Mark of the Unicorn 896mk3 FireWire User's Guide

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Page 1

MOTU 896mk3

User Guide for Mac

™

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 896mk3 COULD CAUSE AN ELECTRICAL SHOCK.

The MOTU 896mk3 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 896mk3 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 896mk3 plug.

IMPORTANT SAFEGUARDS

1. Read these instructions. All the safety and operating instructions should be read before operating the 896mk3.

2. Keep these instructions. These safety instructions and the 896mk3 owner’s manual should be retained for future reference.

3. Heed all warnings. All warnings on the 896mk3 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 896mk3 near water.

6. Cleaning - Unplug the 896mk3 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 896mk3 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 896mk3 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 896mk3 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 896mk3 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 896mk3. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

16. Surge protection - Unplug the 896mk3 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 896mk3 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 896mk3, the 896mk3 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 896mk3 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 896mk3, 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 • 25 Watts.

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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 © 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 unicorn 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.

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Contents

Quick Reference: 896mk3 Front Panel

Quick Reference: 896mk3 Rear Panel

Quick Reference:

MOTU Audio Setup

About the 896mk3

Packing List and Mac System Requirements

Installing the 896mk3 Hardware

Installing the 896mk3 Mac Software

MOTU Audio Setup

896mk3 Front Panel Operation

Digital Performer

AudioDesk

Other Mac OS X Audio Software

Reducing Monitoring Latency

CueMix Console

MOTU SMPTE Console

103

107

Troubleshooting

Index

109

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This section controls the 896mk3’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

The light that is illuminated here

tells you which bank you are

your choice. You can apply EQ and compression to inputs and outputs, plus reverb to ins, outs

monitoring with the program-

and mixes. The four knobs below 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

mable meter bank to the left.

to switch among inputs, outputs and busses, then turn it to choose the desired channel or

bus. Use the PAGE, PARAM and VALUE knobs to access the settings for the chosen channel.

The CLOCK LEDs indicate the global sample rate at which the

MOTU 896mk3 is operating. Use MOTU Audio Setup to set the

sample rate or to choose an external clock source, from which the

FireWire is a “plug-and-play” proto-

col. That means that you can turn off

the MOTU 896mk3 and turn it back

on (or even unplug it) without

restarting your computer. Keep in

mind, however, that if you wish to

change the MOTU 896mk3’s settings

in MOTU Audio Setup, the MOTU

896mk3 needs to be plugged in and

switched on.

Use this knob to choose which

audio bank you are viewing with

the programmable meters above.

sample rate will be set. When no sample clock is currently

present, these lights ﬂash. For example, if you’ve set the MOTU

896mk3 to slave to an external clock, such as ADAT, but there is no

clock signal currently being detected, these lights will ﬂash.

Push the CHANNEL knob

repeatedly to cycle among

the four main sections of

the mixer: mix busses,

inputs, outputs and the

reverb modul e. Push the

PARAM knob to enter the

SETUP menu, which

provides global 896mk3

settings, such as the global

sample rate, etc.

Connect a standard foot switch here for

hands-free punch-in and punch-out

during recording. For details about how

to set this up, see “Enable Pedal” on

page 41.

From the factory, the

PHONES jack is a

discrete output (at

44.1/48 kHz), 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. As the

primary phone jack, it

has its own dedicated

volume knob.

These meters display

the level for the

896mk3’s main outs.

The phone jack labeled (MAIN OUT) 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 97

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.

Quick Reference: 896mk3 Front Panel

These 10-segment level meters are dedicated to the 896mk3’s

eight analog inputs. The top red ‘HOLD’ LED illuminates when the

This bank of level meters can be programmed to

signal reaches full scale—for even just one sample—and remains

display any input or output bank: analog, optical

(ADAT or TOSLINK), or “digital” (AES/EBU and S/PDIF).

illuminated until you clear it in the software. The ‘CLIP’ LED below

only lights up momentarily so that you can continue to adjust level

Use MOTU Audio Setup or the METERS knob below to

choose which bank you’d like to view with these

meters. The LEDs to the right show which bank you

are currently monitoring.

even after clipping has just occurred. The remaining LEDs provide

two different scales for operation with or without V-Limit™, which

provides hardware limiting and clip prevention for signal levels as

high as +12dB over zero. Without V-Limit, the LED scale goes up to

These eight trim knobs provide

over +60 dB of preamp gain

adjustment for each analog

input (not including the pad).

Trim applies to either the XLR

mic input or the quarter-inch

TRS input.

-1 dB and clips at zero. With V-Limit, the LED scale goes up to

+12 dB and clips when the input signal goes over + 12 dB.

These toggle switches provide

phantom power for a condenser mic

plugged into this input and a -20dB

pad. For 48V power, up is on. To engage

the pad, ﬂip the PAD switch up.

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The MOTU 896mk3’s eight analog outputs

are XLR connectors referenced to +19 dBU.

They are equipped with 24-bit D/A

converters capable of 192kHz.

. See “Main Out Assign” on page 39. You

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

cable!) 48V phantom power and 20 dB pad can be applied via the switches

provided on the front panel. The trim knob provides over 60 dB of gain.

Quick Reference: 896mk3 Rear Panel

These two XLR jacks serve as the MOTU 896mk3’s main analog outputs. You

can connect them to a set of powered studio monitors and then control the

These AES/EBU connectors can

handle any supported sample rate

volume from the front panel MASTER VOL knob. These jacks are always

up to 96 kHz, and they are also

mirrored by the MAIN OUT headphone jack on the front panel.

equipped with a sample rate

Main Out 1-2

To hear disk tracks in your audio software on these main outs, assign the disk

tracks (and master fader) to these main outs. Also make sure the Main Out

Assign option is set to

converter so you can input or

output at a different rate than the

896mk3. For details, see “Syncing

AES/EBU devices” on page 25. At

can also use CueMix FX to monitor live 896mk3 inputs here as well.

the 4x sample rates, (176.4 and

192kHz), AES/EBU is disabled.

Connect the 896mk3 to the

computer here using the standard

1394 FireWire cable provided with

your MOTU 896mk3. Use the extra

FireWire port to daisy-chain up to

four 896mk3’s to a single FireWire

These jacks provide

stereo, 24-bit S/PDIF

digital input and

output at all

supported sample

rates (up to 96 kHz).

The 896mk3 is equipped

with an auto-switching

international power supply.

bus. You can also connect a MOTU

828, FireWire hard drive or other

FireWire device. For details, see

“Connecting multiple MOTU

FireWire interfaces” on page 29.

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 Setup 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.

Use the word clock input and

output for digital transfers with

devices that cannot slave to the

clock supplied by their digital I/O

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).

connection with the 896mk3.

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Quick Reference:

CHAPTER

MOTU Audio Setup

Determines the clock source for your 896mk3. If you’re just using the analog ins and outs, set this to ‘Internal’. The other settings are for digital transfers via AES/EBU, S/PDIF or optical ports, or for slaving the 896mk3 to word clock.

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.)

The 896mk3 driver provides a stereo return back to the computer. This return feeds the signal on any 896mk3 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 896mk3 only, back into the computer.

Provides several options for the 896mk3’s AES/EBU sample rate conversion. See, “Syncing AES/EBU devices” on page 25.

The Clip Hol d Time controls how long the top-most red LED remains illuminated after clipping. Choose ‘Inﬁnite’ if you want to be able to clear the LED from Digital Performer. The Peak Hold Time controls how long the highest illuminated LED remains lit before going dark.

Click the tabs to access general MOTU FireWire interface settings or settings speciﬁc to the 896mk3 (or other connected interface.)

Choose the global sample rate for the system here.

Speciﬁes the stereo input and output pair when the 896mk3 is chosen for Mac OS X audio I/O.

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

Choose the output pair you would like the main outs to mirror, or choose Main Outs to operate them as their own independent pair.

Lets you choose what to monitor with the 896mk3’s programmable front panel meters.

If you are running an 896mk3 interface at a high sample rate (88.2, 96, 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).

Click the General tab to access these settings.

