

Programs>MOTU>MOTU Audio Console.

■ From within Cubase, go to the Device Setup

window, click the MOTU Audio ASIO list item and and click the Control Panel button.

■ From within other applications, refer to their

documentation.

Device Setup in Cubase

Page 8

Page 9

CHAPTER

About the 828mk3

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

The 828mk3 Rear Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

The 828mk3 Front Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

16-bit and 24-bit recording . . . . . . . . . . . . . . . . . . . . . . . . . . 13

CueMix FX 32-bit ﬂoating point mixing and effects . . 13

Host Audio Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

OVERVIEW

The 828mk3 is a hybrid FireWire USB2 audio interface for Mac and Windows with on-board effects and mixing that offers 28 inputs and 30 outputs at 44.1 or 48 kHz. Both analog and digital I/O are offered at sample rates up to 96 kHz, and analog recording and playback is offered at rates up to 192 kHz. All inputs and outputs can be accessed simultaneously. The 828mk3 consists of a standard 19-inch, single-space, rack-mountable I/O unit that connects directly to a computer via a standard FireWire or USB cable.

The 828mk3 offers the following main features:

■

Universal computer connectivity via FireWire or

high-speed USB2

■

Eight 24-bit analog quarter-inch (TRS) inputs

■

Eight 24-bit analog quarter-inch (TRS) outputs

■

Two combo XLR/TRS mic/guitar inputs with preamps, individual sends, 48V phantom power, 20 dB pad, and Precision Digital Trim™

■

Two XLR main outputs

■

Operation on all analog I/O at standard sample rates up to 192 kHz

■

Digitally controlled analog trim for all analog inputs

Two banks of optical digital I/O that provide 16

■

channels of ADAT optical at 48 kHz, 8 channels of S/MUX optical I/O at 96 kHz or two banks of stereo TOSLink at rates up to 96 kHz

RCA S/PDIF at sample rates up to 96 kHz

■

Word clock I/O

MIDI I/O

■

On-board SMPTE synchronization with

dedicated SMPTE I/O jacks

■

Foot switch for hands-free punch-in/out

■

Two headphone jacks with independent volume

control

■

Programmable master volume knob

■

CueMix™ FX no-latency mixing, monitoring

and effects processing

■

Front-panel LCD programming for the mixer

and all other settings

■

Extensive front panel metering and status LEDs

■

Auto-switching international power supply

■

Stand-alone operation

■

Mac and Windows drivers for multi-channel operation and across-the-board compatibility with any audio software on current Mac and Windows systems

With a variety of I/O formats, mic preamps, nolatency mixing and processing of live input and synchronization capabilities, the 828mk3 is a complete, portable “studio in a box” when used with a Mac or Windows computer.

Page 10

THE 828MK3 REAR PANEL

The 828mk3 rear panel has the following connectors:

Eight gold-plated, balanced quarter-inch (TRS)

■

analog outputs (with 24-bit 192 kHz converters)

■

Eight gold-plated, balanced quarter-inch (TRS)

analog inputs (with 24-bit 192 kHz converters)

Two XLR “main” analog outputs with 24-bit

■

192 kHz converters

Two gold-plated, balanced quarter-inch (TRS)

■

analog sends (for the front-panel mic/guitar inputs)

■

Gold-plated balanced TRS quarter-inch analog

in/out dedicated for SMPTE time code

■

Two sets of optical connectors (in and out), individually switchable among ADAT optical “lightpipe”, 96 kHz S/MUX optical or S/PDIF “TOSLink”

■

RCA S/PDIF in/out

■

MIDI IN and MIDI OUT

■

Word clock in/out

■

Foot pedal jack

■

Two 1394 FireWire B connectors

■

One high-speed USB2 connector

28 inputs and 30 outputs

All 828mk3 inputs and outputs can be used simultaneously, for a total of 28 inputs and 30 outputs when operating at 44.1 or 48 kHz:

Connection Input Output

Analog 24-bit 192 kHz on bal/unbal TRS 8 8

Mic/guitar 24-bit 192 kHz on XLR/TRS combo 2 -

Main outputs 24-bit 192 kHz on XLR - stereo

Headphone output* - stereo

ADAT optical digital† 16 16

RCA S/PDIF 24-bit 96kHz digital stereo stereo

Total 28 30

* The phone jack below the MASTER VOL knob is hard-wired to (mirrors) the XLR main outs. The PHONES output can operate as an independent output pair, or it can mirror any other 828mk3 output pair, such as the main outs.

† The 828mk3 optical connectors support several standard optical I/O formats, which provide varying channel counts. See “Optical” on page 11 for details about optical bank operation.

With the exception of the phone jack on the front panel labeled “(MAIN)”, all inputs and outputs are discrete. For example, using a mic input does not “steal” an input from the TRS analog I/O bank.

Analog

All analog inputs are equipped with 24-bit 192 kHz A/D converters. All analog outputs have 24-bit 192 kHz D/A converters. All audio is transferred to and from the computer in a 24-bit data stream.

All quarter-inch analog inputs can accept either a balanced or unbalanced plug.

ABOUT THE 828MK3

Page 11

The quarter-inch outputs are referenced to a +4 dBu line level output signal. The inputs have +22 dB of input gain and -96 dB of cut, allowing them to accommodate both -10 dBu and +4 dBu level signals.

Precision Digital Trim™

All of the 828mk3’s analog inputs are equipped with digitally controlled analog trims, adjustable in 1 dB increments. The mic/guitar input trims can be adjusted using front-panel digital rotary encoders that provide feedback in the front panel LCD with up to 53 dB of boost. All analog inputs, including eight rear-panel TRS analog inputs, can be trimmed using the front panel LCD or using the 828mk3’s included CueMix FX control software for Mac and Windows. This gives you ﬁnely-tuned control of trim settings for synths, effects modules, and a wide variety of analog inputs for optimum levels. Different trim conﬁgurations can then be saved as preset conﬁgurations for instant recall.

Mic/guitar sends

Before A/D conversion, the pre-ampliﬁed signal from e ach f ront-panel mic/g uitar input is routed to one of the two rear-panel quarter-inch analog sends, so that you can insert a favorite outboard EQ, compressor, amp or effects processor to the mic/guitar input signal before it is converted to digital form. The resulting output from the outboard gear can be fed back into the 828mk3 via one of the eight TRS analog inputs on the rear panel, for routing to the computer and/or inclusion in the 828mk3’s built-in monitor mixes.

Optical

The two optical banks provide 16 channels of ADAT optical at 44.1 or 48 kHz, 8 channels of S/ MUX optical I/O at 96 kHz or two banks of stereo TOSLink at rates up to 96 kHz. The banks operate independently, including input and output, allowing you to mix and match any optical formats. For example, you could receive 4 channels of 96 kHz S/MUX input on Bank A while at the same time sending 96 kHz stereo optical S/PDIF (“TOSLink”) from the Bank A output.

S/PDIF

The 828mk3 rear panel provides S/PDIF input and output in two different formats: RCA “coax” and optical “TOSLink”. The RCA jacks are dedicated to the S/PDIF format. The TOSLink jacks can be used either for either TOSLink or ADAT optical, as discussed earlier.

MIDI I/O

The 828mk3’s standard MIDI IN and MIDI OUT jacks supply 16 channels of MIDI I/O to and from the computer via the 828mk3’s FireWire connection.

On-board SMPTE synchronization

The 828mk3 can resolve directly to SMPTE time code via the quarter-inch SMPTE input, without a separate synchronizer. A SMPTE out jack is also provided for time code generation. The 828mk3 provides a DSP-driven phase-lock engine with sophisticated ﬁltering that provides fast lockup times and sub-frame accuracy.

Main Outs

The main outs are equipped with 24-bit 192 kHz D/A converters and serve as independent outputs for the computer or for the 828mk3’s on-board CueMix FX mixes.

ABOUT THE 828MK3

The included MOTU SMPTE Console™ software includes a complete set of tools for generating and regenerating SMPTE time code, providing a way to slave other devices to the computer. Like CueMix FX, the synchronization features are cross-platform and compatible with all audio sequencer software that supports the ASIO2 sample-accurate sync protocol.

Page 12

Word clock

The 828mk3 provides standard word clock that can slave to any supported sample rate. In addition, word clock can resolve to and generate “high” and “low” sample rates. For example, if the 828mk3 global sample rate is set to 96 kHz, the word clock input can resolve to a “low” rate of 48 kHz. Similarly, when the 828mk3 is operating at 96 kHz, MOTU Audio Console lets you choose a word clock output rate of 48 kHz.

Punch in/out

The quarter-inch Punch in/out jack accepts a standard foot switch. When you push the foot switch, the 828mk3 triggers a programmable keystroke on the computer keyboard. For example, with MOTU’s Digital Performer audio sequencer software, the foot switch triggers the 3 key on the numeric keypad, which toggles recording in Digital Performer. Therefore, pressing the foot switch is the same as pressing the 3 key. The 828mk3 Control Panel software lets you program any keystroke you wish.

Hybrid FireWire/USB2 connectivity

FireWire has long been recognized as a reliable, high-performance connectivity standard for professional MOTU audio interfaces. Meanwhile, high-speed USB2 has also developed into a widely adopted standard for connecting peripheral devices to personal computers.

To fully support both formats, your 828mk3 Hybrid audio interface is equipped with both FireWire B (400 Mbit/sec) connectors and a high-speed USB2 (480 Mbit/sec) connector, and you can use either port to connect the 828mk3 to your computer. This gives you maximum ﬂexibility and compatibility with today’s ever-expanding universe of Mac and Windows computers.

THE 828MK3 FRONT PANEL

Mic/guitar inputs with preamps

The two mic/instrument inputs (front panel and rear panel) are equipped with preamps and “combo” XLR/TRS jacks, which accept XLR microphone inputs or quarter-inch guitar/ instruments inputs. Individual 48 volt phantom power and a 20 dB pad can be supplied independently to each mic input. The Precision Digital Trim™ knobs on the front panel for each mic/instrument input provide up to 53 dB of boost in precise 1 dB increments.

As explained in “Mic/guitar sends” on page 11, the pre-ampliﬁed signal can be routed to external outboard gear before being routed back into the 828mk3.

Mic/guitar input overload protection

Both mic/guitar inputs are equipped with V-Limit™, a hardware limiter that helps prevent digital clipping from overloaded input signals. With V-Limit enabled, signals can go above zero dB (with limiting applied) to as high as +12 dB above zero with no distortion due to digital clipping.

Additional or alternative protection can be applied to the mic/guitar inputs by enabling the 828mk3’s Soft Clip feature, which engages just before clipping occurs and helps reduce perceptible distortion.

Headphone output and main volume control

The 828mk3 front panel provides two independent headphone jacks with independent volume knobs, one of which also controls the XLR main outs on the rear panel. Alternately, this MASTER VOL knob can be programmed to control any combination of outputs (analog or digital). For example, it can control monitor output for an entire 5.1 or 7.1 surround mix.

ABOUT THE 828MK3

Page 13

Programmable backlit LCD display

Any 828mk3 setting, including the powerful CueMix FX on-board 16-bus mixer with effects, can be accessed directly from the front panel using the four rotary encoders and the 2x16 backlit LCD display.

Metering section

The front panel of the 828mk3 displays several banks of input and output metering. The threshold for these lights is approximately -42 dB. The fourand ﬁve-segment input meters provide dedicated multi-segment metering for their respective inputs, as do the ﬁve-segment main out meters.

CUEMIX FX 32-BIT FLOATING POINT MIXING AND EFFECTS

All 828mk3 inputs and outputs can be routed to the on-board CueMix FX 16-bus (8 stereo) digital mixer driven by hardware-based DSP with 32-bit ﬂoating point precision. The mixer allows you to apply no-latency effects processing to inputs, output s or busses dire ctly in the 828mk3 hardware, independent of the computer. Effects can even be applied when the 828mk3 is operating stand-alone (without a computer) as a complete rack-mounted mixer. Input signals to the computer can be recorded wet, dry, or dry with a wet monitor mix (for musicians during recording, for example).

Two ten-segment meters for the two front-panel mic/guitar inputs show input levels from -42 to -1 in the ﬁrst column of LEDs, plus an additional range in a second column from zero to +12 dB (including clip). Both inputs are equipped with VLimit™, a hardware limiter. With the limiter turned off, signals that hit zero or above will clip (a hard digital clip). However, with V-Limit turned on, si gnals ca n go a s high as +1 2 dB ab ove ze ro wit h no digital clipping. If the signal then goes above +12 dB, it will clip, even with V-Limit engaged.

Clock

The

lights indicate the global sample rate (as chosen in the MOTU Audio Console software). The LOCK and TACH LEDs provide feedback for the 828mk3’s on-board SMPTE synchronization features. The ADAT and MIDI LEDs indicate audio and MIDI activity, respectively.

16-BIT AND 24-BIT RECORDING

The 828mk3 system handles all data with a 24-bit signal path, regardless of the I/O format. You can record and play back 16-bit or 24-bit audio ﬁles at any supported sample rate via any of the 828mk3’s analog or digital inputs and outputs. 24-bit audio ﬁles can be recorded with any compatible host application that supports 24-bit recording.

Effects include reverb, parametric EQ and compression/limiting. The 828mk3’s Classic Reverb™ provides ﬁve different room types, three frequency bands with adjustable crossover points, shelf ﬁltering and reverb lengths up to 60-seconds.

Two forms of compression are supplied: a standard compressor with conventional threshold/ratio/ attack/release/gain controls and the Leveler™, an accurate model of the legendary LA-2A optical compressor, which provides vintage, musical automatic gain control.

CueMix FX also provides 7-band parametric EQ modeled after British analog console EQs, featuring 4 ﬁlter styles (gain/Q proﬁles) to effectively cover a wide range of audio material. Low-pass and high-pass ﬁlters are also supplied with slopes that range from 6 to 36 dB. The EQ employs extremely high precision 64-bit ﬂoating point processing.

The 838mk3’s ﬂexible effects architecture allows you to apply EQ and compression on every input and output (a total of 58 channels), with enough DSP resources for at least one band of parametric EQ and compression on every channel at 48 kHz. However, DSP resources are allocated dynamically and a DSP meter in the CueMix FX software

ABOUT THE 828MK3

Page 14

(included) allows you to keep tabs on the 828mk3’s processing resources. Each input, output and mix bus provides a send to the Classic Reverb processor, which then feeds reverb returns to mix busses and outputs, with a selectable split point between them to prevent send/return feedback loops.

HOST AUDIO SOFTWARE

The 828mk3 ships with standard Windows drivers that allow you to record, edit, play back, and mix your 828mk3 projects using your favorite Windows audio software.

ABOUT THE 828MK3

Page 15

CHAPTER

Packing List and System Requirements

PACKING LIST

The 828mk3 Hybrid ships with the items listed below. If any of these items are not present in your 828mk3 box when you ﬁrst open it, please immediately contact your dealer or MOTU.

■

One 828mk3 Hybrid I/O rack unit

One 9-pin to 9-pin IEEE 1394 “FireWire” B cable

■

Power cord

■

One 828mk3 Hybrid Mac/Windows manual

■

One cross-platform installer disc

■

Product registration card

WINDOWS SYSTEM REQUIREMENTS

The 828mk3 system requires the following Windows system:

■

Pentium 4 CPU (or equivalent) 1 GHz or faster

■

1 GB RAM; 2 GB or more recommended

■

Windows 7, Vista, or XP, 32- or 64-bit; XP SP 3

or Vista SP 2 or later required

PLEASE REGISTER TODAY!

Please register your 828mk3 today. There are two ways to register.

Visit www.motu.com to register online

■

Fill out and mail the included product

■

registration card

As a registered user, you will be eligible to receive technical support and announcements about product enhancements as soon as they become available. Only registered users receive these special update notices, so please register today.

Thank you for taking the time to register your new MOTU products!

■

Available FireWire or USB2 port

■

A large hard drive (preferably at least 100 GB)

Page 16

PACKING LIST AND SYSTEM REQUIREMENTS

Page 17

CHAPTER

IMPORTANT! Run the 828mk3 Software Installer First

OVERVIEW

Install the 828mk3 software ﬁrst! . . . . . . . . . . . . . . . . . . . . 17

Installing the 828mk3 software . . . . . . . . . . . . . . . . . . . . . . 17

MOTU Audio Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

MOTU ASIO Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

The MOTU WDM audio driver. . . . . . . . . . . . . . . . . . . . . . . . 18

CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

MOTU SMPTE Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

INSTALL THE 828MK3 SOFTWARE FIRST!

Before you connect the 828mk3 audio interface to your computer and turn it on, insert the 828mk3 software CD and run the 828mk3 Software Installer. This ensures that all the 828mk3 components are properly installed in your system.

If Windows asks you to locate the drivers

If you’ve already connected the 828mk3 to your computer and switched it on, Windows probably issued an alert notifying you that the 828mk3 requires drivers, followed by another window asking you to locate the drivers on disk. If this happens:

Cancel the driver search.

Switch off the 828mk3.

INSTALLING THE 828MK3 SOFTWARE

To install the 828mk3 software, insert the MOTU Audio installer disc and follow the directions it gives you on your computer screen. Also be sure to read the Read Me ﬁle for installation assistance. The 828mk3 ships with the following software and drivers for Windows:

Software component Purpose

MOTU Audio Console

CueMix FX Gives you complete control over the

MOTU ASIO Driver Allows Cubase or other ASIO-compli-

MOTU WDM Driver Allows any WDM-driver compatible

MOTU MIDI Driver Provides MIDI input and output via the

MOTU SMPTE Console

Provides access to all of the settings in the 828mk3 hardware.

828mk3’s CueMix FX on-board mixer, which provides no-latency monitoring, mixing and processing of live inputs through your 828mk3.

ant software to do multi-channel input and output with the 828mk3. Only required if you are using Cubase or another ASIO-dependent program.

audio software to do multichannel input and output with the 828mk3.

828mk3 MIDI ports.

Provides access to the 828mk3’s SMPTE time code and video sync features.

3 Run the 828mk3 Software Installer as instructed in the next section.

Page 18

MOTU AUDIO CONSOLE

MOTU Audio Console (available in the Start menu) gives you access to all of the settings in the 828mk3, such as the clock source and sample rate. For complete details, see chapter 5, “MOTU Audio Console” (page 35).

Figure 3-1: MOTU Audio Console gives you access to all of the settings in the 828mk3 hardware.

MOTU ASIO DRIVER

ASIO stands for Audio Streami ng Input and Output. The MOTU ASIO audio driver allows 828mk3 to provide multi-channel input and output for Steinberg’s Cubase software, or any other audio application that supports ASIO drivers.

The MOTU ASIO audio driver is only required if you are using Cubase (or another audio program that relies on the ASIO driver to support multichannel I/O with the 828mk3).

The MOTU ASIO audio driver is installed by the 828mk3 Software Installer and properly registered with Windows, so you don’t need to be concerned about its installation or location.

For details about using Cubase with the 828mk3, see chapter 7, “Conﬁguring Windows Audio Software” (page 51).

THE MOTU WDM AUDIO DRIVER

The MOTU WDM audio driver provides standard multi-channel input and output for audio applications running under Windows. See “What is WDM?” on page 51 for details.

The MOTU Universal Audio Installer CD installs the MOTU WDM audio driver into Windows for you.

MOTU MIDI DRIVER

Th is d rive r al low s you to acc ess th e 82 8mk 3’s MI DI input and output ports. The ports are published in Windows and are available to all MIDI software.

CUEMIX FX

This program provides a mixing console that gives you control over the 828mk3’s no-latency CueMix FX on-board mixing and effects processing. For details, see chapter 9, “CueMix FX” (page 65).

MOTU SMPTE CONSOLE

The MOTU SMPTE Console software provides a complete set of tools for resolving the 828mk3 to SMPTE time code, and to generate SMPTE for striping, regenerating or slaving other devices to the computer. For details, see chapter 10, “MOTU SMPTE Console” (page 111).

IMPORTANT! RUN THE 828MK3 SOFTWARE INSTALLER FIRST

Page 19

CHAPTER

4 Installing the 828mk3 Hardware

OVERVIEW

Here’s an overview for installing the 828mk3:

Connect the 828mk3 interface. . . . . . . . . . . . . . . . . . . . . . . 19

Connect the 828mk3 to the computer.

Connect audio inputs and outputs . . . . . . . . . . . . . . . . . . 21

Make optical and analog connections as desired.

Connect MIDI gear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Connect a controller, synth or control surface.

Connect a foot switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Connect a footswitch to trigger any keystroke.

A typical 828mk3 setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

An example setup for computer-based mixing/FX.

Operating the 828mk3 as a converter . . . . . . . . . . . . . . . 27

An example of using the 828mk3 as an expander.

Making sync connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

If you need to resolve the 828mk3 with other devices, make the necessary sync connections.

Syncing to SMPTE timecode . . . . . . . . . . . . . . . . . . . . . . . . . 29

Syncing S/PDIF devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Syncing word clock devices. . . . . . . . . . . . . . . . . . . . . . . . . . 31

Connecting multiple MOTU FireWire interfaces . . . . . 31

CONNECT THE 828MK3 INTERFACE

Your 828mk3 Hybrid audio interface is equipped with both FireWire B connectors (400 Mbit/sec) and a high-speed USB2 connector (480 Mbit/sec), and you can use either port to connect the 828mk3 to your computer. This gives you maximum ﬂexibility and compatibility with today’s everexpanding universe of Mac and Windows computers.

Type B FireWire ports

The 828mk3 Hybrid has two FireWire Type B ports, which provide the most reliable FireWire connection available. The ports operate at 400 Mbit/s, and they can be connected to any available FireWire port on your computer, either Type A or Type B. If your computer has FireWire Type B ports, use the included 9-pin-to-9-pin FireWire cable. If your computer has either standard Type A ports or miniature Type A ports, use the appropriate 9-pin-to-6-pin or 9-pin-to-4-pin FireWire cable (sold separately).