Check this option if you would like the MOTU Audio Setup icon to appear in the application dock as soon as a MOTU FireWire interface is detected (switched on, plugged in, etc.)

This button opens another dialog that lets you assign your own customized names to each 896mk3 input and output. For example, if you have a lead vocal mic plugged into input 1, you could name it “Lead Vox”. Your customized names then appear in your host audio application (if it supports Core Audio input naming).

If you have a foot switch connected to the 896mk3, 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 41.

In the standard Mac OS X fashion, the console appears in the dock when you launch it. If the Laun ch option is checked (as shown above), the icon appears as soon as you switch on your 896mk3 interface. If you click and hold on the dock icon (instead of clicking it) or control-click, a menu of hardware settings appears as shown to the right. You can view and conﬁgure any hardware settings from this menu, without opening the console window.

Page 8

Page 9

CHAPTER

About the 896mk3

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

The 896mk3 rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

The 896mk3 front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

16-bit and 24-bit recording . . . . . . . . . . . . . . . . . . . . . . . . . . 12

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

AudioDesk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Digital Performer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Other host audio software . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

OVERVIEW

The 896mk3 is a FireWire audio interface for Mac and Windows that provides 28 separate inputs and 32 separate outputs (at 44.1 or 48kHz). Both analog and digital I/O are offered at sample rates up t o 96 k Hz, and ana log record ing and playb ack i s offered at rates up to 192 kHz. All inputs and outputs can be accessed simultaneously. The 896mk3 consists of a standard 19-inch, double space, rack-mountable I/O unit that connects directly to a computer via a standard IEEE 1394 FireWire™ cable.

The 896mk3 offers the following main features:

■

Eight 24-bit XLR analog outputs

■

Eight 24-bit c analog inputs equipped with

XLR/TRS “combo” jacks

■

Eight mic preamps (one on each input)

■

Independent 48V phantom power and 20 dB

pad for each mic input

■

Independent front-panel trim for each input

■

Two extra XLR analog main outs

■

Operation on all analog I/O at standard sample

rates up to 192 kHz

■

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

■

AES/EBU digital I/O at samples rates up to 96 kHz with sample rate conversion

■

RCA S/PDIF at sample rates up to 96 kHz

■

Word clock input and output

■

On-board SMPTE synchronization via any analog input and output

■

Two FireWire jacks for chaining multiple units

■

Foot switch input for hands-free punch-in/out

■

Two phone 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

■

Dedicated 10-segment LED level meters for all eight analog inputs

■

Dedicated 10-segment level meters for main outs

■

Programmable 10-segment LED level meters that display levels for any 8-channel input or output bank, as well as AES/EBU or S/PDIF digital I/O

■

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 both platforms

Page 10

■

AudioDesk™, full-featured audio workstation software for Mac OS that supports both 16-bit and 24-bit recording

With a variety of I/O formats, mic preamps, nolatency mixing and processing of live input and synchronization capabilities, the 896mk3 is a complete, portable “studio in a box” when used with a Mac or Windows computer.

THE 896MK3 REAR PANEL

The 896mk3 rear panel has the following connectors:

■

Eight 24-bit 192 kHz XLR analog outputs

■

Eight 24-bit 192 kHz “combo” (XLR + balanced quarter-inch) analog inputs, each equipped with a mic preamp, front-panel 48V phantom power, front-panel pad switch and front-panel trim knob

■

Two XLR main analog outputs with volume knob (on the front panel)

28 inputs and 32 outputs

All 896mk3 inputs and outputs can be used simultaneously, for a total of 28 inputs and 32 outputs at

44.1/48kHz:

Connection Input Output

24-bit 192kHz XLR analog 8 8

24-bit 192kHz XLR main outputs - stereo

Headphone output* - stereo

ADAT optical digital† 16 16

AES/EBU 24-bit 96kHz digital stereo stereo

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

Total 28 32

* 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 896mk3 output pair, such as the main outs.

■

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

■

AES/EBU input and output

■

RCA S/PDIF in/out

■

BNC word clock input and output

■

Two 1394 FireWire jacks

† The 896mk3 optical connectors support several standard optical I/O formats, which provide varying channel counts. See “Optical input/ output” on page 39 for details about optical bank operation.

With the exception of the phone jack on the front panel labeled “(MAIN OUT)”, all inputs and outputs are discrete. For example, using the main outs does not “steal” an output pair from the bank of eight XLR analog outputs. The same is true for the headphone outs.

Analog

All 10 analog inputs and outputs are equipped with 24-bit 192 kHz A/D converters. All audio is carried to the computer in a 24-bit data stream.

Mic/guitar preamps

All eight analog inputs are equipped with a preamp on a combo-style connector that accepts either an XLR or quarter-inch (guitar) plug. Individual 48V

ABOUT THE 896MK3

Page 11

phantom power and 20 dB pad are supplied by separate front panel switches for each input. In addition, each input has its own trim knob, which provides over 60 dB of gain.

Analog input overload protection

All eight mic 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 896mk3’s Soft Clip feature, which engages just before clipping occurs and helps reduce perceptible distortion.

Main Outs

The main outs are equipped with 24-bit 192kHz D/A converters and serve as independent outputs for the computer or for the 896mk3’s on-board CueMix FX mixes. The main out volume can be controlled with the front panel volume knob.

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.

AES/EBU with sample rate conversion

The 896mk3 rear panel provides a standard AES/EBU digital input and output that supports digital I/O at 44.1, 48, 88.2 and 96 kHz. In addition, input or output can be sample-rate converted to any of the se sample rates in sit uations that ca ll for a

different rate than the 896mk3’s global sample rate. The AES/EBU jacks are disabled at the 4x sample rates (176.4 and 192kHz).

S/PDIF

The 896mk3 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.

Word clock

Th e 8 96m k3 pro vide s s tan da rd w ord clo ck tha t c an slave to any supported sample rate. In addition, word clock can resolve to and generate “high” and “low” sample rates. For example, if the 896mk3 global sample rate is set to 96 kHz, the word clock input can resolve to a “low” rate of 48 kHz. Similarly, when the 896mk3 is operating at 192 kHz, MOTU Audio Setup lets you choose a word clock output rate of 48 kHz (the

setting).

48kHz

Force 44.1/

On-board SMPTE synchronization

The 896mk3 can resolve directly to SMPTE time code via any TRS analog input, without a separate synchronizer. The 896mk3 can also generate SMPTE time code via any XLR analog output. The 896mk3 provides a DSP-driven phase-lock engine with sophisticated ﬁltering that provides fast lockup times and sub-frame accuracy.

The included MOTU SMPTE Console™ software provides a complete set of tools for generating and regenerating SMPTE time code, which allows you 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.

ABOUT THE 896MK3

Page 12

1394 FireWire

The two 1394 FireWire jacks accept a standard IEEE 1394 FireWire cable to connect the 896mk3 to a FireWire-equipped Mac or Windows computer. The second jack can be used to daisy chain multiple interfaces — up to four MOTU FireWire interfaces — on a single FireWire bus. It can also be used to connect other FireWire devices without the need for a FireWire hub. Keep in mind, however, that the 896mk3 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.

THE 896MK3 FRONT PANEL

Metering

The front panel of the MOTU 896mk3 displays two eight-channel banks of 10-segment ladder LEDs. The left-hand bank always shows the eight analog inputs. The right-hand bank shows any other bank you choose with the Meters knob: Analog out, optical I/O (ADAT or TOSLINK) or digital I/O (AES/EBU and S/PDIF). A status LED to the right shows which bank you are currently viewing. You can also adjust this setting in the MOTU Audio Setup software.

The 896mk3 front panel also displays stereo meters for the main analog outs.

Clock

The chosen in the MOTU Audio Setup software). The Rate Convert LEDs indicate if sample rate conversion is being applied to the AES/EBU input or output, and if so, the rate being converted to.

Input trim knobs, phantom power & 20 dB Pad

The front-panel input trim knobs provide independent trim for the eight analog inputs.

lights indicate the global sample rate (as

The phantom power switch for each input provides 48V phantom power. Up is on; down is off.

The -20 dB pad switch for each input reduces the mic input signal going to the A/D converter by 20 dB. Up is on (pad engaged); down is off.