Should I use FireWire or USB 2.0?

If your computer does not have a FireWire port, then obviously you will need to connect the 828mk3 Hybrid to one of its high-speed USB 2.0 ports.

If your computer has both FireWire and USB2, then it is your choice, and your decision may depend mostly on other peripherals you may have.

Page 20

If you are connecting via FireWire

1 Before you b egin, make sure your computer and the 828mk3 are switched off.

can be connected to a USB 2.0 hub along with USB

1.1 devices if necessary. The 828mk3 will not operate properly if it is connected to a USB 1.1 hub.

2 Plug one end of the 828mk3 FireWire cable (included) into the FireWire socket on the computer.

3 Plug the other end of the FireWire cable into the 828mk3 as shown below in Figure 4-1.

Figure 4-1: Connecting the 828mk3 to the computer via FireWire.

☛ Make absolute sure to align the notched side

of the FireWire plug properly with the notched side of the FireWire socket on the 828mk3. If you attempt to force the plug into the socket the wrong way, you can damage the 828mk3.

High Speed USB 2.0 versus USB 1.1

There are primarily two types of USB host controllers widely available on current personal computers. USB 1.1 controllers support simple peripherals that don’t require a high speed connection, such as a computer keyboard, a mouse, or a printer. USB 2.0 controllers support high speed devices such as the 828mk3. Since the 828mk3 requires a high speed connection, it must be connected to a USB 2.0 host controller or hub.

For the most reliable connection, it is recommended that you connect the 828mk3 directly to one of your computer’s USB 2.0compatible ports. However, since USB 2.0 hubs are compatible with both t ypes of devices, the 828mk3

Follow these instructions to determine whether your computer supports USB 1.1 or USB 2.0:

Windows 7 and Vista

1 Open the Windows Control Panel, and choose Hardware and Sound.

2 In the Devices and Printers section, click Device Manager.

3 In Device Manager, open the Universal Serial Bus Controllers section.

4 Look in the list of USB devices. An Enhanced USB Host Controller Interface (EHCI) represents a USB 2.0 controller. An Open USB Host Controller Interface (OHCI) or Universal USB Host Controller Interface (UHCI) represents a USB 1.1 controller.

Windows XP

1 Open the Windows Control Panel, and choose the System section.

2 Select the Hardware tab, and click the Device Manager button.

3 In Device Manager, open the Universal Serial Bus Controllers section.

INSTALLING THE 828MK3 HARDWARE

Page 21

If you are connecting via high-speed USB 2.0

1 Before you b egin, make sure your computer and the 828mk3 are switched off.

CONNECT AUDIO INPUTS AND OUTPUTS

The 828mk3 audio interface has the following audio input and output connectors:

2 Plug the ﬂat “type A” plug of the 828mk3 USB cable (included) into a USB2-equipped socket on the computer as shown below in Figure 4-2.

3 Plug the squared “type B” plug of the USB cable into the 828mk3 I/O as shown below in Figure 4-2.

■ 8 balanced, +4 dB quarter-inch analog outputs

■ 8 balanced +4 dB quarter-inch analog inputs

■ 2 mic/guitar combo jack inputs with preamps

■ 2 quarter-inch sends for the mic/guitar inputs

■ 2 XLR main outs

■ 2 pair of optical in/out switchable between

ADAT (“Lightpipe”) or optical S/PDIF (TOSLink)

■ 1 pair of RCA S/PDIF in and out

Here are a few things you should keep in mind as you are making these connections to other devices.

Mic/guitar inputs with preamps

Connect a microphone, guitar, instrument or other analog input to the front panel XLR/quarter-inch combo jack with either a standard mic cable or a balanced cable with a quarter-inch plug.

Figure 4-2: Connecting the 828mk3 to the computer via USB.

INSTALLING THE 828MK3 HARDWARE

Figure 4-3: Mic/guitar inputs.

☛ Do not connect a +4 (line level) XLR cable to

the front-panel inputs (because of the preamps). Use a rear-panel quarter-inch input instead.

Phantom power

If you are connecting a condenser microphone or other device that requires phantom power, push and hold the corresponding front-panel Trim rotary encoder for a few seconds to toggle phantom power. The red LED below will turn on or off accordingly.

Page 22

Tr i m

Both the low-impedance XLR mic input and the high-impedance quarter-inch guitar input are equipped with 53 dB of digitally controlled analog trim. Use the detented trim knobs next to each jack to adjust the input level as needed for each input. The LCD provides visual feedback as you turn the trim knob.

Figure 4-5: The LCD gives you feedback as you turn the TRIM knobs for the two mic/guitar inputs.

The 828mk3’s input trims are digitally controlled, so they allow you to make ﬁne-tuned adjustments in 1dB increments. You can also adjust trim in the MOTU CueMix FX software. See “Input trim” on page 72.

20 dB pad

The mic input (XLR jack) is equipped with a 20 dB pad, so “hot” signals are best connected via an XLR cable so that you can use the pad. To toggle the 20 dB pad for a mic input, quickly push its TRIM rotary encoder. The green LED below will turn on or off accordingly.

Combo jack summary

Use these general guidelines for the 48V phantom power, pad and trim settings on the two combo input jacks:

Input 48V Pad Trim

Condenser mic On As needed As needed

Dynamic mic Off As needed As needed

Guitar Off n/a As needed

-10 dB Line level via TRS Off n/a As needed

-10 dB Line level via XLR Off -20 dB +12dB

+4 dB line level (XLR only) Off -20 dB Zero

Quarter-inch analog

The eight quarter-inch analog inputs and outputs (Figure 4-6) are balanced (TRS) connectors that can also accept an unbalanced plug.

The quarter-inch outputs are calibrated to produce a +4 dBu line level output signal.

Quarter-inch analog input trims

The quarter-inch inputs are calibrated to accommodate either +4 or -10 dBu signals and are equipped with digitally controlled analog trims that provide +22 dB of gain and -96 dB of cut. You can use either the front panel LCD or the included CueMix FX software to adjust the input trim. To

Since the pad is not available on the TRS jack, hot signals connected via the TRS jack will probably overdrive the input.

Figure 4-4: 828mk3 front panel

INSTALLING THE 828MK3 HARDWARE

Page 23

adjust these trims using CueMix FX, see “Input trim” on page 72. To adjust the trims using the front panel LCD:

1 Push the CHANNEL knob repeatedly until you see “I:” (which stands for Input) in the CHANNEL section of the LCD (Figure 4-7).

2 Turn the CHANNEL KNOB until you see the desired analog input or input pair. For example, analog inputs 1-2 appear as “I:An 1-2” (Figure 4-7), which means Input analog 1-2.

3 From the factory, analog inputs are grouped in stereo pairs (1-2, 3-4, etc.) If you need to split a pair to deal with it as two individual mono inputs, turn the PARAMETER knob until you see PAIR in the parameter section of the LCD (Figure 4-7). Turn the VALUE knob to choose MONO. Then turn the CHANNEL knob again to select the desired input you are adjusting.

Figure 4-7: The settings for analog inputs 1 and 2 (as a pair).

4 After splitting the stereo pair, if necessary, turn the PARAM knob until you see the TRIM parameter in the LCD (Figure 4-8):

Figure 4-8: Setting the input trim for a TRS analog input pair.

5 Turn the VALUE knob to adjust the trim.

Mic/guitar/instrument sends

Each front-panel XLR/TRS input has a corresponding send on the rear panel (Figure 4-6). The output from this send is the pre-ampliﬁed and calibrated signal from the corresponding mic or guitar input, which you can then route to any other device, such as compressor, guitar amp, outboard EQ, reverb unit, etc. Use any 828mk3 input (analog or digital) as a return back into the 828mk3. From there, you will be able to route the signal anywhere in the system, such as to the computer and/or to any CueMix FX mix bus.

XLR main outs

The XLR main outputs serve as independent outputs. From the factory, the main out volume is controlled by the MASTER VOL knob on the front panel, although this knob can be programmed to control any combination of outputs. For details, see “The Monitor Group” on page 88. In a standard studio conﬁguration, the main outs are intended for a pair of studio monitors, but they can also be used as additional outputs for any purpose.

Figure 4-6: 828mk3 back panel

INSTALLING THE 828MK3 HARDWARE

Page 24

Optical

The 828mk3 rear panel provides two sets of ADAT optical (“lightpipe”) connectors: Bank A and B (Figure 4-6). Each bank provides an input and output connector. All four connectors can operate independently and offer two different optical formats: ADAT optical or TOSLink (optical S/ PDIF). For example, you could connect 8-channel ADAT optical input from your digital mixer and stereo TOSLink output to an effects processor.

The 828mk3 supplies +12dB of digital trim (boost) for each optical input, which can be adjusted from CueMix FX (“Input trim” on page 72) or the front panel (“The IN (inputs) menu” on page 45).

interface or a digital mixer, you add up to sixteen additional inputs to your system (or eight inputs at the 2x sample rates).

To learn how to program the 828mk3 when it is operating as a stand-alone expander in this fashion, see chapter 6, “Front Panel Operation” (page 41).

Choosing a clock source for optical connections

When connecting an optical device, make sure that its digital audio clock is phase-locked (in sync with) the 828mk3, as explained in “Making sync connections” on page 28. There are two ways to do this:

Below is a summary of optical formats:

Format 44.1 or 48 kHz 88.2 or 96 kHz

ADAT optical 8 channels 4 channels

TOSLink stereo stereo

Optical operation at 44.1 or 48 kHz

When conﬁgured for ADAT “lightpipe”, an optical connector provides 8 channels at 44.1 and 48 kHz.

ADAT optical operation at 88.2 or 96 kHz

When conﬁgured for ADAT “lightpipe”, an optical con nec tor prov ide s four c hann els at 88 .2 or 96 kH z (2x sample rates). When using the ADAT lightpipe format at a 2x rate, be sure to choose either Type I or Type I I ope ration, as exp lain ed i n “ADAT SMUX Typ e” on pa ge 4 4 .

Using optical I/O to operate the 828mk3 as a 16-channel expander

When the 828mk3 is not connected directly to a computer via FireWire, the sixteen optical output channels can be programmed (via the CueMix FX mixer) to mirror the incoming signal on any combination of the 828mk3’s inputs. By connecting the 828mk3 optical outputs to another device, such as another ADAT-optical equipped

1. Resolve the optical device to the 828mk3

2. Resolve the 828mk3 to the optical device

For 1), choose Internal (or any other clock source except ADAT optical) as the clock source for the 828mk3 in MOTU Audio Console.

For 2), choose either ADAT Optical A or ADAT Optical B as the 828mk3’s clock source (Fi gure 4-9 ). Be sure to ch oose the opt ical port that the device is connected to.

Figure 4-9: Resolving the 828mk3 to an optical device.

For details about using the clock source setting and the MOTU Audio Console software in general, see chapter 5, “MOTU Audio Console” (page 35).

Using word clock to resolve optical devices

If the optical device you are connecting to the 828mk3 has word clock connectors on it, you can use them to resolve the device to the 828mk3,

INSTALLING THE 828MK3 HARDWARE

Page 25

similar to the diagram shown in Figure 4-18 on page 30 for S/PDIF devices with word clock. Also see “Syncing word clock devices” on page 31.

S/PDIF

If you make a S/PDIF digital audio connection to another device, be sure to review the digital audio clocking issues, as explained in “Syncing S/PDIF devices” on page 30.

The 828mk3 supplies +12dB of digital trim (boost) for the S/PDIF input pair, which can be adjusted from CueMix FX (“Input trim” on page 72) or the front panel (“The IN (inputs) menu” on page 45).

CONNECT MIDI GEAR

Connect your MIDI device’s MIDI IN jack to the 828mk3’s MIDI OUT jack (Connection A below). Conversely, connect the MIDI device’s MIDI OUT jack to the 8238mkII’s MIDI IN jack (Connection B).

828mk3

rear panel

MIDI Device

Connection A

MIDI

OUT

MIDI

cables

MIDI INMIDI

OUT

MIDI

Connection B

shown in Figure 4-10. Similarly, devices that never send data, such as a sound module, only need Connection A. Make both connections for any device that needs to both send and receive MIDI data.

Connecting additional gear with MIDI THRUs

If you need to connect several pieces of MIDI gear, run a MIDI cable from the MIDI THRU of a dev ice already connected to the 828mk3 to the MIDI IN on the additional device as shown below in Figure 4-11. The two devices then share the 828mk3’s MIDI OUT port. This means that they share the same set of 16 MIDI channels, too, so try to do this with devices that receive on only one MIDI channel (such as effects modules) so their receive channels don’t conﬂict with one another.

828mk3

rear panel

MIDI

OUT

MIDI

MIDI Device

Figure 4-11: Connecting additional devices with MIDI THRU ports.

MIDI

THRU

MIDI IN

MIDI cable

Figure 4-10: Connecting a MIDI device to the 828mk3.

One-way MIDI connections

MIDI devices that do not receive MIDI data, such as a dedicated keyboard controller, guitar controller, or drum pad, only need Connection B

INSTALLING THE 828MK3 HARDWARE

CONNECT A FOOT SWITCH

If you would like to use a foot switch with your 828mk3, connect it to the PUNCH IN/OUT jack. See “Quick Reference: MOTU Audio Console” on page 7 for information about how to program the foot switch to trigger any computer keystroke you wish.

Page 26

A TYPICAL 828MK3 SETUP

Here is a typical 828mk3 studio setup. This rig can be operated without an external mixer. All mixing and processing can be done in the computer with audio software. During recording, you can use the 828mk3’s CueMix FX no-latency monitoring to listen to what you are recording via the main outs,

headphone outs, or any other output pair. You can control monitoring either from the front panel or from the included CueMix FX software. The two front-panel guitar/mic inputs can be routed to outboard effects processors, such as a compressor, EQ or reverb, via the rear panel sends.

828mk3

back panel

MOTU 8pre and/or

other optical devices

S/PDIF

guitar

828mk3

front panel

8-channel

ADAT optical

foot

switch

MIDI IN/OUT

mic

sends to

FX unit (in rack below)

quarter-inch

analog outs

headphones

other outputs (stage

monitors, surround

monitors, etc.)

send

returns

headphones

monitors

to send returns

Compressor, reverb or

other outboard gear

DAT deck

FireWire or U SB

Figure 4-12: A typical 828mk3 studio setup.

synthesizer

quarter-inch analog outs

synths, samplers, effects units, etc.

INSTALLING THE 828MK3 HARDWARE

Page 27

OPERATING THE 828mk3 AS A CONVERTER

As explained earlier in “Using optical I/O to operate the 828mk3 as a 16-channel expander” on page 24, the 828mk3 can serve as a multi-channel analog-to-digital converter when disconnected from the computer and instead connected to another device equipped with an ADAT optical input. For example, you could connect the 828mk3 optical output to the optical input on another MOTU audio interface, such as a Traveler, 896mk3 or even another 828mk3. The 828mk3 then serves as a multi-channel expander that adds additional mic, analog TRS and digital inputs to the interface.

The beneﬁt of connecting the 828mk3 in this manner (instead of as another FireWire interface) is that you can seamlessly integrate the 828mk3’s inputs into the on-board no-latency CueMix monitor mixing in the interface, since the 828mk3’s inputs are fed into CueMix via the interface’s optical inputs.

If the device to which you are connecting the 828mk3 supports 2x optical sample rates (88.2 or 96 kHz), you can also use both banks of connectors as discussed in “ADAT optical operation at 88.2 or 96 kHz” on page 24.

FireWire or U SB

Base

828mk3

ADAT optical In

ADAT optical Out

Expander

828mk3

Figure 4-13: Using the 828mk3 as an optical expander. In this example, it is connected to another 828mk3.

INSTALLING THE 828MK3 HARDWARE

Page 28

MAKING SYNC CONNECTIONS

If you connect devices digitally to the 828mk3, or if you need to synchronize the 828mk3 with an outside time reference such as SMPTE timecode, you must pay careful attention to the synchronization connections and clock source issues discussed in the next few sections.

Do you need to synchronize the 828mk3?

If you will be using only the 828mk3’s analog inputs and outputs (and none of its digital I/O), and you have no plans to synchronize your 828mk3 system to SMPTE timecode, you don’t need to make any sync connections. You can skip this section and proceed to “MOTU Audio Console” on page 35,where you’ll open MOTU Audio Console to conﬁrm that the Clock Source setting is Internal as shown below.

Figure 4-14: You can run the 828mk3 under its own internal clock when it has no digital audio connections and you are not synchronizing the 828mk3 system to an external time reference such as timecode.

Situations that require synchronization

There are three general cases in which you will need to resolve the 828mk3 with other devices:

Synchronization is critical for clean digital I/O

Synchronization is critical in any audio system, but it is especially important when you are transferring audio between digital audio devices. Your success in using the 828mk3’s digital I/O features depends almost entirely on proper synchronization. The following sections guide you through several recommended scenarios.

Be sure to choose a digital audio clock master

When you transfer digital audio between two devices, their audio clocks must be in phase with one another — or phase-locked. Other wise, you’l l hear clicks, pops, and distortion in the audio — or perhaps no audio at all.

Not phase-locked Phase-locked

Device A

Device B

Figure 4-15: When transferring audio, two devices must have phaselocked audio clocks to prevent clicks, pops or other artifacts.

There are two ways to achieve phase lock: slave one device to the other, or slave both devices to a third master clock. If you have three or more digital audio devices, you need to slave them all to a single master audio clock.

Master

■ Synchronizing the 828mk3 with other digital

audio devices so that their digital audio clocks are phase-locked (as shown in Figure 4-15)

■ Resolving the 828mk3 system to SMPTE

timecode from a video deck, analog multi-track, etc.

■ Both of the above

Slave

Figure 4-16: To keep the 828mk3 phased-locked with other digital audio devices connected to it, choose a clock master.

Slave Slave

Also remember that audio phase lock can be achieved independently of timecode (location). For example, one device can be the timecode master while another is the audio clock master. But only one device can be the audio clock master. If you set things up with this rule in mind, you’ll have trouble-free audio transfers with the 828mk3.

INSTALLING THE 828MK3 HARDWARE

Page 29

SYNCING TO SMPTE TIMECODE

The 828mk3 system can resolve directly to SMPTE timecode. It can also generate timecode and word clock, under its own clock or while slaving to timecode. Therefore, the 828mk3 can act both as an audio interface and as a digital audio synchronizer to which you can slave other digital audio devices. You can use the 828mk3 to slave your audio software to SMPTE as well, via sampleaccurate sync (if your host software supports it).

Choose SMPTE as the clock source in MOTU Audio Console. This setting can also be made in the MOTU SMPTE Console (shown below).

SMPTE timecode source

Use this setup if you have:

✓ A SMPTE timecode source, such as a multitrack tape deck.

An 828mk3 by itself, OR with another slaved device (such as a

✓

digital mixer).

✓ Host software that supports sample-accurate sync (such as

Cubase or Nuendo).

This setup provides:

✓ Continuous sync to SMPTE timecode.

✓ Sub-frame timing accuracy.

✓ Transport control from the SMPTE timecode source.

audio cable bearing LTC (Longitudinal timecode)

SMPTE IN

quarter-inch jack

SMPTE

Word

out

Out

audio

cable

Other digital audio device

slaved to the 828mk3

Figure 4-17: Connections for synchronizing the 828mk3 directly to SMPTE timecode.

INSTALLING THE 828MK3 HARDWARE

video cable

FireWire or U SB cable

Windows computer running Cubase or

other sample-accurate ASIO software

When lockup is achieved, the LOCK/TACH light glows.

828mk3 interface

In Cubase, go to the Synchronization window and choose ASIO Audio Device as the Timecode Base.

Launch the MOTU SMPTE Console and specify the SMPTE Source, which is the interface receiving the SMPTE timecode. Also, conﬁrm that the Clock Source/Address is SMPTE/SMPTE. For details about the other settings, see chapter 10, “MOTU SMPTE Console” (page 111).

Page 30

SYNCING S/PDIF DEVICES

S/PDIF devices will sync to the 828mk3 in one of two ways:

■ Via the S/PDIF connection itself

■ Via word clock

S/PDIF devices with no word clock

If your S/PDIF device has no word clock sync connectors, just connect it to the 828mk3 via the S/PDIF connectors. When the device records S/PDIF audio (from the 828mk3), it will simply synchronize to the clock provided by the audio input.

On the other hand, when you transfer audio from the S/PDIF device into the 828mk3, you’ll have to slave the 828mk3 to its S/PDIF input. If you have other digital audio devices connected to the 828mk3, and they are not slaved directly to the 828mk3 itself, you may hear clicks and pops resulti ng from their unsynchronized audio clock. If so, just turn them off during the transfer.

S/PDIF devices with word clock

If your S /PD IF d evi ce h as a Word Clo ck i nput , slav e the S/PDIF device to the 828mk3 via their word clock connection. You can then freely transfer audio between the 828mk3 and the S/PDIF device.

828mk3

S/PDIF

DAT deck

or other S/PDIF device

Figure 4-18: Two setups for synchronizing an S/PDIF device with the 828mk3. In the top diagram, sync is achieved via the S/PDIF connection itself. In this case, you have to choose S/PDIF as the 828mk3’s clock source when recording from the S/PDIF device. If you don’t want to have to worry about switching the Clock Source setting depending on the direction of the S/PDIF transfer, you can slave the S/PDIF device to word clock from the 828mk3 or vice versa (not shown). The Word Clock connection maintains sync, regardless of the direction of the transfer.

Internal (when transferring from the

828mk3

Clock Source setting =

828mk3 to the S/PDIF device)

828mk3

Clock Source setting = Internal

828mk3

Word Clock Out

Word Clock In

DAT deck

or other SPDIF device

With this setup, in the MOTU Audio Console window, choose Internal, or any other clock source setting except SPDIF. The DAT deck (or other SPDIF device) slaves to the 828mk3 via word clock for SPDIF transfers in both directions.

828mk3

Clock Source setting =

S/PDIF (when transferring from

the S/PDIF device to the 828mk3)

SPDIF

INSTALLING THE 828MK3 HARDWARE

Page 31

SYNCING WORD CLOCK DEVICES

The 828mk3 word clock connectors allow you to synchronize it with a wide variety of other word clock-equipped devices.

828mk3 could be running at 96 kHz while slaving to a 48 kHz word clock signal. Similarly, the 828mk3 could run at 88.2 kHz and slave to

44.1 kHz word clock.

For standard word clock sync, you need to choose an audio clock master (as explained in “Be sure to choose a digital audio clock master” on page 28). In the simplest case, you have two devices and one is the word clock master and the other is the slave as shown below in Figure 4-19 and Figure 4-20.

Master

Word clock OUT

Word clock IN

Slave

Figure 4-19: Slaving another digital audio device to the 828mk3 via word clock. For the 828mk3 clock source, choose any source besides word clock, as it is not advisable to chain word clock.

MOTU Digital Timepiece universal synchronizer

Audio

clock

Master

Slave

Figure 4-20: Slaving the 828mk3 to word clock. For the 828mk3 clock source, choose ‘Word Clock In’.

Word clock OUT

Word clock IN

828mk3

Other device

828mk3

Remember, the word clock signal must be one of the following:

■ the same as the 828mk3 clock

■ half of the 828mk3 clock

Forcing a 1x word out rate

The 828mk3 can generate a word clock output signal that either matches the current system clock rate (any rate between 44.1 and 192kHz) or the corresponding 1x rate. For example, if the 828mk3 is operating at 192kHz, you can choose to generate a word out rate of 48kHz. For details on how to make this word clock output setting, see “Word Out” on page 40.

CONNECTING MULTIPLE MOTU FIREWIRE INTERFACES

You can daisy-chain multiple MOTU FireWire interfaces on a single FireWire bus, with the restrictions described in the following sections. Most computers have only one built-in FireWire bus (even if it supplies multiple FireWire sockets). Connect them as follows:

Don’t chain word clock

If you have three or more digital audio devices that you need to synchronize, avoid chaining their word clock connections (OUT to IN, OUT to IN, etc.), as this causes problems. Instead, use a dedicated synchronizer like the Digital Timepiece or a word clock distribution device of some kind.

Slaving to 2x and 1/2x word clock

All MOTU FireWire audio interfaces that support 96 kHz operation have the ability to slave to a word clock signal running at either one half or one quarter of their current clock rate. For example, the

INSTALLING THE 828MK3 HARDWARE

Page 32

FireWire

Figure 4-21: Connecting multiple 828mk3 interfaces (or other MOTU FireWire audio interfaces) to a computer.

Multiple interfaces cannot be bus-powered

Do not run the Traveler, UltraLite or other buspowered interfaces under bus power when connecting them with other devices on the same FireWire bus.

Multiple interfaces in MOTU Audio Console

MOTU Audio Console displays the settings for one interface at a time. To view the settings for an interface, click its tab as shown below in Figure 4-22.

Figure 4-22: To view the settings for an interface, click its tab.

Synchronizing multiple interfaces

All connected MOTU FireWire interfaces get their clock from whatever you choose from the Clock Source menu in the General tab in MOTU Audio Console. When you connect multiple MOTU FireWire interfaces, all of their respective sync sources are displayed in the menu as shown below in Figure 4-23.

INSTALLING THE 828MK3 HARDWARE

Page 33

Figure 4-23: All MOTU FireWire audio interfaces get their clock from a single master sync source on any connected 828mk3 (or other MOTU FireWire interface). After you choose a source from this menu, the entire system, including all connected 828mk3s, synchronizes to it.

Each FireWire interface in the system gets its clock from the computer (unless it is the master clock itself). There is no need to make word clock connections between multiple FireWire interfaces.

Connecting other MOTU FireWire interfaces

You can add an original MOTU 828 to the end of a FireWire daisy chain (because the 828 has only one FireWire port), or you can mix and match multiple 828’s with other MOTU FireWire interfaces using a standard FireWire hub. You can also add 828mkIIs, 896HDs, Travelers and UltraLites, which have two FireWire ports convenient for daisy-chaining.

Operating multiple FireWire interfaces at high sample rates

Four MOTU FireWire interfaces can operate at

44.1 or 48kHz on a single FireWire bus, although you may have to disable optical banks to conserve FireWire bus bandwidth. At the 2x samples rates (88.2 or 96kHz) and 4x sample rates (176.4 and 192kHz), you can operate no more than two FireWire interfaces on a single FireWire bus.

Adding additional interfaces with a second FireWire bus

Third-party FireWire bus expansion products in the form of a cardbus (“PC card”) adapter or PCI card allow you to add a second FireWire bus to your computer. In may be possible to add additional MOTU FireWire interfaces connected to such a third-party product, depending on their performance with your host computer.

Managing the IDs of multiple interfaces

Multiple 828mk3 interfaces are identiﬁed by number (#1, #2, #3, etc.) Interfaces are ID’d (given a number) by the order in which they are ﬁrst powered up after being connected. This in for mat ion is store d in the M OTU FireWi re Au dio preferences ﬁle. Once ID’d, they retain the same number regardless of the order in which they are powered up. You can disable an interface at any time with the Disable interface option shown in Figure 4-22 on page 32. Doing so frees up the FireWire bandwidth required by the interface without turning it off. Switching off an interface accomplishes the same thing. To get the MOTU FireWire Audio Control Panel Console to forget about an interface entirely, you’ll see a Forget button in MOTU Audio Console. Just click the Forget button and MOTU Audio Console will no longer consider the interface to be present but off line (turned off).

INSTALLING THE 828MK3 HARDWARE

Page 34

INSTALLING THE 828MK3 HARDWARE

Page 35

CHAPTER

5 MOTU Audio Console

OVERVIEW

MOTU Audio Console gives you access to basic 828mk3 hardware settings, such as sample rate, clock source, optical format and more.

Accessing the 828mk3 settings . . . . . . . . . . . . . . . . . . . . . . 35

‘General’ Tab Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Samples Per Buffer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Enable Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Wave support for legacy (MME) software . . . . . . . . . . . . 39

‘828mk3’ tab settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Optical input/output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Main Outs Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Return Assign. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Word Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Disable interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

ACCESSING THE 828MK3 SETTINGS

There are several ways to access MOTU Audio Console settings:

■ From the Windows Start menu, choose

Programs>MOTU>MOTU Audio Console

■ In Cubase or Nuendo, open the Device Setup

window, click VST Audio System and choose MOTU Audio ASIO from the ASIO Driver menu as

shown below. Then click the MOTU Audio ASIO item in the list and click the Control Panel button.

■ From within other ASIO-compatible programs,

refer to their documentation.

■ From the front panel LCD as explained in

chapter 6, “Front Panel Operation” (page 41).

828mk3 Hybrid tab settings

The 828mk3 Hybrid tab (Figure 5-1) provides settings that apply to a speciﬁc 828mk3 interface. If you have several 828mk3 (or other MOTU) interfaces connected, you’ll see a separate tab for each one.

Page 36

‘GENERAL’ TAB SETTINGS

Sample Rate

Choose the desired Sample Rate for recording and playback. The 828mk3 can operate at 44.1 (the standard rate for compact disc audio), 48, 88.2, 96,

176.4 or 192 kHz. Make sure that all of the devices connected digitally to the 828mk3 match the 828mk3’s sample rate. Also make sure that your Digital Timepiece, MIDI Timepiece AV or other digital audio synchronizer matches it as well. At the 4x sample rates (176.4 or 192kHz), all digital I/O on the 828mk3 is disabled.

Operation at 4x sample rates (176.4 or 192kHz)

At the 4x sample rates (176.4 or 192kHz), operation of the 828mk3 is restricted, due to the higher audio bandwidth demands, as follows:

■ All digital I/O is disabled (there is no ADAT

optical, TOSLink or S/PDIF input/output).

■ The 828mk3 provides 8 channels of analog input

and 8 channels of analog output, simultaneously.

■ The stereo return bus, as described in “Return

Assign” on page 40, can only be assigned to one of the four available analog output pairs.

☛ Mismatched sample rates cause distortion and

crackling. If you hear this sort of thing, check the sample rate settings in your hardware and here in MOTU Audio Console.

■ The headphone output can only be assigned to

one of the four available analog output pairs.

■ The Main Outs can only be assigned to one of

the four available analog output pairs.

Figure 5-1: MOTU Audio Console gives you access to all of the settings in the 828mk3 hardware.

MOTU AUDIO CONSOLE

Page 37

Clock Source

The Clock Source determines the digital audio clock that the 828mk3 will use as its time base. For a complete explanation of synchronization issues, see “Making sync connections” on page 28. The following sections brieﬂy discuss each clock source setting.

Internal

Use the Internal s etting w hen you want th e 828m k3 to operate under its own digital audio clock. For example, you may be in a situation where all you are doing is playing tracks off hard disk in your digital audio software on the computer. In a situation like this, you most often don’t need to reference an external clock of any kind.

Another example is transferring a mix to DAT. You can operate the 828mk3 system on its internal clock, and then slave the DAT deck to the 828mk3 via the S/PDIF connection (usually DAT decks slave to their S/DIF input when you choose the S/PDIF input as their record source) or via the 828mk3’s word clock output (if your DAT deck has a word clock input).

If you would like help determining if this is the proper clock setting for your situation, see “Making sync connections” on page 28.

Use this setting whenever you are recording input from a DAT deck or other S/PDIF device into the 828mk3. It is not necessary in the opposite direction (when you are transferring from the 828mk3 to the DAT machine).

For further details about this setting, see “Syncing S/PDIF devices” on page 30.

ADAT Optical A / B

The ADAT optical clock source settings (ADAT Optical A and ADAT Optical B) refer to the clock

provided by the 828mk3’s two optical inputs, when either one is connected to another optical device. These two settings only appear in the Clock Source menu when their corresponding optical bank input is enabled and set to the ADAT Optical format, as explained in “Optical input/output” on page 39.

This setting can be used to resolve the 828mk3 directly to the optical input connection. Most of the time, you can set up a better operating scenario that uses one of the other synchronization options. However, there may be occasions when you have an optical device that has no way of synchronizing digitally to the 828mk3 or an external synchronizer. In this case, the ADAT Optical clock source setting lets you slave the 828mk3 to the device itself via its digital input to the 828mk3.

Wor d C lo c k In

The Wor d C loc k I n setting refers to the Word Clock In BNC connector on the 828mk3 rear panel. Choosing this sett ing allows the 828mk3 to slave to an external word clock source, such as the word clock output from a digital mixer.

S/PDIF

The S/PDIF clock source setting refers to the S/PDIF RCA input jack on the 828mk3. This setting allows the 828mk3 to slave to another S/PDIF device.

MOTU AUDIO CONSOLE

This setting is also useful if you just need to make a simple, click-free digital transfer between the 828mk3 and another device — where a time code reference and shared transport control are not needed — without having to set up an elaborate synchronization scenario.

For further details, see “Choosing a clock source for optical connections” on page 24.

TOSLink A / B

The TOSLink clock source settings (TOSLink A and TOSLink B) refer to the clock provided by the

828mk3’s two optical inputs, when either one is

Page 38

connected to another optical device. These two settings only appear in the Clock Source menu with their corresponding optical bank input is enabled and set to the TOSLink format, as explained in “Optical input/output” on page 39.

The TOSLink clock source setting refers to the clock provided an optical S/PDIF device connected to the 828mk3’s optical input. This setting can be used to slave the 828mk3 directly to the optical input connection. Most of the time, you can set up a better operating scenario that uses one of the other synchronization options. However, there may be occasions when you have an TOSLinkcompatible device that has no way of synchronizing digitally to the 828mk3 or an external synchronizer such as the Digital Timepiece. In this case, the TOSLink clock source setting lets you slave the 828mk3 to the other device via the 828mk3’s optical input.

For further details, see “Choosing a clock source for optical connections” on page 24.

SMPTE

Choose this setting to resolve the 828mk3 directly to SMPTE time code (LTC) being received via the 828mk3’s quarter-inch SMPTE input jack. For details, see “Syncing to SMPTE timecode” on page 29 and chapter 10, “MOTU SMPTE Console” (page 111).

Samples Per Buffer

The Samples Per Buffer setting lets you reduce the delay you hear when patching live audio through your audio software. For example, you might have a live guitar input that you would like to run

through an amp simulation plug-in that you are running in your host audio software. When doing so, you may hear or feel some “sponginess” (delay) between the source and the processed signal. If so, don’t worry. This effect only affects what you hear: it is not present in what is actually recorded.

Yo u c a n u se Samples Per Buffer setting to reduce this monitoring delay—and even make it completely inaudible.

☛ If you don’t need to process an incoming live

signal with software plug-ins, you can monitor the signal with no delay at all using CueMix FX, which routes the signal directly to your speakers via hardware. For details, see chapter 9, “CueMix FX” (page 65).

Adjusting the Samples Per Buffer setting impacts the following things:

■ The strain on your computer’s CPU

■ The delay you hear when routing a live signal

through your host audio software plug-ins

■ How responsive the transport controls are in

your software

This setting presents you with a trade-off between the processing power of your computer and the delay of live audio as it is being processed by plug-ins. If you reduce the Samples Per Buffer, you reduce patch thru latency, but signiﬁcantly increase the overall processing load on your computer, leaving less CPU bandwidth for things like realtime effects processing. On the other hand, if you increase the Samples Per Buffer, you reduce the load on your computer, freeing up bandwidth for effects, mixing and other real-time operations. But don’t set the Samples Per Buffer too low, or it may cause distortion in your audio.

If you don’t process live inputs with software plug-ins, leave this setting at its default value of 1024 samples. If you do, try settings of 256 samples

MOTU AUDIO CONSOLE

Page 39

or less, if your computer seems to be able to handle them. If your host audio software has a processor meter, check it. If it starts getting maxed out, or if the computer seems sluggish, raise the Samples Per Buffer until performance returns to normal.

If you are at a point in your recording project where you are not currently working with live, patchedthru material (e.g. you’re not recording vocals), or if you have a way of externally monitoring input, choose a higher Samples Per Buffer setting. Depending on your computer’s CPU speed, you might ﬁnd that settings in the middle work best.

The Samples Per Buffer setting also impacts how quickly your audio s oftware will resp ond when you begin playback, although not by amounts that are very noticeable. Lowering the Samples Per Buffer will make your software respond faster; raising the Samples Per Buffer will make it a little bit slower, but barely enough to notice.

Monitoring live inputs without plug-in effects

As mentioned earlier, CueMix FX allows you to monitor dry, unprocessed live inputs with no delay at all. For complete details, see chapter 8, “Reducing Monitoring Latency” (page 59).

Enable Pedal

Check the Enable Pedal option if a foot switch is connected to the 828mk3 and you would like to trigger recording punch in/out (or other software functions) with it. Use the Set buttons to determine what keystroke is triggered by the pedal-up and pedal-down positions. You can assign the pedal to any two keystrokes you wish. (You are not restricted to punch in/out.)

Wave support for legacy (MME) software

Windows only exposes the ﬁrst two channels of a multi-channel WDM audio stream to applications which use the legacy (MME) multimedia interface. The Enable full Wave support for legacy (MME)

software (less efﬁcient) option forces the 828mk3 multimedia driver to expose all channels as stereo pairs, providing full MME support.

If your host audio software does not directly support WDM audio and instead only supports legacy MME drivers, use this option to access multiple 828mk3 input and output channels.

If your host audio software does directly support WDM audio, leave this option unchecked for optimal performance.

This option is only available when the multimedia driver has been installed, and it defaults to being not checked.

‘828MK3’ TAB SETTINGS

Phones

The Phones setting lets you choose what you will hear from the headphone jack. Choose Main Outs if you’d like the headphone output to match the Main Outs. Choose Phones if you would like the headphones to serve as their own independent output, which you can access as an independent output destinat ion in your host audio software and as an output destination for the eight on-board CueMix FX mix busses.

Optical input/output

The Optical input and Optical output settings let you choose between ADAT optical (‘lightpipe’) and S/PDIF optical (‘TOSLink’) as the format for the 828mk3’s two banks of optical input and output (Bank A and Bank B). Choose the format that matches the device connected. If you are not using the optical connections, it is recommended that you turn them off (by choosing Disabled from the menu) to reduce bandwidth and processing overhead. Note that you can operate each optical port independently. For example, you could use the

MOTU AUDIO CONSOLE

Page 40

ADAT optical format on the Bank A input (with a digital mixer, for example) and optical S/PDIF on the Bank A output (with a DAT deck, for example).

directly through the 828mk3 hardware via CueMix FX (with or without CueMix effects processing on the live inputs).

Main Outs Assign

Choose Main Outs from the Main Outs Assign menu to treat the Main Outs as their own independent output pair. Choose any other output pair to cause the Main Outs to mirror (duplicate) the output pair you choose.

Return Assign

The Return As sign men u le ts y ou cho ose any pair of 828mk3 audio outputs. The audio signal from this output pair is then sent back to the computer via the Stereo Return 1-2 bus. This stereo return bus from the 828mk3 appears in your host software alongside all other 828mk3 inputs, wherever your host software lists them.

The 828mk3 stereo return bus can be used for a variety of purposes. For example, you could use it to send a ﬁnal mix being played through the 828mk3 back to the computer, where you could record it for mastering or archiving purposes.

As another example, you could use the stereo return bus to capture tracks played from your host software, along with live inputs being routed

Word Out

The Word O ut menu appears when the 828mk3 is operating at a 2x sample rate (88.2 or 96kHz) or 4x sample rate (176.4 or 192kHz). This menu lets you set the word clock output either to match the current sample rate (System Clock) or force it to the corresponding 1x rate (either 44.1 or 48kHz). For example, if the 828mk3 were operating at

176.4kHz, choosing the Force 44.1/48kHz option would produce word clock output at 44.1kHz.

Disable interface

You can disable an interface at any time with the Disable interface option. Doing so frees up the FireWire bandwidth required by the interface without turning it off. Switching off an interface accomplishes the same thing. To get MOTU Audio Console to forget about an interface entirely, you’ll see a Forget button in MOTU Audio Console. Just click the Forget button and MOTU Audio Console will no longer consider the interface to be present but off line (turned off).

MOTU AUDIO CONSOLE

Page 41

CHAPTER

6 Front Panel Operation

OVERVIEW

The 828mk3 Hybrid offers complete front-panel programming via six rotary encoders and a 2x16 backlit LCD display. All 828mk3 settings can be accessed via these front-panel controls.

Mic/guitar inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Master vol and (MAIN) phone jack . . . . . . . . . . . . . . . . . . . 41

Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Meters and status LEDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Push-button rotary encoders . . . . . . . . . . . . . . . . . . . . . . . . 43

Multi-function LCD display . . . . . . . . . . . . . . . . . . . . . . . . . . 43

828mk3 SETUP menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Audio menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

CueMix menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Inputs menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Outputs menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Mixes menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Reverb menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Stand-alone operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

MIC/GUITAR INPUTS

The 828mk3 front panel mic/guitar inputs are equipped with many features to handle a wide variety of recording situations.

For information about connections and settings, see “Mic/guitar inputs with preamps” on page 21 in the installation chapter.

For information about the many settings available for the mic/guitar inputs, see:

■ “The Inputs tab” on page 71

■ “The channel settings section” on page 75

■ “The Channel tab” on page 75

■ “The EQ tab” on page 77

■ “The Dynamics tab” on page 84

MASTER VOL AND (MAIN) PHONE JACK

The phone jack labeled (MAIN) (Figure 6-1) is a standard quarter-inch stereo headphone jack. Its output is hard-wired to mirror the XLR main outs on the rear panel. From the factory, the MASTER VOL knob above it controls the main outs and this jack, but MASTER VOL can be programmed to control any combination of outputs. See “The Monitor Group” on page 88 for details. Push the kn ob o nce to v iew the cur ren t vol ume set ting in t he LCD display; push it again to mute the monitor group; push a third time to return to the previous volume. Note that if the Monitor Group is programmed to not include the main outs, the MASTER VOL knob will no longer control the volume of the phone jack, either.

Figure 6-1: The 828mk3 front panel mic/guitar inputs and phone jacks.

Page 42

PHONES

From the factory, the PHONES jack (Figure 6-1) is a discrete output at 44.1/48 kHz, but it can mirror any other output pair (digital or analog) or serve as its own independent output. For example, at 88.2/ 96 kHz, it defaults to mirroring the XLR main outs. At 176.4/192 kHz, it defaults to mirroring analog outputs 1-2.

As the primary phone jack, it has its own dedicated volume knob.

As explained in the previous section, the LCD provides detailed feedback as you turn the knob (Figure 6-4). To view the current setting without changing it, just push the knob (without turning it).

If you would like the (MAIN) phone jack and the PHONES jack to output the same signal, assig n the PHONES output to mirror the main outs. In this conﬁguration, both the MASTER VOL and the PHONES volume knobs control the PHONES volume.

METERS AND STATUS LEDS

The meters and LEDs (Figure 6-2) provide complete status and metering information for all 828mk3 inputs and outputs.

Mic/guitar inputs meters with V-Limit™ compressor

The two ten-segment meters for the mic/guitar inputs show input levels from -42 to -1 in the ﬁrst column of LEDs, plus an additional range in a second column from zero to +12 dB (plus clip). Both inputs are equipped with V-Limit™, a hardware limiter. With the limiter turned off, si gn als tha t hi t ze ro o r ab ove w ill cli p (a h ard dig it al clip). However, with V-Limit turned on, signals can go as high as +12 dB above zero with no digital clipping. If the signal then goes above +12 dB, it will clip, even with V-Limit engaged. In either case, the clip LED (above +12) will illuminate. For further information about V-Limit, as well as another feature called Soft Clip, see “Overload protection (mic/guitar inputs only)” on page 76.

Figure 6-2: The 828mk3 front panel meters and LEDs.