Headphone output and main volume control

The 896mk3 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 and/or digital). For example, it can control monitor output for an entire 5.1 or 7.1 surround mix.

Foot switch

The quarter-inch Foot Switch jack accepts a standard foot switch. When you push the foot switch, the 896mk3 triggers a programmable keystroke on the computer keyboard. For example, you could program the foot switch to toggle recording in your host software. The MOTU Audio Setup software lets you program any keystroke you wish.

Programmable backlit LCD display

Any 896mk3 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.

16-BIT AND 24-BIT RECORDING

The 896mk3 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 896mk3’s analog or digital inputs and outputs. 24-bit audio ﬁles can be recorded with any compatible host application that supports 24-bit recording.

ABOUT THE 896MK3

Page 13

CUEMIX FX 32-BIT FLOATING POINT MIXING AND EFFECTS

All 896mk3 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, outputs or bus ses direc tly in t he 896mk3 hardware , independent of the computer. Effects can even be applied when the 896mk3 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).

Effects include reverb, parametric EQ and compression/limiting. The 896mk3’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.

you to keep tabs on the 896mk3’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.

AUDIODESK

AudioDesk is a full-featured, 24-bit audio workstation software package included with the 896mk3 system (for Mac only). AudioDesk provides multi-channel waveform editing, automated virtual mixing, graphic editing of ramp automation, real-time effects plug-ins with 32-bit ﬂoating point processing, crossfades, support for many third-party audio plug-ins, background processing of ﬁle-based operations, sampleaccurate editing and placement of audio, and more.

DIGITAL PERFORMER

The 896mk3 system is fully integrated with MOTU’s award-winning Digital Performer audio sequencer software package.

OTHER HOST AUDIO SOFTWARE

The 896mk3 system includes a standard Mac OS X CoreAudio driver for multichannel I/O with any audio application that supports CoreAudio.

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 allows

ABOUT THE 896MK3

Page 14

ABOUT THE 896MK3

Page 15

CHAPTER

Packing List and

Mac System Requirements

PACKING LIST

The 896mk3 ships with the items listed below. If any of these items are not present in your 896mk3 box when you ﬁrst open it, please immediately contact your dealer or MOTU.

■

One 896mk3 I/O rack unit

■

One 6-pin to 6-pin IEEE 1394 “FireWire” cable

■

Power cord

■

One 896mk3 Mac/Windows manual

■

One AudioDesk manual

■

One cross-platform installer CD

■

Product registration card

MAC SYSTEM REQUIREMENTS

The 896mk3 system requires the following Mac system:

■

A G4/500MHz Power Mac or faster equipped with at least one FireWire port

■

At least 256MB (megabytes) of RAM (512MB or more is recommended)

PLEASE REGISTER TODAY!

Please register your 896mk3 today. There are two ways to register.

■

Visit www.motu.com/register

■

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.

Be sure to do the same for the included AudioDesk software, which must be registered separately. You can do so online or by ﬁlling out and mailing the included software registration card found at the beginning of your AudioDesk manual. Please be sure to register AudioDesk as well, so that you will be eligible to receive technical support and announcements about AudioDesk software enhancements as soon as they become available.

■

Mac OS X (version 10.4.9 or later)

■

A large hard drive (preferably at least 100GB)

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

Page 16

PACKING LIST AND MAC SYSTEM REQUIREMENTS

Page 17

CHAPTER

Installing the 896mk3 Hardware

OVERVIEW

Here’s an overview for installing the 896mk3:

Connect the 896mk3 interface. . . . . . . . . . . . . . . . . . . . . . . 17

Connect the 896mk3 to the computer.

Connect audio inputs and outputs . . . . . . . . . . . . . . . . . . 18

Make optical and analog connections as desired.

Connect a foot switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Connect a footswitch to trigger any keystroke.

A typical 896mk3 setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

An example setup for computer-based mixing/FX.

Making sync connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

If you need to resolve the 896mk3 with other devices, make the necessary sync connections.

Syncing to SMPTE time code directly . . . . . . . . . . . . . . . . 22

Syncing to video and/or SMPTE time code using a

synchronizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Syncing S/PDIF devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Syncing optical devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Syncing AES/EBU devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Syncing word clock devices. . . . . . . . . . . . . . . . . . . . . . . . . . 28

Connecting multiple MOTU FireWire interfaces . . . . . 29

CONNECT THE 896MK3 INTERFACE

Plug one end of the 896mk3 FireWire cable (included) into the FireWire socket on the computer as shown below in Figure 3-1.

☛

You can connect the 896mk3 to an 800Mbit “FireWire B” port using a 9-pin to 6-pin FireWire B cable (not shown). However, the 896mk3 will still operate at its speciﬁed 400Mbit (FireWire A) data rate.

Plug the other end of the FireWire cable into the

896mk3 I/O as shown below in Figure 3-1.

Figure 3-1: Connecting the 896mk3 to the computer.

Page 18

CONNECT AUDIO INPUTS AND OUTPUTS

The 896mk3 audio interface has the following audio input and output connectors:

■

8 combo-style XLR/quarter-inch analog inputs

■

8 XLR analog outputs

■

2 XLR main outs

■

AES/EBU input/output

■

S/PDIF input/output

■

ADAT optical input/output

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

Analog inputs

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

Phantom power

If you are connecting a condenser microphone or other device that requires phantom power, ﬂip up the 48V switch on the front panel to engage phantom power.

Tr i m

Both the low-impedance XLR mic input and the high-impedance quarter-inch guitar input are equipped with over 60 dB gain. Use the corresponding front panel trim knob to adjust the input level as needed for each input.

20 dB pad

If the input signal is too hot with the trim turned all the way down, engage (ﬂip up) the 20dB pad switch for the input on the front panel.

Analog outputs

For the XLR outputs, use high-quality shielded cables. These outputs are referenced to +19 dBu.

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 97. 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.

ADAT optical

The 896mk3 rear panel provides two sets of ADAT optical (“lightpipe”) connectors: Bank A and B (Figure 3-3). 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.

Figure 3-2: the 896mk3 front panel.

INSTALLING THE 896MK3 HARDWARE

Page 19

The 896mk3 supplies +12dB of digital trim (boost) for each optical input, which can be adjusted from CueMix FX (“Input trim” on page 81) or the front panel (“The IN (inputs) menu” on page 48).

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

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 24.

The 896mk3 supplies +12dB of digital trim (boost) for the S/PDIF input pair, which can be adjusted from CueMix FX (“Input trim” on page 81) or the front panel (“The IN (inputs) menu” on page 48).

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 fou r cha nnel s at 8 8.2 or 96 kHz (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, a s exp laine d in “ADAT SM UX Typ e” on pa ge 4 7 .

ADAT optical operation at 88.2 or 96 kHz

Choosing a clock source for optical connections

Be sure to review the digital audio clocking issues, as explained in “Syncing optical devices” on page 25.

AES/EBU

Connect standard AES/EBU input and output. 2x sample rates (88.2 & 96 kHz) are supported; 4x samples rates (176.4 or 192kHz) are not supported.

Be sure to review the digital audio clocking issues, as explained in “Syncing AES/EBU devices” on page 25.

The 896mk3 supplies +12dB of digital trim (boost) for the AES/EBU input pair, which can be adjusted from CueMix FX (“Input trim” on page 81) or the front panel (“The IN (inputs) menu” on page 48).

CONNECT A FOOT SWITCH

If you would like to use a foot switch with your 896mk3, connect it to the FOOT SWITCH jack. See “Quick Reference: MOTU Audio Setup” on page 7 for information about how to program the foot switch to trigger any computer keystroke you wish.

Figure 3-3: the 896mk3 rear panel.

INSTALLING THE 896MK3 HARDWARE

Page 20

A TYPICAL 896MK3 SETUP

Here is a typical 896mk3 studio setup. This rig can be operated without a conventional mixer. All mixing and processing can be done either in the 896mk3, in the computer with audio software, or both. During recording, you can use the 896mk3’s

DAT deck

monitors

CueMix™ FX mixer to apply reverb, EQ and compression to what you are recording and monitor it via the main outs, headphone outs, or any other output pair. You can control everything from the included CueMix Console software.

sends to

rack

below)

other outputs

(stage

monitors,

etc.)

FX unit (in

AES/EBU

Optical output

Mac

MOTU 8pre and/or

other optical devices

FireWire

quarter-inch analog outs

headphones

Headphone jack (on front panel)

Pedal jack (on front panel)

foot switch

mic

guitar

quarter-inch analog outs

synths, samplers, effects units, etc.

Figure 3-4: A typical 896mk3 studio setup.

INSTALLING THE 896MK3 HARDWARE

synthesizer

Page 21

MAKING SYNC CONNECTIONS

If you connect devices digitally to the 896mk3, or if you need to synchronize the 896mk3 with an outside time reference such as SMPTE time code, 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 896mk3?

If you will be using only the 896mk3’s analog inputs and outputs (and none of its digital I/O), and you have no plans to synchronize your 896mk3 sy ste m to SMP TE t ime code or o the r ex ter nal clo ck source, you don’t need to make any sync connections. You can skip this section and proceed to chapter 4, “Installing the 896mk3 Mac Software” (page 33). After you install the 896mk3 software, you’ll open MOTU Audio Setup and set the Clock Source setting to Internal as shown below. For details, see chapter 5, “MOTU Audio Setup” (page 35).

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 896mk3’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. Otherwise, you’ll hear clicks, pops, and distortion in the audio — or perhaps no audio at all.

Not phase-locked Phase-locked

Device A

Device B

Figure 3-6: 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.

Figure 3-5: You can run the 896mk3 under its own internal clock when it has no digital audio connections and you are not synchronizing the 896mk3 system to an external time reference such as SMPTE time code.

Situations that require synchronization

There are three general cases in which you will need to resolve the 896mk3 with other devices:

■ Synchronizing the 896mk3 with other digital

audio devices so that their digital audio clocks are phase-locked (as shown in Figure 3-6)

■ Slaving the 896mk3 system to SMPTE time code

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

■ Both of the above

INSTALLING THE 896MK3 HARDWARE

Master

Slave

Figure 3-7: To keep the 896mk3 phased-locked with other digital audio devices connected to it, choose a clock master.

Master

Slave Slave

Also remember that audio phase lock can be achieved independently of time code (location). For example, one device can be the time code 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 896mk3.

Page 22

SYNCING TO SMPTE TIME CODE DIRECTLY

The 896mk3 system can resolve directly to SMPTE time code. It can also generate time code and word clock, under its own clock or while slaving to time code. Therefore, the 896mk3 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 896mk3 to slave your audio soft ware to SMPT E as w ell, as lon g as your s oftwa re supports sample-accurate sync, which is the means by which the software follows the 896mk3. The accuracy may not be sample-accurate, but in most cases it will be very close.

First, choose SMPTE as the clock source in AudioDesk, Digital Performer, or MOTU Audio Setup. This setting can also be made in the MOTU SMPTE Console (shown below).

SMPTE time code source

Use this setup if you have:

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

An 896mk3 by itself, OR with another slaved device (such as a

✓

digital mixer).

✓ Host software that supports sample-accurate sync.

This setup provides:

✓ Continuous sync to SMPTE time code.

✓ Sub-frame timing accuracy.

✓ Transport control from the SMPTE time code source.

audio cable bearing LTC (Longitudinal Time Code)

Any analog Input

(Input 8 in this example)

896mk3 interface

Analog

Word

out

Out

audio

cable

Other digital audio device

slaved to the 896mk3

Figure 3-8: Connections for synchronizing the 896mk3 directly to SMPTE time code.

BNC cable

FireWire cab le

Mac running AudioDesk,

Digital Performer or other sample-

accurate software.

In AudioDesk or Digital Performer:

1. Choose Receive Sync from the Setup menu.

2. Choose the Sample-accurate option. (If this option is grayed out, choose SMPTE as the clock source setting ﬁrst, as shown above.)

3. Make sure that Slave to External Sync mode is enabled.

Launch the MOTU SMPTE Console to specify the time code frame rate and amount of freewheel. Also, conﬁrm that the Clock Source/Address is SMPTE/SMPTE. For details about the other settings, see chapter 12, “MOTU SMPTE Console” (page 103).

INSTALLING THE 896MK3 HARDWARE

Page 23

SYNCING TO VIDEO AND/OR SMPTE TIME CODE USING A SYNCHRONIZER

If your host audio software does not support the 896mk3 ’s on -boa rd SMP TE sy nc feature s (be cause your software does not support sample-accurate sync), you need a universal synchronizer, such as a MOTU MIDI Timepiece AV or Digital Timepiece. These dedicated sync boxes can read video and SMPTE time code and then convert it into word clock and MIDI Time Code (MTC). The word clock goes to the 896mk3 to resolve the audio hardware, and MIDI Time Code is fed to your host audio software, which locks to it, as shown below in Figure 3-9.

MOTU MIDI Timepiece AV or Digital Timepiece slaving to video and/or SMPTE time code

Word OUT

word clock

Use this setup if you have:

✓ Video and/or a SMPTE time code source.

✓ A Digital Timepiece, MIDI Timepiece AV or other universal

synchronizer.

✓ Host software that does not support sample-accurate sync

(although you can use this setup even if it does).

This setup provides:

✓ Continuous sync to SMPTE time code.

✓ Sub-frame timing accuracy.

✓ Transport control from the SMPTE time code source.

Video deck or other source for video and/or SMPTE time code

Audio cable bearing LTC (Longitudinal Time Code)

MIDI Time Code (Via MIDI interface)

Word IN

896mk3

Mac running any audio software

Choose Word Cl ock In as the clock source in the MOTU Audio Setup application. If you have multiple interfaces connected, be sure to choose the Word Clock In option that corresponds to the interface receiving the clock signal.

Figure 3-9: If your host audio software does not support sample-accurate sync and the 896mk3’s built-in SMPTE sync features, use a universal synchronizer such as the MOTU MIDI Timepiece AV or Digital Timepiece.

INSTALLING THE 896MK3 HARDWARE

Set up your audio software to slave to MIDI Time Code.

Page 24

SYNCING S/PDIF DEVICES

S/PDIF devices will sync to the 896mk3 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 896mk3 via the S/PDIF connectors. When the device records S/PDIF audio (from the 896mk3), 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 896mk3, you’ll have to slave the 896mk3 to its S/PDIF input. If you have other digital audio devices connected to the 896mk3, and they are not slaved directly to the 896mk3 itself, you may hear clicks and pops resulti ng from their unsynchronize d audio clock. If so, just turn them off during the transfer.

S/PDIF devices with word clock

If your S /PD IF d evic e ha s a Word C loc k in put, s lave the S/PDIF device to the 896mk3 via their word clock connection. You can then freely transfer audio between the 896mk3 and the S/PDIF device.

896mk3

Clock Source setting =

896mk3

S/PDIF

DAT deck

or other S/PDIF device

Figure 3-10: Two setups for synchronizing an S/PDIF device with the 896mk3. In the top diagram, sync is achieved via the S/PDIF connection itself. In this case, you have to choose S/PDIF as the 896mk3’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 896mk3 or vice versa (not shown). The Word Clock connection maintains sync, regardless of the direction of the transfer.

Internal (when transferring from the

896mk3 to the S/PDIF device)

896mk3

Clock Source setting = Internal

896mk3

Word Clock Out

Word Clock In

DAT deck

or other SPDIF device

With this setup, in the MOTU Audio clock source setting except SPDIF. The DAT deck (or other SPDIF device) slaves to the 896mk3 via word clock for SPDIF transfers in both directions.

Setup window, choose Internal, or any other

896mk3

Clock Source setting =

S/PDIF (when transferring from

the S/PDIF device to the 896mk3)

SPDIF

INSTALLING THE 896MK3 HARDWARE

Page 25

SYNCING OPTICAL DEVICES

When connecting an optical device, make sure that its digital audio clock is phase-locked (in sync with) the 896mk3, as explained in “Making sync connections” on page 21. There are two ways to do this:

SYNCING AES/EBU DEVICES

If you would like to transfer stereo audio digitally between the 896mk3 and another device that has AES/EBU I/O, connect it to the 896mk3’s AES/ EBU jacks with balanced, AES/EBU grade audio cables.