Analog

input

meters

Analog output activity LEDs Optical bank and

S/PDIF digital

input

meters

S/PDIF output

activity

LEDs

Mic/guitar

preamp

inputs with

V-Limit™

Main

out

meters

Time code

Lock/Tach

FRONT PANEL OPERATION

Sample

rate

MIDI I/O activity

Page 43

PUSH-BUTTON ROTARY ENCODERS

All of the knobs shown in Figure 6-3 are pushbutton digital rotary encoders. In many cases, you can either push the knob or turn it to make a setting or toggle the LCD display (depending on the encoder and setting).

MULTI-FUNCTION LCD DISPLAY

The LCD provides access to the many 828mk3 settings, as well as visual feedback of the current parameter being modiﬁed.

Parameter “zooming”

For many settings, the LCD temporarily “zooms in” to display a long-throw meter and alphanumeric display to give you precise, real-time feedback as you adjust the setting. For example, if you change the headphone volume, the LCD will display a level meter and gain reduction reading that updates as you turn the volume knob. After a brief time-out, the display returns to its previous state before you turned the volume knob.

Figure 6-4: The LCD provides feedback as you adjust volume.

Three global menus

Push the PARAM knob to cycle the LCD among three global menus, described in the rest of this chapter:

■ 828mk3 SETUP

■ AUDIO ( s ett i ngs)

■ CUEMIX (mixer)

When viewing CueMix settings

in the LCD, push the CHANNEL knob to cycle among four main mixer menus: MIX, IN (inputs),

OUT (outputs) and REVERB. Turn it to choose a channel.

Turn the PAGE knob to view settings for

each channel. Push it to jump to the

next section or back to the beginning.

Figure 6-3: The 828mk3 front panel controls.

FRONT PANEL OPERATION

Push the PARAM knob to cycle

among three global menus:

CueMix (mixer), AUDIO

(settings) and 828MK3 SETUP.

Turn and/or push the VALUE knob to adjust

the current setting.

The LCD is divided into four

sections that correspond to the

four knobs to the left.

Page 44

828MK3 SETUP MENU

To access the 828mk3 SETUP menu, push the PAR AM kno b u nt il y o u s ee 828mk3 SETUP displayed in the LCD. This menu provides basic features for managing the 828mk3 hardware. Turn the PARAM knob to access each setting, explained brieﬂy below.

LCD Contrast

Turn the VALUE knob to adjust the LCD contrast.

Figure 6-5: In setup mode, the LCD displays a setup parameter in the top row of the LCD and the current setting in the bottom row.

Save/Name Preset

An 828mk3 preset holds all current CueMix FX mix settings (everything in the CUEMIX menu). SETUP menu and AUDIO menu parameters are not included. Turn the VALUE knob to move from character to character in the preset name. Turn PAGE to change the currently ﬂashing letter. Once you’ve named the preset, push VALUE to save it, turn it again to choose the desired preset slot you wish to save it to (1-16), and the push again to conﬁrm the save. To cancel the save operation at any time by turning the PARAM knob.

Load Preset

Turn VALUE to choose the preset you wish to load (1-16) and push VALUE to load it.

All Notes Off

The All Notes Off setting sends a MIDI All Notes Off message, as well as a MIDI note-off message for every note on every MIDI channel. This stops any stuck notes that are currently playing. Push VALUE to send the All Notes Off MIDI data.

Factory Defaults

Push VALUE to restore the 828mk3 hardware to its factory default settings. Push VALUE again to conﬁrm, or turn PARAM to cancel.

AUDIO MENU

To access the AUDIO menu, push the PARAM knob until you see AU D I O displayed in the LCD. This menu provides basic settings such as sample rate, clock source, optical bank format (ADAT versus TOSLink), and so on. These settings have corresponding settings in the MOTU Audio Console software, as shown below:

Audio menu item Where to find more information

Clock Source* “Clock Source” on page 37

Sample rate* “Sample Rate” on page 36

Phones Assign “Phones” on page 39

Main Out Assign “Main Outs Assign” on page 40

Return Assign “Return Assign” on page 40

Optical In/Out A/B* “Optical input/output” on page 39

ADAT SMUX Type See below. This menu item is only

Word Clock Out “Word Out” on page 40

* If the 828mk3 is currently connected to a computer, this setting cannot be changed from the front-panel LCD. It must be changed in MOTU Audio Console instead. Or, you can disconnect the 828mk3 from the computer to change the Clock Source from the front panel.

ADAT SMUX Type

When the 828mk3 is operating at either 88.2 or 96 kHz, the AUDIO menu includes an item called ADAT SMUX Type.

This setting lets you conﬁgure the optical ports for ADAT format operation at the 2x sample rates only (88.2 or 96 kHz).

There are two choices:

■ Type I — for 2x optical connection to 3rd-party

SMUX-compatible hardware products

available when the 828mk3 is operating at 88.2 or 96 kHz.

FRONT PANEL OPERATION

Page 45

■ Type II — for 2x optical connection to MOTU

products that are equipped with optical ports and support 2x operation

Turn the VALUE knob to select an optical port and push the knob to toggle between the Type I and Type II setting.

CUEMIX MENU

To access the CUEMIX menu, push the PARAM knob until you see CUEMIX displayed in the LCD. This menu displays the settings for the 828mk3 CueMix FX mixer.

CueMix mixer basics

It is much easier to navigate the CUEMIX menu in the LCD if you have a general understanding of the CueMix FX mixer. We strongly recommend that you review chapter 9, “CueMix FX” (page 65) before learning the LCD, especially “CueMix FX basic operation” on page 67.

CUEMIX menu organization

Mixer settings are divided into four sub-menus, which correspond to the Inputs, Mixes, Outputs and Reverb tabs in the CueMix FX software:

■ IN (inputs)

■ OUT (outputs)

■ MIX (Mixes)

■ REVERB (reverb processor)

Navigating the four main menus

To access the four main menus above, push the CHANNEL knob repeatedly. Then turn the CHANNEL knob to select the desired channel or mix.

The IN (inputs) menu

Push the CHANNEL button repeatedly until you see “I:” in the channel section of the LCD (Figure 6-6). This is similar to accessing the Inputs tab in CueMix FX console (“The Inputs tab” on page 71).

“ I: ” Indicates

the IN (inputs)

menu.

Figure 6-6: The IN (inputs) menu.

The current

channel.

“Pages” are groups of

channel settings, such

as one band of EQ.

Access individual parameters

here, such as the frequency

setting for a band of EQ.

Change the value of the

current parameter here

Choosing a channel

Once you see the Inputs menu (Figure 6-6) in the LCD, turn the CHANNEL knob to select the desired input that you wish to edit. This is roughly equivalent to specifying an input channel strip to work with in the Inputs tab in CueMix FX software (Figure 9-3 on page 71).

Choosing a setting to modify

Once you’ve selected an input channel, you can access the various settings for that channel using the PAGE knob and PARAMETER knobs.

Turn the PAGE knob to scroll through channel settings such as individual bands of EQ, the compres sor, reverb sends, etc. Push the PAGE knob to jump to the next “section” of parameters or to jump back to the beginning of the list. This is roughly the equivalent of moving through the various channel controls in an individual input

FRONT PANEL OPERATION

Page 46

channel strip in CueMix FX (Figure 9-3 on page 71), as well as the settings in the Channel tab (Figure 9-8 on page 75).

Turn the PARAMETER knob to scroll through individual parameters, such as the frequency for the current band of EQ. This is roughly equivalent to the parameters in the EQ tab (Figure 9-10 on page 77), Dynamics tab (Figure 9-21 on page 84) and Reverb tab (Figure 9-23 on page 87) in the CueMix FX software.

Adjusting the value of a parameter

Turn the VALUE knob to adjust the value of the current PARAMETER. Some parameters have default values. If so, push the VALUE knob to cycle through them.

Inactive items

If a menu item is inact ive for some reason (perhaps it doesn’t currently apply or it is disabled), it is displayed in parentheses.

“ O: ” Indicates

the OUT

(outputs) menu.

Figure 6-7: The OUT (outputs) menu.

The current

channel.

“Pages” are groups of

channel settings, such

as one band of EQ.

Access individual parameters

here, such as the frequency

setting for a band of EQ.

Change the value of the

current parameter here

Choosing a channel

Once you see the Outputs menu (Figure 6-7) in the LCD, turn the CHANNEL knob to select the de sire d out put that you w ish to e dit. T his is ro ugh ly equivalent to specifying an output channel strip to work with in the Outputs tab in CueMix FX software (Figure 9-6 on page 74).

Copying and pasting

EQ, dynamics and Mix Assign settings allow you to copy and paste settings between EQ bands and/or channels. Push the VALUE knob to copy, scroll to the other item and then push again to paste.

Summary of Inputs menu settings

For a summary of Inputs menu settings, see “Inputs menu” on page 48.

The OUT (Outputs) menu

Push the CHANNEL button repeatedly until you see “O:” in the channel section of the LCD (Figure 6-7). This is similar to accessing the Outputs tab in CueMix FX console (“The Outputs tab” on page 73).

Working with outputs in the LCD

Once you’ve selected an output channel, you can access the various settings for that channel using the PAGE knob and PARAMETER knobs. The knobs function the same as described for inputs in “Choosing a setting to modify” on page 45 and “Adjusting the value of a parameter” on page 46.

Summary of Output menu settings

For a summary of Inputs menu settings, see “Outputs menu” on page 48.

FRONT PANEL OPERATION

Page 47

The MIX (Mixes) menu

Push the CHANNEL button repeatedly until you see “MIX 1” (or “MIX 2”, etc.) in the channel section of the LCD (Figure 6-8). This is similar to accessing the Mixes tab in CueMix FX console (“The Mixes tab” on page 69).

The current

mix bus.

Here, choose master fader

settings, reverb settings, and

individual input channels.

Figure 6-8: The MIX (Mixes) menu.

Access individual parameters

here, such as input channel

settings.

Change the value of the current parameter here

Choosing a mix bus

Once you see the MIX menu (Figure 6-8) in the LCD, turn the CHANNEL knob to select the desired mix that you wish to edit. This is roughly equivalent to choosing a mix in the Mixes tab in CueMix FX software (Figure 9-2 on page 69).

■ REVERB — these are the reverb send and return

controls for the bus master fader. Access them with the PARAMETER knob.

■ Individual channels — once you scroll past

MASTER and REVERB, the PAGE knob then scrolls through all available inputs for the mix bus. Once you choose an input, access its channel settings using the PARAM knob and VALUE knob.

Summary of Mix menu settings

For a summary of Mix menu settings, see “Mixes menu” on page 49.

The REVERB menu

Push the CHANNEL button repeatedly until you see “REVERB” in the channel section of the LCD (Fi gure 6-9 ). This i s sim ilar to accessing the Rever b tab in CueMix FX (“The Reverb tab” on page 87).

☛ The REVERB processor is not available at

sample rates above 48 kHz. Therefore, when the 828mk3 is operating at 88.2 kHz or higher, the REVER menu does not appear in the LCD.

Change the value of

the current parame-

ter here.

Access individual parameters here,

such as reverb time.

Working with mix busses in the LCD

Once you’ve selected a mix, you can access the various settings for that mix using the PAGE knob and PARAMETER knobs. The knobs function the same as described for inputs in “Choosing a setting to modify” on page 45 and “Adjusting the value of a parameter” on page 46. The PAGE knob scrolls through the following mix bus settings:

■ MASTER — these are master fader settings,

such as the master fader output assignment, master mute on/off, and the master fader volume. Access them with the PARAMETER knob.

FRONT PANEL OPERATION

Figure 6-9: The REVERB menu.

Working with reverb settings in the LCD

Once you’ve selected the REVERB menu, you can access all settings using the PARAMETER and VALUE knobs. The PAGE knob is not needed and is therefore disabled when editing reverb settings.

Summary of Reverb menu settings

For a summary of Reverb menu settings, see “Reverb menu” on page 49.

Page 48

INPUTS MENU OUTPUTS MENU

CHANNEL PAGE PARAM

INPUTS mic 1-2 Analog 1-2 Analog 3-4 etc.

INPUT PAIR

EQ (global)

HPF (High-pass)

LF (Low w/shelf)

LMF (Low-mid)

MF (Mid)

HMF (High-mid)

HF (High w/shelf)

LPF (Low-pass)

DYN (Dynamics)

COMP (Compressor)

LEVELER ENABLE

REVERB SEND

PHASE L-R/M-S (stereo or M/S) SWAP WIDTH TRIM LIMITER LOOKAHEAD SOFTCLIP

ENABLE COPY PASTE RESET

ENABLE SLOPE FREQ

ENABLE TYPE FREQ GAIN WIDTH

ENABLE SLOPE FREQ

ENABLE COPY PASTE RESET

ENABLE MODE THRESH RATIO ATTACK RELEASE TRIM

MODE REDUCE MAKEUP

SEND PAN (mono only)

Mic only

CHANNEL PAGE PARAM

OUTPUTS Main Analog 1-2 Analog 3-4, etc.

EQ (global)

HPF (High-pass)

LF (Low w/shelf)

LMF (Low-mid)

MF (Mid)

HMF (High-mid)

HF (High w/shelf)

LPF (Low-pass)

DYN (Dynamics)

COMP (Compressor)

LEVELER ENABLE

REVERB SEND

MASTER MONITOR

ENABLE COPY PASTE RESET

ENABLE SLOPE FREQ

ENABLE TYPE FREQ GAIN WIDTH

ENABLE SLOPE FREQ

ENABLE COPY PASTE RESET

ENABLE MODE THRESH RATIO ATTACK RELEASE TRIM

MODE REDUCE MAKEUP

SEND PAN

TALKBACK LSNBACK

FRONT PANEL OPERATION

Page 49

MIXES MENU

CHANNEL PAGE PARAM

MIXES Mix 1 Mix 2 etc.

MASTER ASSIGN

REVERB SEND

MIC 1 MIC 2 (if mono)

MIC 1-2 (if stereo)

ANALOG 1 ANALOG 2 etc. (if mono)

ANALOG 3-4 ANALOG 5-6 etc. (if stereo)

SPDIF MUTE

ADAT A1-2 ADAT A3-4 etc.

ADAT B1-2 ADAT B3-4 etc.

MUTE FADER COPY PASTE RESET

RETURN

MUTE SOLO (BAL/WID) - n/a PAN FADER

MUTE SOLO BAL/WID WIDTH FADER

MUTE SOLO (BAL/WID) - n/a PAN FADER

MUTE SOLO BAL/WID BAL FADER

SOLO BAL/WID BAL FADER

MUTE SOLO BALD/WID BAL FADER

STAND-ALONE OPERATION

All settings, including all mix settings and global settings, are saved in the 828mk3’s memory, and they remain in effect even when the 828mk3 is not connected to a computer. This allows you to use the 828mk3 as a stand-alone 8-bus mixer. You can make adjustments to any setting at any time from the front panel.

REVERB MENU

CHANNEL PAGE PARAM

REVERB --- ENABLE

FRONT PANEL OPERATION

TIME PREDELAY WIDTH CUT Hz CUT dB ROOM REFSIZE REF LEV LO % MID % HI % LO XOVR HI XOVR SPLIT

Page 50

FRONT PANEL OPERATION

Page 51

CHAPTER

7 Conﬁguring Windows Audio

Software

OVERVIEW

The 828mk3 Hybrid includes an ASIO driver that provides multi-channel I/O and sample-accurate synchronization with ASIO-compatible applications. such as Steinberg’s Cubase and Nuendo, Avid Pro Tools, Cakewalk SONAR, and more.

Additionally, a WDM driver provides standard multi-channel input and output for WDMcompatible audio software.

What is ASIO? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

What is WDM? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Run MOTU Audio Console . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Choosing the MOTU Audio driver. . . . . . . . . . . . . . . . . . . . 53

Working with 828mk3 inputs and outputs . . . . . . . . . . 57

Number of channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

MIDI input and output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Processing live inputs with host plug-ins . . . . . . . . . . . . 57

Working with CueMix FX mixing and effects. . . . . . . . . 57

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Using a foot switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

WHAT IS ASIO?

ASIO is an acronym for Audio Streaming Input and Output. The MOTU Audio ASIO driver allows the

828mk3 to provide multi-channel audio input and output for any audio application that supports ASIO drivers.

WHAT IS WDM?

WDM is an acronym for Windows Driver Model. The MOTU WDM driver allows the 828mk3 to provide multi-channel audio input and output for any audio application that supports WDM audio drivers.

WaveRT

The WDM driver also supports WaveRT, a new low-latency audio driver standard by Microsoft. WaveRT is supported in Windows Vista and later. To enable WaveRT, check the Use WaveRT for Windows Audio option in the MOTU Audio Console. If you uncheck this box, WaveRT support is disabled, and legacy WDM driver support is provided instead.

PREPARATION

To make sure that ever ything is ready for your host audio software, install your host audio software ﬁrst (if you haven’t already done so), and then see these chapters before proceeding:

■ chapter 3, “IMPORTANT! Run the 828mk3

Software Installer First” (page 17)

■ chapter 4, “Installing the 828mk3 Hardware”

(page 19).

RUN MOTU AUDIO CONSOLE

Before you run your host audio software, launch MOTU Audio Console to conﬁgure your 828mk3 hardware. MOTU Audio Console lets you conﬁgure your audio interface, and it lets you enable the desired inputs and outputs. Only enabled inputs and outputs will be available to your host audio software, so this is an important step. For complete details regarding MOTU Audio Console, see chapter 5, “MOTU Audio Console” (page 35).

Page 52

If you do not have any digital audio connections to your 828mk3 (you are using the analog inputs and outputs only), and you will not be slaving your host software to external SMPTE time code, choose Inter nal.

If you have digital audio devices connected to the 828mk3, or if you are not sure about the clock source of your setup, be sure to read “Making sync connections” on page 28 and “Clock Source” on page 37.

If you are slaving the 828mk3 and your host software to SMPTE time code via the 828mk3 itself, choose SMPTE and follow the directions in “Syncing to SMPTE timecode” on page 29.

☛ In order to use the 828mk3’s direct SMPTE

sync (and sample-accurate sync) feature, the host audio software must support the ASIO 2.0 sampleaccurate positioning protocol. Cubase and Nuendo support this protocol; for other software, check with its documentation.

Figure 7-1: MOTU Audio Console gives you access to all of the settings in the 828mk3 hardware, including the clock source, sample rate and optical I/O enable/disable.

For complete details about the 828mk3 settings, see chapter 5, “MOTU Audio Console” (page 35). The following sections provide a brief explanation of each 828mk3 setting for use with Cubase.

Sample rate

Choose the desired overall sample rate for the 828mk3 system and your host audio software. Newly recorded audio will have this sample rate.

Clock Source

This setting is very important because it determines which audio clock the 828mk3 will follow.

Samples Per Buffer

The Samples Per Buffer setting can be used to reduce the delay — or monitoring latency — that you hear when live audio is patched through your 828mk3 hardware and host audio software. For example, you might have MIDI instruments, samplers, microphones, and so on connected to the analog inputs of the 828mk3. If so, you will often be mixing their live input with audio material recorded in your audio software. See chapter 8, “Reducing Monitoring Latency” (page 59) for complete details.

Phones

This 828mk3 setting lets you choose what you’ll hear from the headphone jack. For example, if you choose Main Out 1-2, the headphones w ill duplicate the main outs. Or you can choose any other output pair. If you choose Phones 1-2, this setting makes the headphone jack serve as its own

CONFIGURING WINDOWS AUDIO SOFTWARE

Page 53

independent output pair. As a result, you’ll see Phones 1-2 as an additional audio destination in Cubase or Nuendo’s audio output menus. When operating at high sample rates, the phones must mirror one of the other output pairs.

Reverb return

The 828mk3 also supplies a return to your host software that carries the output of its reverb processor. This return can be used for any purpose you wish.

Optical input and output

To make a 828mk3 optical inputs and/or outputs available in your host software, choose the appropriate format (ADAT optical or TOSLink) from the optical input and/or output menus. If you won’t be using the optical connectors, turn them off.

Main Outs Assign

Use the Main Outs Assign setting to determine what audio you will hear on the XLR main outs of the 828mk3. If you would like to treat them as their own separate output pair, choose Main Outs. Note that when operating at 176.4 or 192 kHz, the main outs must mirror one of the TRS analog output pairs.

Return Assign

In your host audio software audio input menus, you’ll see an 828mk3 input called Return 1-2. This is a stereo feed from the 828mk3 that matches the signal of one of its output pairs. Use the Return Assign menu in MOTU Audio Console to choose which output pair you would like to hear on this return. This can be used, for example, to record back a ﬁnal stereo mix that includes effects processing from the 828mk3 DSP (such as the Leveler) for reference and archiving purposes.

CHOOSING THE MOTU AUDIO DRIVER

Once you’ve made the preparations described so far in this chapter, you’re ready to run your audio software and enable the MOTU Audio driver. Check the audio system or audio hardware conﬁguration window in your software. There will be a menu there that lets you choose among various drivers that may be in your system. Choose the MOTU Audio driver from this menu.

Pro Tools

In Avid Pro Tools, go to the Setup menu and choose Playback Engine as shown in Figure 7-2. Choose the MOTU Audio ASIO from the Current Engine menu. For information about the H/W Buffer Size setting, see “Adjusting the audio I/O buffer” on page 61.

☛ Pro Tools 9 or later is required for operation

with the Audio Express.

For information about the Buffer Size setting, see “Adjusting the audio I/O buffer” on page 61.

☛ Warning: the Return inputs can cause

feedback loops! D track that shares the same 828mk3 output pair as the returns.

CONFIGURING WINDOWS AUDIO SOFTWARE

O NOT assign this input to a

Figure 7-2: Enabling the MOTU Audio ASIO driver in Pro Tools

Page 54

Cubase and Nuendo

In Cubase or Nuendo, go to the Device Setup window, click VST Audio System and choose MOTU Audio ASIO from the ASIO Driver menu (Figure 7-3). Make the other settings in the dialog as need for your system and synchronization scenario.