1. Resolve the optical device to the 896mk3

2. Resolve the 896mk3 to the optical device

For 1), choose Inter nal (or any other clock source except ADAT optical) as the clock source for the 896mk3 in MOTU Audio Setup.

For 2), choose either ADAT Optical A or ADAT Optical B as the 896mk3’s clock source (Figure 3-11). Be sure to choose the optical port that the device is connected to.

Figure 3-11: Resolving the 896mk3 to an optical device.

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

Using word clock to resolve optical devices

If the optical device you are connecting to the 896mk3 has word clock connectors on it, you can use them to resolve the device to the 896mk3, similar to the diagram shown in Figure 3-10 on page 24 for S/PDIF devices with word clock. Also see “Syncing word clock devices” on page 28.

AES/EBU clock and sample rate conversion

The 896mk3 AES/EBU section is equipped with a real-time sample rate converter that can be used for either input or output. This feature provides a great deal of ﬂexibility in making digital transfers. For example, you can:

■ Transfer digital audio into the 896mk3 at a

sample rate that is completely different than the 896mk3 system clock rate.

■ Transfer digital audio into the 896mk3 without

the need for any external synchronization arrangements.

■ Transfer digital audio out of the 896mk3 at

double or half the 896mk3 system clock rate.

Rate conversion does not add any appreciable noise to the audio signal (under -120 dB).

Digital audio phase lock

Without sample rate conversion, when you transfer digital audio between two devices, their audio clocks must be in phase with one another — or phase-locked — as discussed earlier in “Be sure to choose a digital audio clock master” on page 21 and Figure 3-7 on page 21. Otherwise, you’ll hear clicks, pops, and distortion in the audio, or perhaps no audio at all. Phase lock ensures a clean digital audio transfer.

Another beneﬁt of direct master/slave clocking (without sample rate conversion) is that each slaved device remains continuously resolved to the master, which means that there will be no gradual

INSTALLING THE 896MK3 HARDWARE

Page 26

drift over time. This form of synchronization is best for audio that needs to remain resolved to ﬁlm, video, etc.

Sample rate conversion

With sample rate conversion (SRC), an extra level of master/slave clocking is added to the equation, as demonstrated below in Figure 3-12, which shows the clocking going on when you transfer digital audio from the 896mk3 (AES/EBU OUT) to a DAT deck (AES/EBU IN) using SRC. Notice that with SRC, the DAT deck is not slaved to the 896mk3’s system clock. Instead, their clocks are running completely independently of one another. But also notice that the DAT deck must st ill slave to the sample-rate-converted output from the 896mk3 for a clean digital audio transfer (unless it has its own sample rate converter on its AES/EBU input).

896mk3 master clock

896mk3 Sample Rate

Input

clock

Output

clock

(master)

(slaves to 896mk3 master clock)

(master*)

System clock, AES clock & rate convert settings

When you are setting up AES/EBU input and output with the 896mk3, pay careful attention to the following settings in MOTU Audio Setup (see the quick reference overview on page 7):

■ Clock source

■ Sample rate conversion

These options are mentioned brieﬂy in the following sections. For further details, see “Clock Source” on page 37 and “Sample Rate Convert” on page 40.

Clocking scenarios for AES/EBU input

There are three possible clocking scenarios for the 896mk3 AES/EBU input:

1. Simple transfer (slave the 896mk3 system clock to the AES/EBU input signal — no sample rate conversion).

2. Sample rate convert the AES/EBU input.

3. Use word clock to resolve the 896mk3 system clock and the other AES/EBU device with each other.

DAT deck

Figure 3-12: Clock relationships when sending audio from the 896mk3 to a DAT deck using sample rate conversion. The DAT deck needs to be slaving to its AES/EBU input. *Note: the 896mk3 AES/EBU output can actually be clocked from a number of different sources. In this example, it is resolved to the 896mk3 system clock. For details about other possible clock sources, see “Clocking scenarios for AES/ EBU output” on page 27.

(slaves to 896mk3 SRC output clock)

INSTALLING THE 896MK3 HARDWARE

Page 27

These three AES/EBU input scenarios are summarized below.

Scenario 1 Scenario 2 Scenario 3

Description

896mk3 clock source setting

Sample rate conversion

Simple transfer

AES/EBU Any setting

None AES In None

Rate convert

except AES/EBU

Use word clock

Word Clock

setting

Required 896mk3 cable connections

Are the devices continuously

AES/EBU In AES/EBU In AES/EBU In

Yes No Yes

and Word Clock In

resolved?

Is the signal being sample

No Yes No

rate converted?

Example application

Simple digital transfer into the 896mk3 from DAT deck or digital mixer.

Transfer from digital mixer running at a different sample rate.

Both the 896mk3 and other AES/ EBU device are slaved to ‘house” word clock.

Some example scenarios are demonstrated below.

AES/EBU input with word clock

‘House’ word clock master

(Slave)

Word clock IN

Other device

AES/EBU OUT/IN

AES/EBU IN/OUT

896mk3 clock

source: word clock

Figure 3-15: In this scenario, the 896mk3 and other AES/EBU device are both resolved to one another via a third master word clock source.

(Slave)

Word clock IN

896mk3

896mk3 Sample Rate Conversion

setting: None

Clocking scenarios for AES/EBU output

The 896mk3 AES/EBU output can also employ sample rate conversion. The output options, shown below in Figure 3-16, are brieﬂy summarized in the following sections. For further details, see “Sample Rate Convert” on page 40.

Simple AES/EBU input transfer (no rate convert)

Master

AES/EBU OUT

AES/EBU IN

Slave

Figure 3-13: Sla vi ng th e 896mk3 to an AE S/EBU devi ce. For th e 896mk3’s clock source, choose ‘AES/EBU’.

Other device

896mk3

896mk3 clock source

setting: AES/EBU

896mk3 Sample Rate

Conversion setting: None

AES/EBU input with rate conversion

Master

AES/EBU OUT

AES/EBU IN

Slave

Figure 3-14: Rate-converting AES/EBU input.

INSTALLING THE 896MK3 HARDWARE

Other device

896mk3

896mk3 clock source

setting: Internal

896mk3 Sample Rate

Conversion setting:

AES In

Figure 3-16: The Sample Rate Conversion option in MOTU Audio Setup gives you access the AES/EBU output clock options.

Page 28

None

To make the AES/EBU output sample rate match the System sample rate, choose None (Figure 3-16). No sa mple rat e conve rsi on o ccurs whe n th is s ett ing is chosen.

Master

896mk3

Word clock OUT

AES Out slave to AES In

To make the AES/EBU output sample rate match the sample rate currently being received by the 896mk3’s AES/EBU input, choose AES Out Slave to AES In (Figure 3-16). This setting requires a connection to the 896mk3’s AES/EBU input from a device that is transmitting an AES/EBU clock signal.

☛ Be careful when both the 896mk3’s AES/EBU

input and output are connected to the same external device: this option is likely to create a clock loop.

AES/EBU Out options

Choose the desired AES/EBU Out sample rate options (Figure 3-16) when the desired AES/EBU output rate needs to be completely different than the system clock rate or the AES In clock rate.

SYNCING WORD CLOCK DEVICES

The 896mk3 word clock connectors allow you to synchronize it with a wide variety of other word clock-equipped devices.

Word clock IN

Slave

Figure 3-17: Slaving another digital audio device to the 896mk3 via word clock. For the 896mk3 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 3-18: Slaving the 896mk3 to word clock. For the 896mk3 clock source, choose ‘Word Clock In’.

Word clock OUT

Word clock IN

Other device

896mk3

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.

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 21). 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 3-17 and Figure 3-18.

Slaving to a 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 896mk3 could be running at 96 kHz while slaving to a 48 kHz word clock signal. Similarly, the 896mk3 could run at 88.2 kHz and slave to

44.1 kHz word clock.

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

■ the same as the 896mk3 clock

INSTALLING THE 896MK3 HARDWARE

Page 29

■ half of the 896mk3 clock

Forcing a 1x word out rate

The 896mk3 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 896mk3 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 up to four 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:

Mac

FireWire

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 Setup

MOTU Audio Setup displays the settings for one interface at a time. To view the settings for an interface, click its tab as shown below in Figure 3-20.

Figure 3-20: To view the settings for an interface, click its tab.

Synchronizing multiple interfaces

Mac OS X provides an advanced, ﬂexible driver model that allows multiple Core Audio drivers to be active at one time, accessed by multiple applications simultaneously. For example, you can run both FireWire and PCI audio interfaces at the same time, accessing all of their inputs and outputs from your host audio application — or even multiple applications — simultaneously.

FireWire

Figure 3-19: Connecting multiple 896mk3’s (or other MOTU FireWire audio interfaces) to a computer.

INSTALLING THE 896MK3 HARDWARE

A by-product of this more ﬂexible model is that multiple devices must be synchronized to one another in order to remain resolved to each another. Without synchronization, the audio streams going to each interface might drift with respect to one another. For example, the audio tracks playing back through the 896mk3 might drift out of sync with the audio tracks playing back through your 2408mk3 PCI interface. Synchronizing them to each other ensures that they remain as tightly and continuously phase-locked as if they were one uniﬁed interface.

Page 30

There are two ways to synchronize the 896mk3 with other devices, as discussed in the following sections: via the driver or via word clock.

Resolving to other Core audio drivers

The MOTU FireWire driver has the ability to resolve to other Core Audio drivers. This allows the 896mk3, and other MOTU FireWire interfaces, to resolve to other audio interfaces running simultaneously on the same computer, such as the Mac’s built-in audio, a PCI-424 core system, or even 3rd-party interfaces, without the need for external word clock connections between the devices. Doing so ensures that audio tracks being played or recorded by your MOTU FireWire interface will not drift apart from tracks on the other device during long playback or recording passes.

To synchronize multiple devices via the MOTU FireWire driver, choose one device (PCI, FireWire or otherwise) as the master clock and then slave the 896mk3 and other FireWire devices to it. All interfaces will remain resolved to each other via the master interface.

Make the Clock Source settings for each interface as follows:

■ For the master interface, click its tab in the

FireWire Console and choose any clock source you wish (except any of the slave interfaces, of course).

■ For each slave interface, click its tab and choose

the master interface from the Clock Source menu, as demonstrated below in Figure 3-21. This causes the slave interfaces to resolve to the master interface.

Figure 3-21: To resolve a MOTU FireWire interface to another Core Audio device, choose the other device from the Clock Source menu in the MOTU FireWire Audio Console. In this example, the 828mk3 will slave to the 896mk3.

If you have multiple 896mk3s, choose one as the master, and set its Clock Source to Internal. Then, click the tab of the other 896mk3s and set their Clock Source to the ﬁrst 896mk3.

Resolving to word clock

To resolve two 896mk3 FireWire interfaces with each other via word clock, choose one as the word clock master and then slave the second interface to the ﬁrst, as shown in Figure 3-19 on page 29. For three interfaces, you can probably get away with daisy-chaining them via their word clock connectors, but this may not always produce the most reliable results. For three or more devices, a word clock distribution device is highly recommended. In this case, the distribution box is the master, and all FireWire interfaces slave directly to it (instead of to each other).

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 896mk3s with other MOTU FireWire interfaces using a standard FireWire hub. You can also add

INSTALLING THE 896MK3 HARDWARE

Page 31

828mk3s, 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.

INSTALLING THE 896MK3 HARDWARE

Page 32

INSTALLING THE 896MK3 HARDWARE

Page 33

CHAPTER

4 Installing the 896mk3 Mac Software

OVERVIEW

Software installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

MOTU SMPTE Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

AudioDesk workstation software . . . . . . . . . . . . . . . . . . . . 34

SOFTWARE INSTALLATION

Install the 896mk3 software as follows:

1 Insert the MOTU FireWire Installer disc and launch the installer.

2 Follow the directions that the installer gives you.

The 896mk3 CoreAudio driver

CoreAudio is a term that refers to the software technolog y built into Mac OS X that provides all of its standardized audio features. More speciﬁcally, we use CoreAudio to refer to Mac OS X’s standard audio driver model. A CoreAudio driver allows the 896mk3 to establish audio input and output with any Mac OS X CoreAudio-compatible software.

Once the 896mk3’s CoreAudio driver has been successfully installed (by the installer), and you have chosen it for use in your host audio software, the 896mk3 w ill app ear as a choice for audio inputs

What does the installer do?

and outputs in your software. The installer checks the computer to make sure it satisﬁes the minimum system requirements for your MOTU interface. If so, the installer proceeds with the OS X installation. Drivers are installed, along with the MOTU Audio Setup, CueMix FX, and several other applications, summarized in the

All MOTU audio hardware, including our PCI

systems and other FireWire and USB interfaces,

ships with CoreAudio drivers that allow them to

operate successfully with virtually all Mac OS X

audio software.

following table:

Software component Location Purpose For more information

MOTU FireWire Audio driver.kext /System/Library/

Extensions

Provides 896mk3 multi-channel audio input and output with all Mac OS X audio software

“The 896mk3 CoreAudio driver” on page 33

MOTU Audio Setup Applications folder Provides access to all of the settings in the

CueMix FX Applications folder Gives you complete control over the 896mk3’s

MOTU SMPTE Setup Applications folder Provides access to the 896mk3 system’s

AudioDesk Applications/MOTU

AudioDesk Demo Project Anywhere you want Provides a multi-track mix that you can open,

AudioDesk

896mk3 and other MOTU interfaces. Required for 896mk3 operation.

CueMix FX on-board mixer, which provides no-latency monitoring, mixing and processing of live inputs through your 896mk3.

SMPTE time code sync features.

Provides complete multi-track recording, mixing and processing. Optional.

play, and mix in AudioDesk. Optional.

chapter 5, “MOTU Audio Setup” (page 35)

chapter 11, “CueMix Console” (page 75)

chapter 12, “MOTU SMPTE Console” (page 103)

AudioDesk User Guide

Page 34

CUEMIX FX

This program provides a mixing console that gives you control over the 896mk3’s on-board mixing and effects processing. For details, see chapter 11, “CueMix Console” (page 75).

MOTU SMPTE CONSOLE

The MOTU SMPTE Console software provides a complete set of tools to resolve the 896mk3 to SMPTE time code, and to generate SMPTE for striping, regenerating or slaving other devices to the computer. For details, see chapter 12, “MOTU SMPTE Console” (page 103).

AUDIODESK WORKSTATION SOFTWARE

AudioDesk is an advanced workstation software package for the 896mk3 that lets you record, edit, mix, process, bounce and master multi-track digital audio recording projects. Advanced features include real-time 32-bit effects processing, 24-bit recording, and much more.

See the AudioDesk manual included with your 896mk3 system for details.

Figure 4-1: AudioDesk for Mac OS X.

INSTALLING THE 896MK3 MAC SOFTWARE

Page 35

CHAPTER

5 MOTU Audio Setup

OVERVIEW

MOTU Audio Setup gives you access to basic 896mk3 hardware settings, such as sample rate, clock source, optical format and more.

Accessing the 896mk3 settings . . . . . . . . . . . . . . . . . . . . . . 35

‘896mk3’ tab settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

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

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

Default Stereo Input/Output. . . . . . . . . . . . . . . . . . . . . . . . . 39

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

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

Main Out Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Return Assign. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Programmable Meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Sample Rate Convert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

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

Clip Hold Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Peak Hold Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

‘General’ tab settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Launch MOTU Audio Setup when hardware becomes

available . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Edit Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Enable Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

ACCESSING THE 896MK3 SETTINGS

There are several ways to access MOTU Audio

Setup settings:

■ Click the MOTU Audio Setup icon in the dock

■ Press on the MOTU Audio Setup dock icon to

open the menu shown below, or control-click it to

open the menu immediately

■ From within AudioDesk™ or Digital

Performer™, choose Setup menu> Conﬁgure Audio

System> Conﬁgure Hardware Driver (Note: this

di alog only prov ide s acc ess to basi c sett ing s suc h as

sample rate and clock source. For access to all

settings, use one of the techniques above.)