Figure 7-3: Activating the MOTU Audio ASIO driver in Nuendo and Cubase.

Live

In Ableton Live, access the preferences window and click the Aud io tab. Choose ASIO from the Driver Ty p e menu. Choose the MOTU Audio ASIO from the Audio Dev ice menu as shown below in Figure 7-4. To enable or disable Audio Express input or output channels, click the Input Conﬁg or Output Conﬁg buttons. To access MOTU Audio Console, click the Hardware Setup button.

For information about the Buffer Size setting, see “Adjusting the audio I/O buffer” on page 61.

Figure 7-4: Enabling the MOTU Audio ASIO driver in Live.

CONFIGURING WINDOWS AUDIO SOFTWARE

Page 55

Reason and Record

In Propellerhead Reason or Record, go to the Preferences window, choose Audio preferences from the menu and choose MOTU Audio ASIO from the Audio Card Driver menu as shown below.

Figure 7-5: Enabling the MOTU Audio ASIO driver in Reason and Record.

Reaper

In Cockos Reaper, access the Preferences and click Devices under the Au dio preferences. Choose ASIO for the audio system and choose MOTU Audio ASIO from the ASIO driver menu.

Figure 7-7: Enabling the MOTU Audio ASIO driver in SONAR.

4 Next, in the Audio preferences section, choose

Devices.

5 Check the 828mk3 Hybrid inputs and outputs that you wish to use and uncheck the ones you don’t, as shown in Figure 7-8 on page 55.

Figure 7-6: Enabling the MOTU Audio ASIO driver in Reaper.

SONAR

In Cakewalk SONAR, you can use the MOTU ASIO driver or the MOTU WDM driver. Note that when using ASIO, only one audio interface may be selected for use in SONAR.

Using the MOTU ASIO driver

1 Go to SONAR’s Preferences.

2 In the Audio preferences section, choose

Playback and Recording.

3 Choose ASIO as the Driver Mode, as shown below.

CONFIGURING WINDOWS AUDIO SOFTWARE

Figure 7-8: Enabling inputs and outputs in SONAR.

Using the MOTU WDM driver

1 Go to SONAR’s Preferences.

2 In the Audio preferences section, choose

Playback and Recording.

3 Choose WDM/KS as the Driver Mode, as show n below.

Page 56

Figure 7-9: Enabling the MOTU WDM driver in SONAR.

4 Next, in the Audio preferences section, choose

Devices.

5 Check the 828mk3 Hybrid inputs and outputs that you wish to use and uncheck the ones you don’t, as shown in Figure 7-7 on page 55.

Other audio settings in SONAR

There are a few other settings in SONAR that impact 828mk3 operation:

1 In the Audio preferences section, choose Driver Settings.

2 Choose an 828mk3 input and output for recording and playback timing as shown below in Figure 7-10. It doesn’t matter which input or output you choose.

Figure 7-10: Make sure you have chosen a 828mk3 input and output for the playback and recording timing master settings.

3 Additionally, if you are using the MOTU WDM driver, click the Wav e P ro ﬁl er button and run the Wave Proﬁler. This process chooses the optimum settings for the 828mk3 hardware.

Figure 7-11: Running the Wave Proﬁler in Cakewalk’s SONAR.

CONFIGURING WINDOWS AUDIO SOFTWARE

Page 57

Sound Forge

To ac tiv ate t he MO TU Audi o ASIO dri ver i n Soun d Forge, go to the Preferences window, click the

Aud io tab, and then choose MOTU Audio from the Audio device ty pe menu as shown below.

Remember that the main outs and headphone output can be conﬁgured in MOTU Audio Console to mirror other outputs. In addition, the 828mk3 optical banks can be disabled or conﬁgured as either ADAT optical or TOSLink. This will affect how they appear (and if they appear at all) in your host software’s audio input lists. See “Optical input/ output” on page 39, “Phones” on page 39 and “Main Outs Assign” on page 40.

NUMBER OF CHANNELS

If your host audio software requires that you spec ify th e numb er of audio voi ces or cha nnels yo u wi ll be using , be sure to choose enough chan nels to cover the 28 inputs and 30 outputs provided by your 828mk3 — although the number of channels may depend on how your 828mk3 is conﬁgured.

MIDI INPUT AND OUTPUT

Once you’ve run the 828mk3’s software installer as explained in “Installing the 828mk3 software” on page 17, the 828mk3 MIDI ports will appear as a input source and output destination in the MIDI input and output menus of your host software.

Figure 7-12: Enabling the MOTU Audio ASIO driver in Sound Forge.

Other audio software

For other audio applications, the procedure is similar to that shown above. Consult your owner’s manual for further information.

WORKING WITH 828MK3 INPUTS AND OUTPUTS

Once you’ve enabled the 828mk3’s driver, 828mk3 audio inputs and outputs will appear in your host software wherever audio inputs and outputs are listed. If you don’t see the optical inputs or outputs, check MOTU Audio Console to make sure they are turned on. If you don’t plan to use either optical bank, turn it off to conserve computer bandwidth.

CONFIGURING WINDOWS AUDIO SOFTWARE

PROCESSING LIVE INPUTS WITH HOST PLUG-INS

If you patch a live input (such as MIDI synthesizer) through a plug-in effect in your host audio software, you might hear a slight delay. There are several ways to reduce this delay. For details, see chapter 8, “Reducing Monitoring Latency” (page 59).

WORKING WITH CUEMIX FX MIXING AND EFFECTS

The 828mk3 provides powerful external mixing, EQ, compression and reverb, which you can operate hand-in-hand with your host software’s complete mixing environment. For example, the 828mk3 can serve as a monitor mixer routing channels to musicians, or it can serve as an integrated extension of your host software mixing environment. If you program an 828mk3 mixing

Page 58

and processing conﬁguration that goes hand in hand with your host software project, be sure to use the conﬁguration save features in CueMix FX to save the 828mk3 settings along with your host software project. See chapter 9, “CueMix FX” (page 65) for complete details.

SYNCHRONIZATION

As you read through the following sections to decide what form of synchronization you might need with other devices in your studio, be sure to consult “Making sync connections” on page 28 for the proper hardware connections. Use the synchronization diagrams to be clear about how you will be synchronizing your audio software and the 828mk3 to the other components of your system.

Synchronizing digital audio connections

If you have devices connected to the 828mk3 digital inputs (optical or RCA S/PDIF), you need to be concerned with the synchronization of the 828mk3’s digital audio clock with other devices connected to it digitally (if any). For example, if you have a digital mixer connected to the 828mk3 via an ADAT optical light pipe cable, you need to make sure that their audio clocks are phase-locked. For details, see “Choosing a clock source for optical connections” on page 24 and “Making sync connections” on page 28. If you don’t have any digital audio devices connected to the 828mk3, digital audio phase-lock does not apply to you.

Resolving directly to time code (with no synchronizer)

If your host audio software supports ASIO2’s sample-accurate positioning protocol, then it can resolve to the 828mk3’s built-in time code synchronization feature. Both Cubase and Nuendo support this. To resolve your 828mk3 directly to SMPTE time code with no additional synchronization devices, use the setup shown in “Syncing to SMPTE timecode” on page 29.

USING A FOOT SWITCH

Use a foot switch connected to the 828mk3 to trigger recording punch-in and punch-out, or any other feature in your host audio software that is assigned to a computer keystroke. To trigger a different set of keystrokes with the foot switch, visit MOTU Audio Console. (See “Enable Pedal” on page 39.)

24-BIT OPERATION

Your 828mk3 hardware fully supports 24-bit recording capabilities in any audio software that supports it. Simply enable 24-bit operation as instructed by the software. The 828mk3 always supplies the software a 24-bit data stream, and when you e nable 24-bit operat ion, it simply uses all 24-bits supplied by the 828mk3 hardware.

CONFIGURING WINDOWS AUDIO SOFTWARE

Page 59

CHAPTER

8 Reducing Monitoring Latency

OVERVIEW

Monitoring latency is that slight delay you hear when you run an input signal through your host audio software. For example, you might hear it when you drive a live guitar input signal through an amp modeling plug-in running in your audio sequencer.

This delay is caused by the amount of time it takes for audio to make the entire round trip through your computer, from when it ﬁrst enters an 828mk3 input, passes through the 828mk3 hardware into the computer, through your host audio software, and then back out to an 828mk3 output.

If you don’t need to process a live input with plug-ins, the easiest way to avoid monitoring latency is to use the 828mk3’s CueMix FX digital mixer to patch the input directly to your monitor outs via the 828mk3 audio hardware. The 828mk3 even provides effects processing (EQ, compression and reverb), which can be applied on input, output, or even at the bussing stage, just like a conventional mixer. For details, see “CueMix FX hardware monitoring” on page 62.

Monitoring live input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Adjusting the audio I/O buffer . . . . . . . . . . . . . . . . . . . . . . . 61

Lower latency versus higher CPU overhead . . . . . . . . . . 62

Transport responsiveness . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Effects processing and automated mixing . . . . . . . . . . . 62

CueMix FX hardware monitoring. . . . . . . . . . . . . . . . . . . . . 62

Two methods for controlling CueMix FX . . . . . . . . . . . . . 62

Using CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Controlling CueMix FX from your audio software . . . . 63

If you do need to process a live input with host software plug-ins, or if you are playing virtual instruments live through your 828mk3 audio hardware, you can signiﬁcantly reduce latency — and even make it completely inaudible, regardless of what host audio application software you use. This chapter explains how.

It is i mpor tant to note th at monitor ing delay has no effect on when audio data is recorded to disk or played back from disk. Actual recording and playback is extremely precise.

Page 60

MONITORING LIVE INPUT

There are two ways to monitor live audio input with an 828mk3: 1) through the computer or 2) via the 82mk3 CueMix FX hardware mixer. Figure 8-1 shows method 1, which allows you to apply hostbased effects processing via plug-ins in your audio software. See the next section, “Adjusting the audio I/O buffer” for details about how to reduce — and possibly eliminate — the audible monitoring delay that the computer introduces.

Figure 8-2 shows how to use CueMix FX hardwarebased monitoring, which lets you hear what you are recording with no monitoring delay and no computer-based effects processing. Instead, input is routed directly to an output, either with or without 828mk3-based effects processing (EQ,

1. Live input (from mic, guitar, etc.) enters the MOTU interface.

compression or reverb). See “CueMix FX hardware monitoring” later in this chapter for details on how to use CueMix FX with your audio software, or with the included CueMix FX software.

If the material you are recording is suitable, there is a third way to monitor live input: use both methods (Figure 8-1 and Figure 8-2) at the same time. For example, you could route guitar to both the computer (for an amp model effect) and mix that processed signal on the main outs with dry guitar from CueMix FX — or perhaps with a touch of 828mk3 Classic Reverb.

3. Mic signal is ‘patched thru’ back to the audio interface

2. Mic signal goes immediately to the computer.

Figure 8-1: There are two ways to monitor live audio inputs with an 828mk3: 1) through the computer or 2) via CueMix FX hardware monitor-

ing. This diagram shows method 1 (through the computer). When using this method, use your host software’s buffer setting to reduce the

slight delay you hear when monitoring the live input, but don’t lower it too much, or your computer might get sluggish.

with host-based plug-in effects, if any.

4. Mic signal (with plug-in processing, if any) is routed to the main outs (or other outputs that you’ve speciﬁed in the software).

REDUCING MONITORING LATENCY

Page 61

ADJUSTING THE AUDIO I/O BUFFER

A buffer is a small amount of computer memory used to hold data. For audio interfaces like the 828mk3, buffers are used for the process of transferring audio data in and out of the computer. The size of the buffers determines how much delay you hear when monitoring live inputs through your audio software: larger buffers produce more delay; smaller buffers produce less.

Buffer size adjustment is made in MOTU Audio Console, as shown in Figure 8-3 via the Samples Per Buffer setting.

Figure 8-3: Lowering the ‘Samples Per Buffer’ setting in MOTU Audio Console reduces patch thru latency. But doing so increases the processing load on your computer, so keep an eye on the Performance Monitor in your host audio software.

1. Live input (from mic, guitar, etc.) enters the MOTU interface.

2. CueMix FX immediately patches the live mic signal directly to the main outs (or other output), completely bypassing the computer. This signal could be dry, or with 828mk3 effects processing, such as EQ, compression or Classic Reverb.

Figure 8-2: This diagram shows the signal ﬂow when using CueMix FX no-latency monitoring. Notice that this method does not process the

live input with plug-ins in your audio software. Instead, you can apply 828mk3 effects, such as the reverb, EQ and/or compression.

REDUCING MONITORING LATENCY

3. Mic signal is mixed with the main outs, and you can control the volume (relative to the rest of the mix) with the mic’s fader in CueMix FX.

Page 62

Lower latency versus higher CPU overhead

The buffer setting has a large impact on the following things:

■ Patch thru latency

■ The load on your computer’s CPU

■ Possible distortion at the smallest settings

■ How responsive the transport controls are in

your audio software

The buffer setting presents you with a trade-off between the processing power of your computer and the delay of live audio as it is being patched through your software. If you reduce the size, you reduce patch thru latency, but signiﬁcantly increase the overall processing load on your computer, leaving less CPU bandwidth for things like realtime effects processing. On the other hand, if you increase the buffer size, you reduce the load on your computer, freeing up bandwidth for effects, mixing and other real-time operations.

If you are at a point in your recording project where you are not currently working with live, patchedthru material (e.g. you’re not recording vocals), or if you have a way of externally processing inputs, choose a higher buffer size. Depending on your computer’s CPU speed, you might ﬁnd that settings in the middle work best (256 to 1024).

Transport responsiveness

Buffer size also impacts how quickly your audio software will respond when you begin playback, although not by amounts that are very noticeable. Lowering the buffer size will make your software respond faster; raising the buffer size will make it a little bit slower, but barely enough to notice.

Effects processing and automated mixing

Reducing latency with the buffer size setting has another beneﬁt: it lets you route live inputs through the real-time effects processing and mix automation of your audio software.

CUEMIX FX HARDWARE MONITORING

The 828mk3 has a more direct method of patching audio through the system. This method employs the 828mk3’s CueMix FX digital mixer. When enabled, CueMix activates hardware patch-thru in the 828mk3 itself. CueMix FX has two important beneﬁts:

■ First, it completely eliminates the patch thru

delay (reducing it to a small number of samples — about the same amount as one of today’s digital mixers).

■ Secondly, CueMix FX imposes no strain on the

computer.

The trade-off, however, is that CueMix FX bypasses your host audio software. Instead, live audio inputs are patched directly through to outputs in the 828mk3 itself and are mixed with audio playback from your host audio software. This means that you cannot apply host-based plug-ins, mix automation, or other real-time effects that your audio software provides. But for inputs that don’t need these types of features, CueMix FX is the way to go.

On the other hand, if you really need to use the mixing and processing provided by your audio software, you should not use CueMix FX. Instead, reduce latency with the buffer setting (as explained earlier in this chapter).

TWO METHODS FOR CONTROLLING CUEMIX FX

There are two ways to control CueMix FX:

■ With CueMix FX

■ From within your host audio software (if it

supports direct hardware monitoring)

You can even use both methods simultaneously.

REDUCING MONITORING LATENCY

Page 63

Using CueMix FX

If your host audio sof tware does not suppor t direc t hardware monitoring, you run the CueMix FX so ft war e si de- by- sid e w ith you r au dio sof tw are and manage your monitor mix in CueMix FX.

CueMix FX allows you to create up to eight separate 828mk3 stereo mixes, or any other desired routing conﬁgurations. These routings are independent of your host audio software. For complete details, see chapter 9, “CueMix FX” (page 65).

Controlling CueMix FX from your audio software

Some ASIO-compatible audio applications, such as Cubase and Nuendo, allow you to control CueMix FX monitoring from within the application (without the need to use CueMix FX). In most cases, this support consists of patching an 828mk3 input directly to an output when you record-arm a track. Exactly how this is handled depends on the application.

CueMix FX routings that are made via host applications are made “under the hood”, which means that you won’t see them in CueMix FX. However, CueMix FX connections made inside your host audio software dovetail with any other mixes you’ve set up in CueMix FX. For example, if your host application routes audio to an output pair that is already being used in CueMix FX for an entirely separate mix bus, both audio streams will simply be merged to the output.

Controlling CueMix DSP from within Cubase or Nuendo

To turn on CueMix in Cubase or Nuendo, enable the Direct Monitoring check box in the Device Setup window.

Figure 8-4: Activating the Direct Monitoring option in Cubase or Nuendo.

Other ASIO 2.0-compatible host software

If your ASIO-compatible host audio software supports ASIO’s direct monitoring feature, consult your software documentation to learn how to enable this feature. Once enabled, it should work similarly as described for Cubase (as explained in the previous section).

Using CueMix DSP with WDM- or Wavecompatible software

Run CueMix Console (chapter 9, “CueMix FX” (page 65)) and use it to route live inputs directly to outputs, control their volume and panning, etc. If necessary, you can save your CueMix Console setup with your project ﬁle.

REDUCING MONITORING LATENCY

Page 64

REDUCING MONITORING LATENCY

Page 65

CHAPTER

9 CueMix FX

OVERVIEW

CueMix FX is a cross-platform software application that provides graphic, on-screen control for the 828mk3 Hybrid’s ﬂexible CueMix FX on-board mixer and effects processing.

CueMix FX can be used independently of host audio software, or together with it. CueMix dovetails with the direct monitoring features of your host audio software, allowing you to seemlessly mix in both environments.

For information about programming the 828mk3’s on-board mixing and effects using the front panel LCD, see chapter 6, “Front Panel Operation” (page 41).

A 16-bus mixer with EQ, compression and reverb . . . . 66

Advantages over host-based mixing and processing 66

CueMix FX installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

CueMix FX basic operation . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

The Mixes tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

The Inputs tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

The Outputs tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

The channel settings section . . . . . . . . . . . . . . . . . . . . . . . . . 75

The Monitor Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

DSP meter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Solo light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Talkback and listenback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

File menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Devices menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

FFT and Spectrogram display . . . . . . . . . . . . . . . . . . . . . . . . 92

Oscilloscope. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

X-Y Plot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Phase Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104

Tuner. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Conﬁgurations menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108

Talkback menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Phones menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

Control Surfaces menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

Page 66

A 16-BUS MIXER WITH EQ, COMPRESSION AND REVERB

All 828mk3 inputs and outputs can be routed to the on-board CueMix FX 16-bus (8 stereo bus) digital mixer driven by hardware-based DSP with 32-bit ﬂoating point precision.

The CueMix FX mixer allows you to apply nolatency effects processing to inputs, outputs or busses directly in the 828mk3 hardware, independent of the computer. Effects can even be applied when the 828mk3 is operating stand-alone (without a computer) as a complete rack-mounted mixer. Input signals to the computer can be recorded wet, dry, or dry with a wet monitor mix (for musicians during recording, for example).

DSP resources for at least one band of parametric EQ and compression on every channel at 48 kHz. DSP resources are allocated dynamically and a DSP meter in the CueMix FX software allows you to keep tabs on the 828mk3’s processing resources.

Each input, output and mix bus provides a send to the Classic Reverb processor, which then feeds reverb returns to mix busses and outputs, with a selectable split point between them to prevent send/return feedback loops.

ADVANTAGES OVER HOST-BASED MIXING AND PROCESSING

CueMix FX provides several major advantages over mixing and processing in your host audio sof tware:

Effects include:

■ Classic Reverb with tail lengths up to 60 seconds

■ 7-band parametric EQ modeled after British

analog console EQs

■ A standard compressor with conventional

threshold/ratio/attack/release/gain controls

■ The Leveler™, an accurate model of the

legendary LA-2A optical compressor, which provides vintage, musical automatic gain control

The 838mk3’s ﬂexible effects architecture allows you to apply EQ and compression on every input and output (a total of 58 channels), with enough

■ CueMix has no buffer latency. Thanks to the

828mk3’s DSP chip, CueMix provides the same throughput performance as a digital mixer.

■ CueMix mixing and effects processing imposes

no processor drain on the computer’s CPU.

■ CueMix routing can be maintained

independently of individual software applications or projects.

■ CueMix routing can operate without the

computer, allowing the 828mk3 to operate as a portable, stand-alone mixer with effects.

CUEMIX FX

Page 67

CUEMIX FX INSTALLATION

CueMix FX is installed with the rest of your 828mk3 software.

CUEMIX FX BASIC OPERATION

Here is a brief overview of the CueMix FX mixer.

Eight stereo mix busses

CueMix provides eight stereo mix busses: Bus 1, Bus 2, Bus 3, and so on. Each mix bus can take any number of inputs and mix them down to any 828mk3 output pair that you choose. For example, Bus 1 could go to the headphones, Bus 2 could go to the main outs, Bus 3 could go to a piece of outboard gear connected to analog outputs 7-8, etc.

Many inputs to one output pair

It might be useful to think of each mix bus as some nu mbe r of input s al l mix ed d own to a ste reo outp ut pair. CueMix FX lets you choose which inputs to include in the mix, and it lets you specify the level, pan and other input-speciﬁc mix controls for each input being fed into the mix.

Viewing one mix bus at a time

CueMix FX displays one mix bus at a time in the Mixes tab (Figure 9-2 on page 69). To select which mix you are viewing, choose it from the mix bus menu (Figure 9-2). The mix name appears above the mix bus master fader (Figure 9-2), where you can click the name to change it.

Channel

focus

Channel

scroll

bar

DSP

MIx bus

resources

meter

Solo light

Mic inputs Inputs split

Tabs for inputs, mix busses and

outputs

into mono

channels

828mk3

inputs

Inputs grouped as

stereo pairs

Mix bus

master

fader

Tabs for channel strip settings, including EQ and dynamics, as well as global settings such as

the meter bridge and reverb

processor.

Channel settings

Monitoring/

talkback

section

Monitor

group

metering

Grow box

Figure 9-1: CueMix FX is a virtual mixer that gives you control over the 828mk3’s on-board mixing features.

CUEMIX FX

Page 68

Each mix bus is independent

Each mix bus has its own settings. Settings for one bus will not affect another. For example, if an input is used for one bus, it will still be available for other busses. In addition, inputs can have a different volume, pan, mute and solo setting in each bus.

Input channels

The Inputs tab (Figure 9-3 on page 71) gives you access to settings for individual 828mk3 inputs (or input pairs), such as phase, trim, EQ and dynamics processing. Each input also includes a send to the 828mk3’s global reverb processor. These settings are applied to the signal before it goes anywhere else (to a mix bus or the computer).

Output channels

The Outputs tab (Figure 9-6 on page 74) gives you access to settings for each 828mk3 output pair, including EQ, dynamics processing and send/ return controls for feeding and returning the output signal to/from the 828mk3’s global reverb processor. These settings are applied to the signal just before it is sent to the output.

Channel focus and settings

Click the focus button for a channel (Figure 9-1) to view channel-speciﬁc parameters in the Channel Settings section of the CueMix FX window (Figure 9-1). Separate tabs are provided for channel-speciﬁc settings (channel strip, EQ and dynamics), plus the global meter bridge and reverb processor.

Global reverb processor

The 828mk3 has a global reverb module (Figure 9-23 on page 87). Once it has been activated, you can feed signals to the reverb processor from various points in the 828mk3 mix matrix via input sends, bus sends and output sends. Stereo output from the reverb processor can then be fed back to mix busses or output pairs using reverb returns.

Other features

CueMix offers many additional features, discussed in this chapter, such as talkback/listenback, extensive metering, graphic editing of certain effects parameters, monitor grouping and more.

Widening the CueMix FX window

To view more input faders at once, drag the righthand edge of the window to the right.

CUEMIX FX

Page 69

THE MIXES TAB

Click the Mixes tab (Figure 9-2) to gain access to the 828mk3’s eight stereo mix busses. The Mixes tab displays one mix bus at a time.

Viewing a mix

Choose the mix you wish to view from the mix bus menu (in the Mixes tab itself, as shown in Figure 9-2). The menu shows all mixes by name, followed by the 828mk3 output pair to which each bus master fader is currently assigned, if any.

Assigning a mix bus output

Choose the desired output pair for the mix bus from the bus output menu (Figure 9-2). The bus output menu displays all current available (enabled) 828mk3 output pairs. If a bus is already assigned to an output pair, the bus name appears next to the output pair name to indicate that the output pair is already taken by a bus. Only one bus can be assigned to any given output pair. If you choose an output already assigned to another bus, that bus output will become disabled.

Naming a mix

Click the mix name at the top of the mix bus master fader (Figure 9-2) to edit the name.

Mixes

Input name

Channel focus

Input pan section

Input fader

Input mute/solo

Input level meter

Mix bus

tab

Bus fader

The bus fader (Figure 9-2) controls the overall level of the mix (its volume on its stereo output). Use the individual input faders to the left to control individual input levels.

828mk3

inputs

Mix bus 1

master

fader

Bus name

Bus output

Bus Reverb send/return

Bus fader

Bus mute

Bus level meter

Scroll bar for input

channels

CUEMIX FX

Mic inputs Inputs grouped as

Figure 9-2: The Mixes tab.

stereo pairs

Page 70

Bus mute

The bus mute button (Figure 9-2) disables (silences) the mix.

Bus level meter

The bus level meter, which is post-fader, shows you the output for the mix’s output.

Bus reverb send/return

The bus reverb send (Figure 9-2) feeds the output of the mix bus, pre-fader, to the 828mk3’s global reverb processor, where it is merged with any other signals being fed to the reverb. The reverb’s output can then be fed back into the mixer at various return points, including the bus return (discussed below).

The bus reverb return (Figure 9-2) feeds the output of the 828mk3’s global reverb processor into the mix bus, pre-fader. This includes any other signals currently being fed to the reverb. The bus reverb return is disabled (grayed out) when the reverb Split Point is set to Output to eliminate the possibility for feedback loops created by reverb send/return loops. See “Split point” on page 87.

Input section

The horizontally scrolling area in the Mix tab to the left of the master fader (Figure 9-2) displays channel strips for all currently enabled 828mk3 inputs.

Balance

Balance works like the balance knob on some radios: turn it left and the right channel dims, turn it right and left channel dims. But the left channel always stays left and the right channel stays right.

Width

Widt h spreads the left and right channels across the stereo image, depending on the knob position. Maximum value (turning the pan knob all the way up) maintains the original stereo image: the left channel goes entirely left and right goes entirely right, without attenuation. The minimum value (turning the knob all the way down) creates a mono effect: equal amounts of left and right are combined and sent to both outputs. In between, the left out is a mixture of the left input and some of the right input (and vice-versa) with the effect of narrowing the ﬁeld.

Input fader and mute/solo

To add an input to a mix, or remove it, click its Mute button. To solo it, use its Solo button. Use the input fader (Figure 9-2) to adjust the level for the input in the mix. Note that an input can have different level, pan, mute and solo settings for different mixes. Input channel level meters are post-fader.

If any solo button on the current (active) bus is enabled, the Solo Light (Figure 9-1) will illuminate.

Input channel focus

Click the channel focus button (Figure 9-3) to view and edit parameters in the channel settings section of the CueMix FX window (Figure 9-7 on page 75). Clicking the mix bus master fader focus button brings the assigned output into focus, if there is one.

Input pan section

The input pan knob (Figure 9-2) pans the input across the bus stereo outputs. If the input itself is grouped as a stereo pair (in the Inputs tab), two forms of panning control are provided:

CUEMIX FX

Page 71

THE INPUTS TAB

The 828mk3 provides many features for managing analog and digital input signals. Some of these features, such as the 828mk3’s digitally controlled analog trims, are implemented in the analog domain; others are implemented in the digital domain as DSP applied to the digital signal (after the A/D converter on analog inputs). Click the Inputs tab (Figure 9-3) to access and control all of these input channel settings for each 828mk3 input or input pair.

Input tab settings are global

Except for the reverb send, all settings you make in the Input tab are applied to the input signal before it goes anywhere else (to a mix bus or the computer). For example, if you apply EQ and compression to the input signal, you will record the processed version of the signal in your host audio software running on the computer. If you need to

Inputs tab

Input name

Channel focus

Mono/stereo paring

Invert phase

Input trim

record a completely unprocessed input signal, do not apply any changes to it in the Input tab. The only exception to this is the reverb send, which simply splits the input signal and feeds a copy of it to the 828mk3’s reverb processor.

Signal ﬂows from top to bottom

Settings in each Input tab channel strip are generally applied to the signal in order from top to bottom. Input channel signal ﬂow is as follows: tr im, ove rload protection, phase , stereo vers us M/S deco ding , w idt h, L/R swap, EQ, dy namics and reverb send.

Input channel focus

Click the channel focus button (Figure 9-3) to view and edit parameters in the channel settings section of the CueMix FX window (Figure 9-7 on page 75).

EQ/dynamics graph

EQ/dynamics controls

EQ/dynamics

enable/disable

Reverb send

Input scroll bar

CUEMIX FX

Figure 9-3: The Inputs tab.

EQ band selectors

LP/HP ﬁlter selector Compressor selector

Page 72

Mono/stereo pairing

Click the Mono button (Figure 9-3) if you would li ke an inp ut to be treate d as a mono cha nnel . If you would like to work with it as one channel of a linked stereo pair, click the Stereo button. Inputs are grouped in odd/even pairs (mic 1-2, Analog 1-2, 3-4, etc.) Stereo pairs appear as a single channel strip in the CueMix FX mixer (in all tabs).

Invert phase

Click the Phase button (Figure 9-3) to invert the phase of the input signal. For stereo pairs, you can invert the phase for the left and right channels independently.

Input trim

All 828mk3 inputs, both analog and digital, offer continuously variable input trim. In all cases, trim level can be controlled digitally in 1 dB increments. This includes the digitally controlled analog trims on the two mic/guitar inputs on the front panel and the eight quarter-inch analog inputs on the back panel. Here is a summary of input trim ranges for each type of 828mk3 input:

Input

Mic/Guitar 0 dB 53 dB 53 dB

TRS analog inputs -96 dB +22 dB 118 dB

S/PDIF (RCA) 0 dB +12 dB 12 dB

ADAT optical 0 dB +12 dB 12 dB

S/PDIF (TOSLink) 0 dB +12 dB 12 dB

Trim cut

Trim boost

Trim Range

The controls in the EQ/Compression section of the Inputs tab (Figure 9-3) let you edit EQ and compression settings within the context of the channel strip. This is ideal when you are comparing settings among neighboring channels, or perhaps even applying the same setting across all inputs. However, for more detailed editing of EQ and compression settings for an input channel, you can click its Focus button and view the settings in the Channel Section of the CueMix FX window (Figure 9-1). This section even provides graphical editing of EQ curves and the compressor graph, allowing you to click and drag directly on the graphic. For details see “The channel settings section” on page 75.

The EQ/Dynamics graph

The EQ/Dynamics graph for each input channel strip (Figure 9-3) provides a thumbnail view of the EQ curves or Compressor graph for the channel. This graphic is for display purposes only; it cannot be edited directly. To change the EQ settings in this graph, use the two or three knobs below, as explained in the following sections. If, however, you would like to edit the EQ curves graphically, you can do so in the EQ tab (Figure 9-10 on page 77).

EQ/Dynamics selectors

The EQ/Dynamics selector buttons along the right-hand edge of the EQ/Dynamics section (Figure 9-3) allow you to choose what you are viewing and editing in the EQ/Dynamics section.

Once you adjust the trim levels, you can save them as a ﬁle on disk for future instant recall. See “Saving and loading hardware presets” on page 91 and “Conﬁgurations menu” on page 108.

Input EQ and dynamics

The 828mk3 lets you apply 7-band parametric EQ and dynamics processing (DSP) to any input, analog or digital.

Figure 9-4: The EQ/Dynamics selectors.

Orange Green Blue Red

Yellow White Black

EQ band selectors

LP/HP ﬁlter selector Compressor selector

Colored knobs

CUEMIX FX

Page 73

Click the selector (Figure 9-4) for the desired EQ band, low-pass (LP) ﬁlter, high pass (HP) ﬁlter or compressor to view it across all channels.

Compressor

graph

Figure 9-5: The Compressor controls.

Compressor

meter

Compressor

selector

☛ Shortcut: hold down the Option/Alt key while

clicking an EQ selector button to show just that band of EQ in the graphs. Click any selector again to return to viewing all bands.

Using the EQ/Dynamics knobs

Once you have chosen the desired EQ band, or the compressor, you can modify its settings using the two or three knobs below the graph. The knobs match the color of the currently selected effect, to help remind you of which effect you are currently editing.

☛ Important: before you can modify the settings

of an EQ band using the three knobs below the graph, the EQ band must be enabled. This is done in the EQ tab (Figure 9-10), as explained in “Enabling EQ” on page 77.

EQ/Dynamics enable/disable buttons

Click the EQ or Dynamics button at the bottom of the input channel (Figure 9-3) to toggle the effect on or off. Note that you can program EQ and compressor settings, even when the effect is currently disabled. (You just won’t hear the result until you enable it.)

Reverb send

The input reverb send (Figure 9-3) feeds the input signal to the 828mk3’s global reverb processor, where it is merged with any other signals being fed to the reverb. The reverb’s output can then be fed back into a mix or output pair. The send occurs after all other settings in the input channel strip (phase invert, EQ, compression, etc.)

THE OUTPUTS TAB

The Outputs tab (Figure 9-6) lets you apply EQ, dynamics and reverb to any output pair, just before the signal leaves the 828mk3. This is processing that occurs at the very end of the signal ﬂow, after everything else (host based effects, 828mk3 input or bus processing, mixing, and so on). Processing is done in the digital domain, just before the signal goes analog through the D/A converter. Output tab processing is applied to the entire output mix (all signals being mixed to the output from various sources).

Signal ﬂows from top to bottom

Settings in each Output tab channel strip are applied to the signal in order from top to bottom. For example, EQ occurs before Dynamics, which is applied before the reverb send and return.

Output channel focus

Click the channel focus button (Figure 9-6) to view and edit parameters in the channel settings section of the CueMix FX window (Figure 9-7 on page 75).

Output EQ and Dynamics

The EQ/Dynamics section in the Outputs tab (Figure 9-6) works identically to the EQ/Dynamics section for the Inputs tab (Figure 9-3). See “Input EQ and dynamics” on page 72.

Output reverb send/return

The output reverb send (Figure 9-6) feeds the signal for the output to the 828mk3’s global reverb processor, where it is merged with any other signals being fed to the reverb. The reverb’s output can

CUEMIX FX

Page 74

then be fed back into the mixer at various return points, including the same output from which it was sent (discussed below). The output reverb send is disabled (grayed out) when the reverb Split Point is set to Mix to eliminate the possibility for feedback loops created by reverb send/return loops. See “Split point” on page 87.

The output reverb return (Figure 9-6) feeds the output of the 828mk3’s global reverb processor directly to the output. This includes any other signals currently being fed to the reverb.

Both the send and return occur after EQ and dynamics processing, but before listenback and talkback.

Talkback/Listenback

Click the Ta l k b a c k or Listenback buttons (Figure 9-6) to toggle whether the output pair is included in the Talkback or Listenback group. See “Talkback and listenback” on page 89.

Outputs tab

Monitor group assign

Click the Monitor buttons (Figure 9-6) to toggle whether the output pair is included in the Monitor group. See “The Monitor Group” on page 88.

EQ/Dynamics graph

EQ/Dynamics controls

Talkback/listenback

Monitor group assign

Output name

Channel focus

EQ/Dynamics

enable/disable

Output reverb

send/return

enable/disable

Figure 9-6: The Outputs tab.

EQ band selectors

LP/HP ﬁlter selector Compressor selector

CUEMIX FX

Page 75

THE CHANNEL SETTINGS SECTION

The channel settings section in the CueMix FX window (Figure 9-1) displays three tabs for Channel, EQ and Dynamics settings for the channel with the current focus. There are also two global tabs: the Meter Bridge and the Reverb Processor, as shown below.

The Channel tab

The Channel tab (Figure 9-8) displays settings for input channels. Click any focus button in the Inputs tab to view the Channel tab settings for the channel.

Tabs for the channel that

currently has the focus

Figure 9-7: The Channel Settings section.

CUEMIX FX

Tabs for the global meter

bridge and reverb processor

Figure 9-8: The Channel tab.

Signal ﬂow

Settings in the Channel tab occur just before the EQ, dynamics and reverb sends in the Input tab channel strip (Figure 9-3 on page 71). Input channel signal ﬂow is as follows: trim, overload protection, phase, stereo versus M/S decoding, width, L/R swap, EQ, dynamics and reverb send.

Pad and phantom

The Pad and phantom settings become active (ungrayed) when the focus is on a mic input (or both mic inputs). These are the same 20 dB pad and 48V phantom power settings that you can also control from the 828mk3 front panel TRIM encoders. There are separate settings for each mic input.

Page 76

Stereo settings

Inputs t hat have be en grou ped a s ste reo p airs in the Inputs tab (Figure 9-3) provide two stereo modes (Figure 9-8): Nor mal and M/S. M/S mode provides decoding for a mid-side microphone conﬁguration.

The Width knob (Figure 9-8) provides control over the stereo imaging, going from a full stereo image to mono (both channels panned equally). See “Width” on page 70.

The Swap L/R button (Figure 9-8) lets you switch the left and right channels.

Overload protection (mic/guitar inputs only)

The Overload Protection section (Figure 9-8) provides two features that help prevent digital clipping on the two front-panel mic/guitar inputs. These options are only available on these two preamp-equipped inputs.

V-L imi t™ (Figure 9-8) is a hardware limiter that helps prevent digital clipping from overloaded input signals. With V-Limit engaged, signals can go above zero dB (with limiting applied) to as high as +12 dB above zero with no distortion due to digital clipping. Click the Lookahead option for even better protection against sharp transients.

Additional or alternative protection can be applied to the mic/guitar inputs by enabling Soft Clip (Figure 9-8). When enabled, Soft Clip engages just before clipping occurs and helps further reduce perceptible distortion.

Ta l kb ac k s ec ti on

Click the Ta l k b a c k or Listenback button (Figure 9-8) to toggle whether the input is the Talkback or Listenback input. Only one input can be the talkback input, and only one input can be the listenback input. See “Talkback and listenback” on page 89.

Reverb section

The Send in the reverb section (Figure 9-8) is the same control as the reverb send in the Input tab channel strip (Figure 9-3). See “Reverb send” on page 73. If the input is currently not grouped as a stereo pair in the Input tab (it is operating as a mono input), use the reverb Pan knob (Figure 9-8) to pan the mono signal for the stereo reverb processor.

Input meter and bus activity LEDs

When the Channel tab is active (Figure 9-8), the display above the tab provides a horizontal level meter and eight bus activity LEDs (Figure 9-9).

Bus activity LEDs

Figure 9-9: Input meter and bus activity LEDs.

The input level meter (Figure 9-9) is the same as the input meters in the Meters tab (Figure 9-22 on page 86) with the Pre FX button engaged, which shows the input level on the physical input itself, be fore any pro ce ssi ng of any ki nd o cc urs wi th in th e 828mk3. This meter gives you the most accurate reading of the actual signal level hitting the input, regardless of any other settings (such as V-Limit, Soft Clip and so on). The clip indicator, however, happens after V-Limit and/or Soft Clip. This allows you to see when clipping occurs, even with these overload protection features engaged.

The Bus Activity LEDs (Figure 9-9) show you which mix busses the input signal is being fed to. For example, LED #6 will glow under the following conditions: the input is unmuted in mix bus 6, its fader is up, and there is signal activity from the input going into the mix bus.

CUEMIX FX

Page 77

The EQ tab

The EQ tab (Figure 9-10) displays the EQ settings for the input or output channel that currently has the focus. Click any focus button in the Inputs or Outputs tab to view the EQ tab settings for the channel.

display provides comprehensive control and visual feedback of the EQ curve being applied. With 64-bit ﬂoating point processing, the 828mk3 Vintage EQ has been carefully crafted and meticulously engineered to produce musical results in a wide variety of applications.

Vintage EQ

Inspired by legendary British large console EQs, the 828mk3 Vintage EQ section (Figure 9-10) gives you the look, feel and sound of the most soughtafter classic equalizers. Five bands of center frequency parametric EQ ﬁltering are provided, each with four EQ types that provide current popular EQ styles and vintage analog EQ styles alike. Two bands include shelf ﬁltering. Two additional bands of variable slope low pass and high pass ﬁltering are provided. The ﬁlter response

Q handles

(red lines)

Filter response display

Filter display options menu

Parameter display

EQ tab

EQ ﬁlter

Enabling EQ

Each input and output channel has a global EQ enable/disable button (Figure 9-3 and Figure 9-6).

This button enables or disables all bands of EQ for the channel. In addition, each individual band of EQ has a Filter enable/disable switch (Figure 9-10), allowing you to enable as few or as many bands as needed for each individual channel.

Filter

handle

Composite

curve

(white line)

Individual

ﬁlter curve

(colored area)

Vertical scale

Filter enable/disable

CUEMIX FX

EQ Filter types

Shelf ﬁlter

Low-pass ﬁlter

High-pass ﬁlter

Slope

High-pass frequency

Figure 9-10: The EQ tab.

Page 78

Vintage EQ Quick reference

Filter response display: Shows the response curve

for the current settings.

Composite curve (white line): shows the overall

response curve of the current settings in the window.

Vertical scale: Lets you zoom the vertical scale of

the ﬁlter response display.

Parameter display: Shows the precise numbers of

the parameter you are adjusting (or hovering over with the arrow cursor). The labels (frequency, gain, etc.) match the color of the ﬁlter being displayed. When a ﬁlter handle is not selected and when the cursor is not hovering over the display, the parameter display shows the name of the current channel being edited (the channel that currently has the focus), as shown below:

The name of the channel being EQ’d.

Figure 9-11: When a ﬁlter handle is not selected and when the cursor is not hovering over the display, the parameter display shows the name of the current channel being edited (the channel that currently has the focus).

EQ ﬁlter: one of ﬁve center bands of EQ that can be

independently enabled and programmed.

Filter t ype: Le ts you choos e fr om on e of four o r ﬁve

EQ styles for each independent band of EQ.

Low/High Pass ﬁlter: Both a lo w pa ss a nd h igh p ass

ﬁlter are supplied with six different slope settings.

Slope: Lets you choose the slope (fall off) charac-

teristics of the low pass and high pass ﬁlter.

Q handle: Drag the Q handle lines to graphically

adjust the Q setting for the currently selected ﬁlter. To select the ﬁlter, click its ﬁlter handle.

Individual ﬁlter curve: Each ﬁlter has a color

(indicated by its knobs). When ﬁlter curves are being displayed (the ﬁlter curve option is turned on), each individual ﬁlter’s response curve is displayed in the ﬁlter’s color.

Filter display options menu: Provides several

options for controlling the ﬁlter display.

Filter enable/disable: Turns the ﬁlter on or off.

How the vintage EQ works

The Vintage EQ operates like a standard EQ ﬁlter, but with much more sophisticated processing algorithms “under the hood”. There are ﬁve bands of EQ, each with their own unique knob color, plus additional low pass and high pass ﬁlters. Each ﬁlter can be set to any center frequency you wish.

Each ﬁlter can be independently turned on or off with the enable/disable button (Figure 9-10). Each ﬁlter can be set to one of four different ﬁlter types (I, II, III or IV). The two top-most ﬁlters (orange and green) provide an extra low and high shelf setting, in addition to the four standard band settings. The additional low pass and high pass ﬁlt ers (low er left ) have gray cutof f frequenc y knobs and six settings for slope (in octaves/dB).