■ In Cubase or Nuendo, open the Device Setup

window, click VST Audio System and choose

MOTU Audio ASIO from the ASIO Driver menu.

Then click the MOTU Audio ASIO item in the list

and click the Control Panel button.

Page 36

■ From the front panel LCD as explained in

chapter 6, “896mk3 Front Panel Operation” (page 43).

896mk3 tab settings

The 896mk3 tab (Figure 5-1) provides settings that apply to a speciﬁc 896mk3 interface. If you have several 896mk3 (or other MOTU) interfaces connected, you’ll see a separate tab for each one.

General tab settings

The General tab provides settings that apply globally to all connected MOTU FireWire interfaces.

‘896MK3’ TAB SETTINGS

Sample Rate

Choose the desired Sample Rate for recording and

playback. The 896mk3 can operate at 44.1 (the

standard rate for compact disc audio), 48, 88.2, 96,

176.4 or 192KHz. If you are operating at a sample

rate between 44.1 and 96kHz, make absolutely sure

that all of the devices connected digitally to the

896mk3 match the 896mk3’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 896mk3 is disabled.

☛ 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 Setup.

Figure 5-1: MOTU Audio Setup gives you access to all of the settings in the 896mk3 hardware.

MOTU AUDIO SETUP

Page 37

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

At the 4x sample rates (176.4 or 192kHz) the 896mk3 provides eight channels of analog input and eight channels of analog output, simultaneously. However, operation of the 896mk3 is restricted, due to the higher audio bandwidth demands, as follows:

■ All digital I/O is disabled (there is no optical,

S/PDIF or AES/EBU input/output).

■ The stereo return bus, as described in “Return

Assign” on page 39, can only be assigned to one of the four available analog output pairs or main outs.

■ The PHONES jack can only be assigned to one

of the four available analog output pairs.

■ The MAIN OUT jack can only be assigned to

one of four analog output pairs or the main outs.

Clock Source

The Clock Source determines the digital audio clock that the 896mk3 will use as its time base. For a complete explanation of synchronization issues, see “Making sync connections” on page 21. The following sections brieﬂy discuss each clock source setting.

Internal

Use the Internal setting when you want the 896mk3 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 896mk3 system on its internal clock, and then slave the DAT deck to the 896mk3 via the AES/EBU connection (usually DAT decks slave to their AES/EBU input when you choose the AES/EBU input as their record source) or via the 896mk3’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 21.

Wor d C lo ck In

The Wor d C lo ck In setting refers to the Word Clock

In BNC connector on the 896mk3 rear panel.

Choosing this setting allows the 896mk3 to slave to

an external word clock source, such as the word

clock output from a digital mixer or another

MOTU FireWire interface.

S/PDIF

The S/PDIF clock source setting refers to the

S/PDIF RCA input jack on the 896mk3. This

setting allows the 896mk3 to slave to another

S/PDIF device.

Use this setting whenever you are recording input

from a DAT deck or other S/PDIF device into the

896mk3. It is not necessary in the opposite

direction (when you are transferring from the

896mk3 to the DAT machine).

For further details about this setting, see “Syncing

S/PDIF devices” on page 24.

AES/EBU

The AES/EBU clock source setting refers to the

AES/EBU input connector on the 896mk3. This

setting allows the MOTU 896mk3 to slave to

another AES/EBU device.

Use this setting whenever you are recording input

from a DAT deck or other AES/EBU device into the

896mk3. It is not necessary in the opposite

direction (when you are transferring from the

896mk3 to the DAT machine).

For further details about this setting, see “Syncing

AES/EBU devices” on page 25.

MOTU AUDIO SETUP

Page 38

ADAT optical A / B

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

provided by the 896mk3’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 896mk3 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 896mk3 or an external synchronizer. In this case, the ADAT Optical clock source setting lets you slave the 896mk3 to the device itself via its digital input to the 896mk3.

This setting is also usef ul if you just need to make a simple, click-free digital transfer between the 896mk3 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 about this setting, see “Syncing optical devices” on page 25.

TOSLINK A / B

The TOSLINK clock source settings (TOSLINK A and TOSLINK B) refer to the clock provided by the 896mk3’s two optical inputs, when either one is 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 896mk3’s optical input. This setting can be

used to slave the 896mk3 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 TOSLINK-

compatible device that has no way of

synchronizing digitally to the 896mk3 or an

external synchronizer such as the Digital

Timepiece. In this case, the TOSLINK clock source

setting lets you slave the 896mk3 to the other

device via the 896mk3’s optical input.

This setting is also usef ul if you just need to make a

simple, click-free digital transfer between the

896mk3 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 “Syncing optical devices”

on page 25.

SMPTE

Choose this setting to resolve the 896mk3 directly

to SMPTE time code (LTC) being received via the

896mk3’s quarter-inch SMPTE input jack. For

details, see “Syncing to SMPTE time code directly”

on page 22 and chapter 12, “MOTU SMPTE

Console” (page 103).

Built-in Audio

Choose this setting to resolve the 896mk3 to your

Mac’s built-in audio. Doing so will ensure that

audio streams playing back from or recorded by

the 896mk3 will not drift apart from audio streams

simultaneously played or recorded by the Mac’s

built-in mic, speakers or audio output.

Other audio devices (drivers)

You may see other devices in the Clock Source list,

such as another MOTU FireWire interface, a

MOTU PCI-424 system, the Mac’s built-in audio,

or perhaps even another third-party audio

interface. The 896mk3 can resolve to these other

MOTU AUDIO SETUP

Page 39

audio devices via their CoreAudio driver. This allows you to play and record audio with your host audio software via both interfaces at the same time without their audio streams drifting apart from one another over long recording or playback passes. No external synchronization connections are required for this setting, as the two devices are entirely resolved via the software driver.

Default Stereo Input/Output

In the System Preferences window, Mac OS X lets you choose third-party hardware such as the 896mk3 for your Mac sound input and output. The system input and output can be used for alert sounds and general audio I/O for applications like iTunes, iMovie, etc.

The Default Stereo Input and Default Stereo Output

settings in MOTU Audio Setup (Figure 5-1 on

page 36) let you specify the stereo input and output

on the 896mk3 to be used when it is chosen as the

audio I/O device in the system preferences.

Phones

The Phones setting lets you choose what you will

hear from the headphone jack. Choose Main Outs

if you’d like to route the Main Out stereo pair to the

PHONES jack. Choose Phones if you would like the

headphones to serve as their own independent

output, which you can access as an independent

output destination in your hos t audio software and

as an output destination for the four 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

896mk3’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

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).

Figure 5-2: The Mac OS X sound preferences let you use the 896mk3 for general stereo audio input and output for your Mac.

MOTU AUDIO SETUP

Main Out Assign

Choose Main Outs from the Main Out Assign menu

to treat the Main Outs as their own independent

output pair. Choose any other output pair to cause

the MAIN OUT jacks to mirror (duplicate) the

output pair you choose.

Return Assign

The Return As sign men u le ts y ou cho ose a ny p air of

896mk3 audio outputs. The audio signal from this

output pair is then sent back to the computer via

Page 40

the Stereo Return 1-2 bus. This stereo return bus from the 896mk3 appears in your host software alongside all other 896mk3 inputs, wherever your host software lists them.

The 896mk3 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 896mk3 back to the computer, where you could record it for mastering or archiving purposes.

As another example, you could use the stereo return bus to capture tracks played from your host software, along with live inputs being routed directly through the 896mk3 hardware via CueMix FX (with or without CueMix effects processing on the live inputs).

Programmable Meters

This option lets you choose which bank you wish to monitor with the eight programmable meters on the MOTU 896mk3 front panel. Your choices are: Analog Out, Optical A In, Optical A Out, Optical B In, Optical B Out, or Digital In/Out. This last option displays AES/EBU input, S/PDIF input, AES/EBU output and S/PDIF output, in order from left to right. You can also adjust this setting by turning the METERS knob on the 896mk3 front panel.