Frequency response display

The frequency response display at the top of the window displays the response curve of the current settings in the window. The (horizontal) frequency range is from 10 hertz to 20 KHz. The (vertical) amplitude scale is in dB and is adjustable between 3 and 24 dB using the vertical scale buttons (Figure 9-10).

Filter handle: Drag this handle to graphically

adjust the ﬁlter’s boost/cut and/or frequency.

CUEMIX FX

Page 79

Adjusting ﬁlters in the display

Each ﬁlter has a handle, displayed as shown below in Figure 9-12 (in the ﬁlter’s color), for adjusting its boost/cut and/or frequency:

Filter types

Each ﬁlter can be independently set to one of four different ﬁlter types: I, II, III and IV. These, and the additional shelf ﬁlters for the LMF and HMF band, are discussed in the section “EQ ﬁlter styles”.

Filter handle

Filter Q (red line)

Figure 9-12: Drag the ﬁlter handle to adjust its frequency and/or boost/cut. Drag the Filter Q handles to adjust the Q.

For the EQ ﬁlters, when you click the handle, you’ll also see lines on either side for adjusting the Q parameter, as shown above.

☛ Shortcut: hold down the Option/Alt key while

cl ickin g an EQ ﬁlter handl e to enab le or bypa ss t hat EQ ﬁlter band.

EQ ﬁlters

The EQ ﬁlters have three parameters:

Control unit range

Gain dB -20.00 to +20.00

Frequency Hertz 20 Hz to 20 kHz

Q n/a - see note below 0.01 to 3.00

The Q setting does not have a unit of measurement. Rather, it is the ratio of the ﬁlter’s center frequency to the bandwidth of the ﬁlter. In addition, the actual Q value for the EQ curve being applied is dependent on three factors: the gain setting, the ﬁlter style, and the Q setting.

Returning to zero (or nominal frequency)

To return a knob to zero, or it’s nominal frequency, double-click it.

EQ ﬁlter styles

EQ is one of the most widely used processing tools and can be applied to many different situations, from minor corrective tasks to highly creative applications. Over the years, many EQs have been engineered for speciﬁc applications or to achieve a certain sound. The Vintage EQ has been designed to be ﬂexible enough to cover a broad range of applications. To that end, several different ﬁlter types are supplied, varying mostly in the way they handle the dynamic interaction between Gain and Q. This crucial relationship has been modeled to emulate the smooth and musical character of classic analog EQ circuits, in which the Gain/Q dependency was dictated by the actual circuit design and electrical components used.

The following sections describe the character of each type of EQ ﬁlter and their suggested applications. In the illustrations for each ﬁlter style (Figure 9-13 through Figure 9-16), the settings for the three example curves are the same for the purpose of comparison:

■ Frequency = 1.00 kHz

■ Q = 1

■ Gain = +3, +10 and +20 dB

CUEMIX FX

Page 80

Typ e I

Typ e II

Figure 9-13: Type I EQ ﬁlter style.

The Typ e I EQ ﬁlter has the least amount of Gain/Q interaction, providing the most precision and control of all the EQ ﬁlter types. Even small ad justm ent s in gain o r reduct ion pro duce rel ativ ely high Q. This EQ style is best for situations that call for precise EQ adjustments requiring the maximum amount of individual parameter control. For more general shaping (e.g. full mixes) or subtle control (e.g. vocals), the other styles discussed in the following sections might be more appropriate. This ﬁlter type is the most similar to a standard parametric EQ.

Figure 9-14: Type II EQ ﬁlter style.

The Typ e I I EQ ﬁlter produces constant Q response during boost or cut. The Type II style emulates several classic legacy EQs and produces good results for resonance control on drums and percussion because it provides relatively high Q values with more extreme gain or cut settings.

CUEMIX FX

Page 81

Type III

Typ e IV

Figure 9-15: Type III EQ ﬁlter style.

The Type III EQ ﬁlter increases Q as boost is applied. Therefore, lower amounts of boost provide a softer, “wider” EQ effect (since the affected frequency range widens), while higher boost tends to sound louder and more “up front”, due to the increase in Q as the gain is increased. The more gentle Q curve at lower settings is well suited for overall EQ ﬁlls and more subtle corrections in instrument and vocal sources. Boosting or cutting by small amounts will seem to produce the effect that your ear expects, without the need to adjust Q. As a result, this ﬁlter style, and similar EQs with this characteristic behavior, are often referred to as being more “musical”. More speciﬁcally, this style emulates the classic Neve EQs, their modern derivatives and later SSL G series EQs. Many current popular outboard “boutique” EQs exhibit this same gain/Q relationship.

CUEMIX FX

Figure 9-16: Type IV EQ ﬁlter style.

The Typ e I V EQ ﬁlter is a more extreme for m of the Type III ﬁlter. It exhibits a high degree of interaction between Q and gain in order to maintain as closely as possible an equal amount of area under the response curve as gain is adjusted. Type IV is the most gentle of the four EQ st yles and is ideal for large scale EQ adjustments, especially on sub-mixes and complete mixes. This EQ style is also ideal for any applications where subtle changes in the overall character of the sound are desired. For example, it can be used for mastering applications, such as the overall adjustments that must often be applied to entire tracks to match other tracks on the album.

Page 82

Shelf ﬁlters

response corresponds to a second order shelf, still with no overshoot. This is the same response as conventional parametric EQs. In some situations, this form of accurate, clean shelving can sound harsh, especially when compared to legacy analog EQs. To soften the results, the overshoot is increased as Q is increased, as shown Figure 9-17 for Q values of 1.00, 2.00 and 3.00. This overshoot region produces a boost in frequencies just above the cutoff, which compensates in a smooth, more pleasing fashion for the perceived drop in low frequencies being cut.

Conversely, when shelving boost is being applied, overshoot cuts frequencies just above the cutoff to again compensate in a smooth and pleasing fashion for the perceived boost in low frequencies:

Figure 9-17: Shelf ﬁlter Q parameter overshoot.

When two top-most bands in the EQ tab are set to their shelf ﬁlter setting (Figure 9-10), the Q parameter controls the amount of overshoot applied to the response curve, as illustrated in Figure 9-17. When Q = 0.01 (the lowest setting), normal shelving is applied with no overshoot. This produces the response provided by a ﬁrst order shelf. When Q = 1.0 (the default setting), the

Figure 9-18: Overshoot when low shelf boost is applied.

Overshoot is also applied to high shelf boost and cut:

Figure 9-19: Overshoot when high shelf cut and boost is applied.

CUEMIX FX

Page 83

Overshoot tends to produce more of what one would expect to hear when applying shelving and is therefore considered to be more musical than shelving without overshoot. This effect, which has gained tremendous popularity among audio engineers, was ﬁrst made popular in original Neve series EQs and later in the SSL G series.

Slope = 6

At maximum the maximum Q setting of 3.00, the overshoot peaks at half the total boosted (or cut) gain. For example, with a maximum gain setting of +20dB, the loss in the overshoot region is -10 dB.

Overshoot curves are symmetrical for both cut and boost.

Low pass and high pass ﬁlters

The Vintage EQ low and high pass ﬁlters are similar to those found in most conventional parametric EQs (which usually have a ﬁxed slope of 12 dB per octave), except that Vintage EQ provides six different slope (roll off) settings: 6, 12, 18, 24, 30 and 36 dB per octave. This control over the shape of the “knee” gives you a great deal ﬂexibility and control for a wide variety of applications.

Slope = 18

Slope = 36

Figure 9-20: The low pass ﬁlter with three example slope settings.

CUEMIX FX

Page 84

The Dynamics tab

The Dynamics tab (Figure 9-21) displays the Dynamics processing settings for the input or output channel that currently has the focus. Click any focus button in the Inputs or Outputs tab to view the Dynamics tab settings for the channel.

Input

Output

Gain

level

meter

level

meter

reduction

meter

Threshold

Tri m

Dynamics tab

Compressor enable/disable

Leveler enable/disable

Compressor

The Compressor (Figure 9-21) lowers the level of the input when it is above the threshold. The amount of attenuation is determined by the Ratio and the input level. If the input is 6 dB above the Threshold and the Ratio is 3:1, then the output will be 2 dB above the Threshold. When the input level goes above the threshold, the attenuation is added gradually to reduce distortion. The rate at which the attenuation is added is determined by the Attack parameter. Likewise, when the input level falls below the Threshold, the attenuation is removed gradually. The rate at which the attenuation is removed is determined by the Release parameter. Long Release times may cause the audio to drop out brieﬂy when a soft passage follows a loud passage. Short Release times may cause the attenuation to pump when the average input level quickly ﬂuctuates above and below the Threshold.

These sorts of issues can be addressed by applying the Leveler instead.

Figure 9-21: The Dynamics tab.

Enabling Dynamics

Each input and output channel has a global Dynamics enable/disable button (Figure 9-3 and Figure 9-6). This button enables or disables all dynamics processing for the channel. In addition, the Dynamics tab has two different dynamics processors, the Compressor and Leveler, which can be individually enabled or disabled (Figure 9-21) for the channel.

Graphic adjustment of the Threshold

The Threshold can be adjusted by turning the Threshold knob or by dragging the Threshold line directly in the compressor graph (Figure 9-21).

Input level meter

The Input Le vel meter (Figure 9-21) shows the level of the input signal before it enters the compressor. It shows either the peak level or the RMS level, depending on which mode is currently chosen.

Gain reduction (GR) meter

The Gain reduction (GR) level meter (Figure 9-21) displays the current amount of attenuation applied by the compressor.

Output level

The Output Level meter (Figure 9-21) displays the peaks of the output signal. Trim is applied before the Output Level meter.

CUEMIX FX

Page 85

Peak/RMS modes

In RMS mode the compressor uses RMS values (a computational method for determining overall loudness) to measure the input level. In Peak mode, the compressor uses signal peaks to determine the input level. RMS mode will let peaks through because the detector sidechain is only looking at the average signal level. Peak mode will react to br ief pea ks. Pea k mo de is gen erall y used for d rum s, percussion and other source material with strong transients, while RMS mode is mostly used for everything else.

The input meters show either the peak level or the RMS level, depending on the mode.

Leveler

The Leveler™ (Figure 9-21) provides an accurate model of the legendary Teletronix™ LA-2A® optical compressor, known for its unique and highly sought-after Automatic Gain Control (AGC) characteristics. The 828mk3 Leveler faithfully models the LA-2A using the on-board DSP with 32-bit ﬂoating point precision.

A model of an optical compressor

The simplest description of an optical leveling ampliﬁer device is a light shining on a photoresistor. The intensity of the light source is proportional to the audio signal, and the resistance of the photoresistor is in turn inversely proportional to the intensity of the light. Photoresistors respond quite quickly to increases in light intensity, yet return to their dark resistance very slowly. Thus, incorporation of the photoresistor into an attenuator followed by an ampliﬁer which provides make-up gain produces a signal which maintains a constant overall loudness.

Automatic gain control using light

The the Automatic Gain Control (AGC) circuit of the LA-2A uses a vintage opto-coupler known by its model number (T4). The T4 contains an electroluminescent panel (ELP) and photoresistor

mounted so that the emission of the panel modulates the resistance. An ELP consists of a thin layer of phosphorescent material sandwiched between two insulated electrodes to form a capacitor. Making one of the electrodes transparent allows the light to escape. These devices are essentially glow-in-the-dark paint on a piece of foil covered by metalized glass or plastic, and are the same devices used in low-power night lights. Unfortunately, these devices need high voltages to operate, and are best driven by tube circuits which can supply voltage swings of several hundred volts.

Response characteristics

Once the light has faded away, the photoresistor then decays back to its dark state. The shape of the decay curve varies depending on how bright the light was, and how long the light lasted. A general rule of thumb is that the louder the program, the slower the release. Typically, the release can take up to and over one minute. One thing to keep in mind when using these types of devices is that the typical concepts of compression ratio, attack, release, and threshold do not apply. The light intensity is determined by the highly non-linear interactions of the input signal, AGC circuit, and ELP, and thus exhibit a strong program dependence that is impossible to describe without the mind-numbing mathematics of statistical mechanics. The actual results, however, can be almost mystical: even when you feed the same material (a loop perhaps) through the Leveler twice, you’ll often see a new response the second time through a loop, complete with unique attack times, release times and compression ratios. Furthermore, two different input signals with the same RMS levels may be leveled in a drastically different manner.

CUEMIX FX

Page 86

It is precisely this self-adjusting behavior that makes optical compressors the tool of choice for smoothing out vocals, bass guitar and fullprogram mixes without destroying perceived dynamics.

Compressor/Limit buttons

The Comp and Limit buttons (Figure 9-21) model the original LA-2A Limit/Compress mode switch. The effect is very subtle, with the Limit option behaving only slightly more like a limiter than a compressor. The switch increases the level of the input to the AGC model and runs the attenuator at a slightly lower level. The Leveler then responds more strongly to transients, but otherwise still behaves like a leveling ampliﬁer.

Gain Reduction

Gain Reduction (Figure 9-21) sets the strength of the signal sent to the AGC model.

Makeup Gain

Makeup gain (Figure 9-21) ampliﬁes the output signal to make up for gain reduction.

The Meters tab

The Meters tab (Figure 9-22) serves as a comprehensive meter bridge for all inputs, outputs and mix busses in the 828mk3. This tab gives you a “bird’s-eye” view of all signal activity in the 828mk3; it is ideal for conﬁrming your signal routing programming and for troubleshooting.

Bus activity LEDs (inputs only)

Channel meter display

Meters tab

Pre/post processing switch

Enabling or disabling the Leveler

The Leveler models the LA-2A so closely, it also models the time it takes for an actual LA-2A to “warm up” after it is turned on. Therefore, when you enable the Leveler, give it a moment to “settle” before you begin processing signals with it.

Figure 9-22: The Meters tab.

Channel meter display

The channel meter display (Figure 9-22) provides a long-throw meter for the input or output that currently has the focus in the Input/Output tabs.

Bus activity LEDs (inputs only)

The Bus activity LEDs (Figure 9-22) are present only for inputs. See “Input meter and bus activity LEDs” on page 76.

Pre/post processing switch

The pre/post processing switch (Figure 9-22) affects all input meters (and the meter in the channel meter display above the tab, if this area is

CUEMIX FX

Page 87

displaying an input meter). Click Pre to view levels before any input channel processing besides trim;

click Post to view levels after all channel processing (EQ, compression, M/S decoding, L/R swap, etc.)

The Reverb tab

The Reverb tab (Figure 9-23) provides access to the 828mk3’s single, global reverb processor, which provides high-ﬁdelity reverberation and graphic control over its parameters.

Routing inputs, busses and outputs to the reverb processor

The reverb processor is a single, independent unit that provides stereo reverb.You can route multiple signals to it from various points (sends) in the CueMix FX mixer, but all incoming signals to the reverb processor are merged and processed together. The resulting stereo output from the reverb can then be inserted into a mix bus or output using stereo returns.

Low band

(yellow)

Figure 9-23: The Reverb tab.

Mid band reverb

time handle

High band

(purple)

Crossover handle

Reverb enable/disable

Enabling reverb

Use the enable/disable button (Figure 9-23) to turn the reverb processor on or off. Since reverb uses considerable DSP resources, it is best to leave it off when you are not using it.

Reverb sends

The following signals can be sent to the reverb processor via their corresponding sends (discussed earlier in this chapter):

■ Mono or stereo inputs (Figure 9-3 on page 71)

■ Mix bus output (Figure 9-2 on page 69)

■ Outputs (Figure 9-6 on page 74)

Reverb returns

The stereo output from the reverb processor can be sent to the following destinations via their corresponding returns (discussed earlier in this chapter):

■ Mix bus outputs

■ Outputs

■ The computer (via the Reverb Return bus)

Split point

The Split Point (Figure 9-23) prevents feedback loops that would be caused by a sig nal be ing s ent to the reverb processor and then returned to the same signal path.

Mix

When the Split Point is set to Mix, the returns in the Mix bus tab become active and the sends in the Output tab gray out. This allows you to send from inputs and mixes and return to mixes and outputs.

CUEMIX FX

Page 88

Output

When the Split Point is set to Output, the sends in Output tab become active and the returns in the Mix bus tab gray out. This allows you to send from inputs, mixes and outputs and return to outputs.

Primary controls

The Primary Controls section (Figure 9-23) in the Reverb tab provides the following basic parameters for programming the reverb.

Reverb Time

Reverb time determines the length of decay, or tail, of the reverb. This is a global setting for the reverb processor. You can further reﬁne the tails by independently setting the reverb time of three separate frequency bands, as discussed below in the Reverb Design section.

PreDelay

PreDelay is the amount of time before you hear the very ﬁrst reﬂections. If you are in a large room, it takes a while before the ﬁrst reﬂections return. PreDelay is useful for clarifying the original sound. For example, with vocals, the reﬂections won’t start until after the initial sound of a word has been sung.

types of spaces. The Size and Level parameters let you control the size of the room and the strength of the initial reﬂections.

☛ Here’s a tip: try using initial reﬂections

without any subsequent reverb (turn the reverb time down as far as it will go). You’ll hear interesting and unusual effects.

Reverb design

The Reverb Design section allows you to independently control the reverb time for three separate frequency bands (Low, Mid and High) with adjustable cross-over points between them (Low and High). The reverb time for each band is sp eciﬁe d in perc ent o f th e ove ral l rever b tim e in th e Primary Controls section at the top of the tab.

You can edit these parameters graphically by dragging the handles in the graphic display (Figure 9-23).

Widt h does what its name implies: if you turn this control all the way up, the result is maximum stereo imaging. A position of 12 o’clock produces essentially a mono image. Turning the control all the way down completely swaps the stereo image.

Shelf Filter

The Shelf Filter is a low-pass ﬁlter that controls the high frequency characteristics of the overall effect. Frequency sets the cutoff frequency for the ﬁlter and Cut sets the amount of signal attenuation applied by the ﬁlter.

Early reﬂections

Initial reﬂections give a space its unique sound. The shape of the room, the angles of the walls, even furniture in the room will produce a series of Initial Reﬂections. Think of the early reﬂections and room type as the “ﬂavor” of the reverb. You can choose between several types of rooms. These are acoustic models for simulating these different

THE MONITOR GROUP

The monitor group is a set of 828mk3 outputs that can be controlled with the master Monitor Level knob in upper right corner of the CueMix FX mixer window (Figure 9-24), as well as the MASTER VOL knob on the 828mk3 front panel.

Monitor group presets menu

Figure 9-24: Monitor group volume control from CueMix FX and the front panel MASTER VOL knob.

CUEMIX FX

Page 89

Assigning outputs to the monitor group

Any combination of outputs can be assigned to the monitor group. To include an output pair in the monitor group, click its Monitor button in the Outputs tab (Figure 9-6 on page 74).

EQ on a stereo channel requires approximately twice the DSP resources as the same EQ on a mono channel. The Compressor (2.5 x 1 EQ band) and Leveler (4 x 1 EQ band) require about the same DSP resources for a mono or stereo channel.

Monitor group presets menu

The monitor group presets menu (Figure 9-24) provides several presets for commonly used monitor groups:

Monitor group preset Output assignment

Main Outs Main Out 1-2

Stereo Analog Out 1-2

Quad Analog Out 1-4

5.1 Analog Out 1-6

7.1 Analog Out 1-8

If you program your own monitor output group, the presets menu displays the words user def. (user deﬁned).

Monitor group meters

The monitor group meters (Figure 9-1 on page 67) show levels for any/all output pairs that are currently included in the monitor group. The wi dth of the m eters sca les prop ort ionall y so t hat a ll current monitor group outputs will ﬁt within the prescribed space for the meters. If many outputs are included, then the meters will look fairly thin, but they will all be included in the meter.

SOLO LIGHT

The Solo light (Figure 9-1) illuminates when any input in the current (active) mix bus is soloed (even if it is currently scrolled off-screen).

TALKBACK AND LISTENBACK

CueMix FX provides Ta l k b a c k and Listenback buttons. Talkback allows an engineer in the control room to temporarily dim all audio and talk to musicians in the live room. Conversely, Listenback allows musicians to talk to the control room.

Hardware setup

Figure 9-25 below shows a typical hardware setup for Talkback and Listenback. For Talkback, set up a dedicated mic in your control room and connect it to a mic input on your MOTU audio interface. For Listenback, set up a dedicated listenback mic in the live room for the musicians and connect it to another mic input (or just use one of the mics you are recording from). For talkback output, set up a headphone distribution amp or set of speakers in the live room, and connect it to any 828mk3 output, as demonstrated below in Figure 9-25.

DSP METER

The DSP meter (Figure 9-1) shows how much of the available DSP processing power is currently being used by the 828mk3 for effects processing. DSP resources are allocated in channel order from the ﬁrst input to the last output. If there aren’t enough DSP resources for all effects to be enabled on a channel, none of them are allocated on that channel or any following channel.

CUEMIX FX

Page 90

Talkback mic

Control room

engaged. To completely silence all other CueMix audio, turn them all the way down. attenuation only occurs when talkback or listenback is engaged. Audio playing back from disk (your host software) is not affected.

Main outs

Analog out 7-8

Live room

Headphone distribution amp

Listenback mic

Figure 9-25: Typical hardware setup for Talkback and Listenback.

Talkback / Listenback Mic Input

To conﬁgure the talkback mic in CueMix FX, go to the Inputs tab (Figure 9-3 on page 71) and click the Focus button for the input that the talkback mic is connected to. Click the Channel tab (Figure 9-8 on page 75) and enable the Tal k button.

Repeat this procedure for the Listenback mic, except click the Listen button in the Channel tab.

Talk / Listen output

To conﬁgure the talkback and listen back outputs, go to the Outputs tab (Figure 9-6 on page 74) and enable the Ta l k but ton for any out put p air on w hich you’d like to hear the talkback mic. Similarly, enable the Listen button for any output pair on which you’d like to hear the listenback mic.

Talkback / Listenback Monitor Dim

Use the knobs next to the Talk and Listen buttons (Figure 9-26) to determine the amount of attenuation you would like to apply to all other audio signals (besides the talkback/listenback signal) when Talkback and/or Listenback is

Tal k d im

Listen dim

Figure 9-26: The Talkback/Listenback controls.

Engaging/disengaging Talkback and Listenback

To engage Talk back or Listenback, press on the Talk or Listen buttons (Figure 9-26) and then release to disengage. Talkback and/or Listenback is engaged for as long as you hold down the mouse button. Option/Alt-click to make the buttons “sticky” (stay engaged until you click them again — so you don’t have to hold down the mouse). Or use the Talkback menu items.

If you would like to engage both Talkback and Listenb ack at t he sa me time, enab le th e Link button (Figure 9-26).

Controlling Talkback and Listenback volume

To control the volume of the Talkback and/or Listenback mics, adjust their input trim in CueMix FX.

CUEMIX FX

Page 91

SHORTCUTS

Hold down the following general modiﬁer keys as shortcuts:

Shortcut Result

Shift key Applies your action to all inputs or all out-

Control key Applies your action to the stereo input pair,

Option/Alt key Applies your action to all busses.

Shift-Option/Alt Applies your action to all inputs and mixes.

Double-click Returns the control to its default value (pan

Hold down the following modiﬁer keys as shortcuts for the EQ tab and controls:

Shortcut Result

Shift click Applies EQ button change to all input or out-

Option/Alt-click Applies EQ enable button changes to all

Shift-Option/ Alt-click

puts in the mix.

even when it is currently configured as mono.

center, unity gain, etc.)

puts.

bands in that input or output.

Applies EQ enable button changes to all bands and all inputs or outputs.

FILE MENU

Saving and loading hardware presets

The 828mk3 can store up to 16 presets in its onboard memory. A preset includes of all CueMix FX settings for all for mix busses, but it excludes global settings like clock source and sample rate.

The Load Hardware Preset and Save Hardware Preset commands in the CueMix FX ﬁle menu let you name, save and load presets in the 828mk3.

Peak/hold time

In CueMix FX, a peak indicator is a line (representing a virtual LED) displayed in a level meter that indicates the maximum signal level registered by the meter. The Peak/hold time setting (File menu) determines how long this indicator remains visible before it disappears (or begins to drop). To disable peak/hold indicators altogether, choose Off from this sub-menu.

Mix1 Return Includes Computer

The Mix1 return includes computer File menu item ap pli es t o ot her MOT U inter face s pr odu cts an d ha s no effect on the 828mk3.

CUEMIX FX

Hardware follows CueMix Stereo Settings

This File menu item applies to other MOTU interfaces products and has no effect on the 828mk3.

Page 92

EDIT MENU

Undo/Redo

CueMix FX supports multiple undo/redo. This allows you to step backwards and forwards through your actions in the software.

Choosing channels for audio analysis

The audio analysis tools follow the currently focused audio input or output. (See “Channel focus and settings” on page 68.) If you focus a mono channel (e.g. Analog 3), its corresponding stereo pair will be displayed (Analog 3–4).

Copying & pasting (duplicating) entire mixes

To copy and paste the settings from one mix to another:

1 Select the source mix (Figure 9-1) and choose Copy from the Edit menu (or press Control-C).

2 Choose the destination mix and choose Paste from the Edit menu (or press Control-V).

Clear Peaks

Choose Clear Peaks from the Edit menu to clear all peak indicators in all CueMix FX meters.

DEVICES MENU

If you are working with more than one MOTU audio interface product, this menu displays all interfaces that are currently online. Choose any device from the menu to edit its settings using the CueMix FX software.

Audio analysis tools

Below each device are its signal analysis tools. Choose one to open its window. For details on these features, see the following sections.

FFT and Spectrogram display . . . . . . . . . . . . . . . . . . . . . . . . 92

Oscilloscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

X-Y Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Phase Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Scoping host software audio output

If you want to scope audio output from your host software, send your host’s output to an 828mk3 output pair, enable the Mix1 Return Includes Computer Output option (File menu), and click the Focus button for channel pair in the Outputs tab.

FFT AND SPECTROGRAM DISPLAY

FFT and spectrogram information can be displayed in the Filter response display section in the EQ tab (Figure 9-10 on page 77) or as a separate window (Figure 9-29 on page 93) opened from the Devices menu (Figure 9-27).

Filter display options

The Filter display options menu (Figure 9-10) provides several options for the EQ ﬁlter display:

Menu option What it does

Show no analysis Turns off both the FFT and

Show FFT Shows/hides a real time FFT analysis

Show Spectrogram Shows/hides a real-time spectro-

Show Band Response Shows/hides the colored area below

Show/Hide Full Window Analysis

Spectrogram in the Filter display.

of the current signal being EQ’d, post EQ filter.

gram “waterfall” in the background of the filter display, post EQ filter.

EQ filter points.

Shows/hides the enlarged filter display in the CueMix FX window.

Figure 9-27: Opening the signal analysis windows.

Filter display options menu

Figure 9-28: Filter Display options menu

CUEMIX FX

Page 93

FFT display

Choose Show FFT from the Filter display options menu (Figure 9-10) to superimpose a real-time Fast Fourier Transform (FFT) frequency measurement curve over the EQ ﬁlter display, as demonstrated in Figure 9-30:

FFT curve

Figure 9-30: FFT display.

The FFT curve is post-ﬁlter. Therefore, the FFT shows the results of the EQ ﬁlter(s) being applied. Use the global EQ button for the input or output channel (Figure 9-3 and Figure 9-6, respectively) to toggle between the EQ’d and non-EQ’d FFT display.

Spectrogram

Choose Show Spectrogram from the Filter display options menu (Figure 9-10) to superimpose a real-

time spectrogram “waterfall” display in the background of the EQ ﬁlter display, as demonstrated in Figure 9-31:

Figure 9-31: FFT display.

The spectrogram scrolls from top to bottom, where the top edge of the display represents what you are hearing “now”. Color represents amplitude along the left/right frequency spectrum. The amplitude color scale runs from black (silence) to red (full scale) as follows:

Silence Full scale

Black Blue Green Yellow Orange Red

Figure 9-32: Spectrogram color-to-amplitude spectrum.

Y-axis labels for FFT display

Figure 9-29: Full window ﬁlter display.

CUEMIX FX

Y-axis labels for EQ controls

Grow handle

View controls

Horizontal controls

Ver tic al controls

Spectrogram controls

Page 94

Opening the FFT Analysis window

Choose FFT Analysis from the Devices menu to open a new window with the ﬁlter EQ display for detailed inspection and adjustment of the EQ ﬁlter, as shown Figure 9-29.

Pausing the display

The Pause button in the upper right corner of the View section (Figure 9-33) allows you to freeze the display at any time. To resume, click the button again.

View controls

Pause button

Display options

Figure 9-33: View controls

You can show and hide the FFT display, spectrogram or EQ band response curves as desired using the Display Options menu options (Figure 9-29). These settings are independent of the small graph display options (Figure 9-10), so you have the ﬂexibility to display different combinations in each graph.

☛ “Show EQ Controls” will be available only if

the focused pair are a stereo input pair or stereo output pair.

Logarithmic or Linear X-Axis Scale

The x-axis defaults to a logarithmic scale, but can be changed to a linear scale if desired. In the View controls (Figure 9-33), click Logarithmic to access the x-axis scale options menu. With a linear scale selected, frequency is constant, but the width of each octave along the x-axis is different. With a logarithmic scale selected, octaves are displayed with a constant width, but frequency is displayed logarithmically within each octave.

The info box

When any EQ ﬁlter point is selected or dragged in the full window graph, the info box is shown next to the point in the full graph display (Figure 9-34).

Figure 9-34: The Info Box.

The info box includes the industry standard scientiﬁc note (pitch) name when the control point is located at a frequency that resides within a prescribed note range, where C4 is middle C. The note number is accompanied by the number of cents (±50) above or below the exact frequency for the note. If the control point is dragged outside the note range, only the frequency is shown.

Horizontal controls (frequency axis)

The Hori zontal controls (Figure 9-35) conﬁgure the value range of the x-axis (frequency). Click and drag the values up or down to set them, or doubleclick to return to the default value.

There are two modes for the controls: Zoom/Offset and Min/Max. To change the mode, use the Horizontal control menu (Figure 9-35).

Axes display

The Axes control (Figure 9-33) sets the opacity of the grid displayed in the graph, from 100% (fully visible) down to 0% (fully hidden).

Figure 9-35: Horizontal control menu

CUEMIX FX

Page 95

In Zoom/Offset mode, Zoom sets the display zoom from 1x to 100x, where the number represents the zoom factor relative to the entire frequency range. For example, when the horizontal zoom value is 1x, the entire frequency range from 10 to 24000 Hertz is displayed; when the horizontal zoom value is 2x, one half of the entire frequency range is displayed. Pos determines which frequency is displayed at the center of the graph.

OSCILLOSCOPE

The Oscilloscope (Figure 9-36) graphs the amplitude of an audio signal over time.

Amplitude is displayed on the y-axis and time is displayed on the x-axis. A thick white vertical line marks where time equals zero; a thick white horizontal line marks where amplitude equals zero (Figure 9-36, below).

In Min/Max mode, Min and Max set the lowest and highest displayed frequencies (in Hertz).

Vertical controls (amplitude axis)

The Ve r t i c a l controls (Figure 9-29) operate similarly to the Horizontal controls, except that they conﬁgure the y-axis (amplitude). In Zoom/ Offset mode, Zoom sets the display zoom from 1x to 100x, and Pos sets the center amplitude of the graph. In Min/Max mode, Min and Max set the smallest and largest displayed amplitude.

Spectrogram controls

The Floor control (Figure 9-29) sets the amplitude threshold for the spectrogram display, from -144 dB up to 0 dB.

The Alpha control (Figure 9-29) sets the opacity of the spectrogram information displayed in the graph, from 100% (fully visible) to 0% (hidden).

Level meters are displayed to the right of the graph. One or two meters are shown, depending on the current view mode (see “View controls”).

Opening the oscilloscope

Each 828mk3 has its own oscilloscope. To open an oscilloscope, choose the Oscilloscope item from the Devices menu under the desired interface.

Choosing a channel to display

The oscilloscope follows the currently focused audio input or output. If you focus a mono channel (e.g. Analog 3), its corresponding stereo pair will be displayed (Analog 3–4).

View controls

The View controls (Figure 9-37) provide several options for the oscilloscope display.

Figure 9-36: Oscilloscope

CUEMIX FX

Page 96

Pause button

View menu

Horizontal controls (time axis)

The Hori zontal controls (Figure 9-38) conﬁgure the value range of the x-axis (time). Click and drag the values up or down to set them, or double-click to return to the default value.

Figure 9-37: View controls

View menu

The View menu (Figure 9-37) lets you choose how you wish to display the audio channel(s) being displayed.

View menu settingWhat it displays

Left Left channel only

Right Right channel only

Split screen Left channel on top; right channel on the bot-

tom

Shared Left and right on top of each other; left is

green, right is red

Add Left and right channels’ amplitudes are added

together

Subtract L-R The right channel’s amplitude is subtracted

from the left channel’s amplitude

Display options

The Axes control (Figure 9-37) sets the opacity of the grid displayed in the graph, from 100% (fully visible) down to 0% (fully hidden). The Show Ruler option toggles the measurement items (see “Measurement information” on page 98).

There are two modes for the controls: Zoom/Offset and Min/Max. To change the mode, use the Horizontal control menu (Figure 9-38).

Figure 9-38: Horizontal control menu

In Zoom/Offset mode, Zoom sets the display zoom from 1/1000x to 10x, where the number represents the number of pixels per sample. For example, when the horizontal zoom value is 10x, 10 samples are displayed in 100 pixels; when the horizontal zoom value is 1/10x, 100 samples are displayed in 10 pixels. Offset moves the line marking time equals zero left or right.

In Min/Max mode, Min and Max set the earliest and most recent displayed time.

Time Units

The Time Units sub-menu (Figure 9-38) provides the option to view the X axis in Seconds or Samples.

Pausing the display

The Pause button in the upper right corner of the View section (Figure 9-37) allows you to freeze the display at any time. To resume, click the button again. The level meters will remain active while the display is paused.

Vertical controls (amplitude axis)

The Ve r t i c a l controls (Figure 9-38) operate similarly to the Horizontal controls, except that they conﬁgure the y-axis (amplitude).

In Zoom/Offset mode, Zoom sets the display zoom from 1/2 to 100x, and Offset moves the line marking amplitude equals zero line up or down.

In Min/Max mode, Min and Max set the smallest and largest displayed amplitude.

CUEMIX FX

Page 97

Waveform Recognition

The Waveform Recognition option searches through new audio data looking for a waveform which most resembles that which was previously displayed. The region where this takes place is a small window around the line marking time equals zero, denoted by the extra vertical graph lines surrounding it. There are two kinds of waveform recognition available: Type I and Type II.

Figure 9-39: Waveform Recognition menu

Type I recognition provides the most stable display of the waveform. It is the most resistant to change. Louder transients, such as those produced by a snare drum, are not displayed inside of the waveform window. Type I is best for observing the shape of a signal produced by a synthesizer or observing the tone of a guitar through a chain of pedals.

Typ e II reco gni tio n is le ss res ist ant t o ch ange . It w ill include loud transients within the waveform recognition window. Type II is better for observing percussive music where the beat itself is to be centered within the waveform window.

Trigger

When the Tr i g g e r (Figure 9-40) is not enabled (the Trigger menu is set to None), the graph updates based on time: after every n samples of the monitored audio signal, the most recent samples are displayed. When the Trigger is enabled (set to any mode other than None), the graph updates in response to speciﬁc conditions in the signal. The Trigger section deﬁnes that criteria and how the graph will display the events that match.

Trigger indicator

Trigger menu

Criteria check boxes

Figure 9-40: Trigger settings

Criteria

The criteria checkboxes (Figure 9-40) determine the conditions that the trigger is looking for and where it will look for them.

The Left checkbox causes the condition to be looked for in the left channel of the signal; likewise, the Right checkbox looks for the condition in the right channel. One or both of these can be enabled simultaneously. If neither is enabled, the criteria will not be found because the trigger is not looking at any audio signal.

The Pos and Neg checkboxes determine the slope of the event. When the Pos checkbox is enabled, the trigger will look for an event where amplitude is increasing; likewise, enabling the Neg checkbox tells the trigger to look for an event where amplitude is decreasing. One or both of these can be enabled simultaneously. If neither is enabled, the criteria will not be found because the trigger is not looking for any particular kind of event.

The Level setting deﬁnes the amplitude threshold that the trigger is looking for. The Level is indicated on the graph by a blue horizontal line (or two blue horizontal lines, if Magnitude is enabled). Events which cross this threshold using the enabled slope(s) in the enabled channel(s) will activate the trigger. The response of the trigger is set by the Trigger mode (see “Trigger modes”, below).

Enabling the Magnitude checkbox tells the trigger to look for both positive and negative Level values, regardless of whether the Level value is positive or negative. For example, if Level is set to +0.500 and

CUEMIX FX

Page 98

Magnitude is enabled, the trigger will look for both +0.500 and -0.500. You will see a second blue line appear in the display when Magnitude is enabled to denote the second value.

Holdoff

Holdoff deﬁnes a time interval during which the os cil los cop e do es not trig ger. T he mos t re cent tra ce will be displayed during that period. When the period is over, the trigger is “re-armed’, i.e. it will begin looking for the criteria again.

Click and drag this value up or down to set it, or double-click to return to the default value.

Tri gg er mo de s

The Trigger menu (Figure 9-40 on page 97) provides four modes:

Trigger modeWhat it does

None The Trigger is not active; this is the default mode.

Auto The display is always updating, but when the condi-

Normal The display updates only when the condition is met;

Single Sweep

The incoming audio signal will be displayed continuously as audio is received.

tion is met, the trigger event will be displayed centered around the line marking time equals zero.

the last trace will be displayed until the next matching event is found.

Similar to Normal mode, but the last trace will be displayed until you manually arm the trigger by clicking the Trigger indicator (Figure 9-40 on page 97) or by pressing the spacebar.

Tri gg er in di cator

The Trigger indicator (Figure 9-40 on page 97) displays the state of the trigger, and also provides a way to manually interact with it. The Trigger indicator always displays one of three colors:

Color Status

Green When the current Trigger criteria has been met (includ-

ing when the Trigger mode is None).

Yel-

When the Trigger is armed, but has not yet found an

low

event which matches its criteria. Yellow can also indicate that the graph has been manually paused using the Pause button in the View section (see “Pausing the display” on page 96).

Red When the Trigger is being held off, either because the

Trigger mode is set to Single Sweep or the Holdoff time is not set to zero.

You can also click on the Trigger indicator to force certain actions, depending on the Trigger mode. In Auto and Normal modes, clicking on the Trigger indicator causes the display to run freely; you may click & hold to force this to occur for as long as you’d like. In Single Sweep mode, clicking on the Trigger indicator re-arms the trigger. When the Tri gg er mo de i s None, clicking on the Trigger indicator has no effect.

Measurement information

You can view detailed information about a particular time range by using the measurement bars.

Figure 9-41: Measurement information

CUEMIX FX

Page 99

To adjust the left and right edges of the measurement area, click and drag the blue bars in the graph, or click and drag the blue numbers in the upper left or right corners. To reset them to the default value, double-click the numbers.

Information about the measured area is displayed at the center of the top ruler: the duration (in seconds and samples), the approximate frequency, and the scientiﬁc note name. If the measured area is long enough, the approximate beats per minute (bpm) is displayed.

Ideas for using the Oscilloscope

The Oscilloscope can be used in many useful ways during the routine operation of your recording studio. Here are just a few examples.

Analyzing and comparing harmonic content

The oscilloscope lets you “see” the nature of the harmonic proﬁle in any audio material. You can also view two signals side by side (in stereo mode) to compare their proﬁles and, if necessary, make adjustments to the source of each signal and view your changes in real time.

Viewing transients such as drum hits

If you loop a snare hit or other similar transient audio clip and feed it through the oscilloscope, you can more or less “freeze” the transient waveform in the oscilloscope frame. This can be useful, for example, for viewing the results of real-time compression that you are applying with an effects plug-in, as demonstrated in Figure 9-42. In this example, a snare hit is being compressed by Digital Performer’s Dynamics plug-in. As you make adjustments to the compression plug-in’s settings, you can see the transient waveform change the next time the Oscilloscope triggers. For compression, this can be particularly useful for balancing the effect of the attack on the transient, relative to the decay portion of the waveform. Conversely, you can see the effect of the threshold setting directly on the decay portion, relative to the attack. In effect, you can see as well as hear the results of your compression adjustments.

To view a transient waveform in the Oscilloscope display, turn off Waveform Recognition and use the Normal Trig ger mode. Adjust the level high enough to encompass the vertical amplitude of most of the transient. If the transient pulse sweeps across the screen, try raising the Holdoff level. Once the

Figure 9-42: Viewing transients in the Oscilloscope

CUEMIX FX

Page 100

transient is settled in the display and fairly stable, you may need to adjust the horizontal position to center it in the display. These settings are depicted in the example in Figure 9-42.

You can also pause the display at any time and adjust the horizontal bounds to locate a transient.

Clip detection

You can use the Oscilloscope to detect clipping in a digital audio signal. To do so, enable all criteria (Figure 9-40 on page 97), choose Single Sweep from the trigger menu (Figure 9-40), set the level to

0.999 and click the trigger indicator (Figure 9-40) to arm it (yellow). As soon as the signal clips, the trigger indicator will turn red, and the display will show the offending clip at the line marking time equals zero.

Viewing timing pulses

If you have two audio signals with recognizable, timed pulses in them, and you wish to compare their timing with respect to each other, you can use Split Screen or Shared view to visually compare the timing of the two signals. You can zoom in to the sample level for sample accurate viewing.

Building synthesizer patches

If you are building a synth patch on a synthesizer (or forming similar highly periodic audio material), you can run the audio signal through the Os cill oscope as y ou a dju st i ts s oun d to che ck i n re al time for undesirable (and possibly inaudible) characteristics, which are easily seen in the Oscilloscope display. A good example is DC offset. If a signal develops DC offset, the apparent ver tical center of its overall waveform will drift above or below the line marking amplitude equals zero. Try setting Waveform Recognition to Ty p e I and setting Tri gg er to None.

determining the resulting sound. You can use the Oscilloscope to easily view and compare polarities to see if they are inverted from one another or not. The Add and Subtract L - R View menu settings are particularly useful here.

You can also use the Oscilloscope to help you apply waveform modulation and keep it “in bounds”. For example, you could easily see if pulse width modulation is collapsing in on itself to choke the sound, an effect that is readily seen in the Oscilloscope display but not necessarily easy to determine by ear when using multiple modulation sources.

Guitarists can also visually observe the effects of their pedals and processing, while playing. With the Trigger mode set to None and Waveform Recognition set to Ty pe I, the waveform will be tracks automatically.

When applying ﬁlters and ﬁlter resonance, the visual effect on the waveform can be invaluable in reinforcing what you are hearing as you make adjustments.

Monitoring control voltage output from Volta

MOTU’s Volta instrument plug-in for Mac OS X turns your audio interface into a control voltage interface, giving you precise digital control from your favorite audio workstation software of any hardware device with a control voltage (CV) input. The CV signals output from Volta can be monitored in the Oscilloscope, giving you visual feedback on LFOs, envelopes, ramps, step sequencers, and more.

For more information on Volta, see www.motu.com.

Another example is waveform polarity. If you are combining several raw waveforms, polarity is a critical, yet not always obvious, factor in

100

CUEMIX FX

Mark of the Unicorn 828mk3 Hybrid User's Guide

Specifications and Main Features

Frequently Asked Questions

User Manual