Sample Rate Convert

The Sample Rate Convert option (Figure 3-16 on page 27) lets you control AES/EBU sample rate conversion. Sample rate conversion is available when the 896mk3 is operating at the 1x sample rates (44.1 and 48kHz) or the 2x sample rates (88.2 or 96kHz). AES/EBU is disabled entirely at the 4x samples rates (176.4 and 192kHz). Each option is explained below.

None

To make the AES/EBU output sample rate match

the System sample rate, choose None (Figure 3-16

on page 27). No sample rate conversion occurs

when this setting is chosen.

AES Out slave to AES In

To make the AES/EBU output sample rate match

the sample rate currently being received by the

896mk3’s AES/EBU input, choose AES Out Slave to

AES In (Figure 3-16 on page 27). This setting

requires a connection to the 896mk3’s AES/EBU

input from a device that is transmitting an AES/

EBU clock signal.

☛ Be careful when both the 896mk3’s AES/EBU

input and output are connected to the same

external device: this option is likely to create a

clock loop.

AES/EBU Out options

Choose the desired AES/EBU Out sample rate

options (Figure 3-16 on page 27) when the desired

AES/EBU output rate needs to be completely

different than the system clock rate or the AES In

clock rate. For further details about this option, see

“Sample Rate Convert” on page 40.

Word Out

The Word Ou t menu appears when the 896mk3 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 896mk3 were operating at

176.4kHz, choosing the Force 44.1/48kHz option

would produce word clock output at 44.1kHz.

Clip Hold Time

The Clip Hold Time option controls how long the

top red LED on the front panel metering remains

illuminated after clipping occurs.

MOTU AUDIO SETUP

Page 41

If you want the ability to clear the LED manually from your host audio software or the Cue Mix Console, Choose Inﬁnite from the Clip Hold Time menu. In Digital Performer or AudioDesk, you can clear the 896mk3 clip LEDs by choosing Audio menu>Clear All Clipping Indicators.

Peak Hold Time

The 896mk3 front-panel level meters support standard peak/hold metering, where the LED for the highest level recently measured on the channel remains illuminated for a brief period of time while the rest of the LEDs below it remain fully dynamic. The Peak Hold Time controls how long the peakhold LED remain illuminated before going dark again.

‘GENERAL’ TAB SETTINGS

Launch MOTU Audio Setup when hardware becomes available

Check this option if you would like the MOTU Audio Setup icon to appear in the applicat ion dock as soon as a MOTU interface is detected (switched on, plugged in, etc. )

Edit Channel Names

Click the Edit Channel Names button to open the Channel Names window (Figure 5-3). This window lets you edit the names of the 896mk3 inputs and outputs, as they appear in your host audio software. For example, when you click on a menu that displays the 896mk3 inputs (or outputs), you will see the names you specify in this window (e.g. “vocal mic”, “lead guitar”, etc.), instead of the default generic names (“Analog 1”, “A na l o g 2” , e tc . )

Figure 5-3: The Edit Channel Names window.

Figure 5-4: 896mk3 channel names as they appear in Digital

Perfo rmer.

Enable Pedal

Check the Enable Pedal option if a foot switch is

connected to the 896mk3 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.)

☛ Not all Mac OS X audio software supports

channel names. If not, you’ll see generic port names in your host audio software.

MOTU AUDIO SETUP

Page 42

MOTU AUDIO SETUP

Page 43

CHAPTER

6 896mk3 Front Panel Operation

OVERVIEW

The 896mk3 is the ﬁrst FireWire audio interface to offer complete front-panel programming via six rotary encoders and a 2x16 backlit LCD display. All 896mk3 settings can be accessed via these frontpanel controls.

Analog input controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Master vol and “(MAIN OUT )” phone jack . . . . . . . . . . . . 44

Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Analog input meters with V-Limit™ compression . . . 44

Programmable meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Push-button rotary encoders . . . . . . . . . . . . . . . . . . . . . . . . 45

Multi-function LCD display . . . . . . . . . . . . . . . . . . . . . . . . . . 45

896mk3 Setup menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Audio menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

CueMix menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Inputs menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Outputs menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Mixes menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Reverb menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Stand-alone operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

ANALOG INPUT CONTROLS

The 896mk3 front panel analog input controls

(Figure 6-1) allow to work with a wide variety of

recording situations.

For information about connections and settings,

see “Analog inputs” on page 18 in the installation

chapter.

For information about the many settings available

for the mic/guitar inputs, see:

■ “The Inputs tab” on page 80

■ “The channel settings section” on page 84

■ “The Channel tab” on page 84

■ “The EQ tab” on page 86

■ “The Dynamics tab” on page 93

Figure 6-1: The 896mk3 front panel mic/guitar inputs and phone jacks.

Page 44

MASTER VOL AND “(MAIN OUT)” PHONE JACK

From the factory, the MASTER VOL knob controls the main outs (analog 1-2), but MASTER VOL can be programmed to control any combination of outputs. See “The Monitor Group” on page 97 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.

Figure 6-2: the phone jacks.

PHONES

From the factory, the PHONES jack (Figure 6-2) 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.

The LCD provides detailed feedback as you turn the knob (Figure 6-7). To view the current setting without changing it, just push the knob (without turning it).

ANALOG INPUT METERS WITH V-LIMIT™

COMPRESSION

All eight 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 clip (a h ard digi ta l

clip). However, with V-Limit enabled, 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.

Two input level scales

To accommodate these two scenarios, the eight

analog input meters (Figure 6-3) are labeled with

two different input level scales: from -42 to -1

(when V-Limit is disabled) and -42 to +12 dB

(when V-Limit is engaged).

Figure 6-3: Analog input metering.

For further information about V-Limit, as well as

another feature called Soft Clip, see “Overload

protection (mic/guitar inputs only)” on page 85.

CLIP and HOLD LEDs

The CLIP and HOL D LEDs indicate when clipping

has occurred (either with or without V-Limit). You

can set the amount of time for the HOLD LED. See

“Clip Hold Time” on page 40.

If you would like the (MAIN OUT) 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.

896MK3 FRONT PANEL OPERATION

Page 45

PROGRAMMABLE METERS

The programmable meter bank (Figure 6-4) lets you view the levels of any input or output bank (except analog input, which has its own bank): Analog Out, Optical A In, Optical A Out, Optical B In, Optical B Out, or Digital In/Out. This last option displays AES/EBU input, S/PDIF input, AES/EBU output and S/PDIF output, in order from left to right, as shown below.

AES/EBU

Figure 6-4: The programmable meter bank. The “Digital I/O” bank shows the AES/EBU and S/PDIF input and output as indicated above.

S/PDIF

Choose the desired bank by turning the METERS knob on the 896mk3 front panel (Figure 6-5). The current bank is indicated by the LEDs to the right of the programmable meter bank (Figure 6-4). You can also push the METERs knob to view the currently selected bank in the LCD.

AES/EBU

out

S/PDIF

out

Current

bank

MULTI-FUNCTION LCD DISPLAY

The multi-function LCD (Figure 6-6) provides

access to the many 896mk3 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 alpha-

numeric 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

(Figure 6-7). After a brief time-out, the display

returns to its previous state before you turned the

volume knob.

Figure 6-7: The LCD provides feedback as you adjust volume.

You can also specify the bank in MOTU Audio Setup. See “Programmable Meters” on page 40.

Figure 6-5: the phone jacks.

PUSH-BUTTON ROTARY ENCODERS

All of the knobs shown in Figure 6-6 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).

896MK3 FRONT PANEL OPERATION

Three global menus

Push the PARAM knob (Figure 6-6) to cycle the

LCD among three global menus, described in the

rest of this chapter:

■ 896mk3 SETUP

■ AUDIO ( set t ing s )

■ CUEMIX (mixer)

Page 46

896MK3 SETUP MENU

To access the 896mk3 SETUP menu, push the PAR AM k no b un t il you se e 896mk3 SETUP displayed in the LCD. This menu provides basic features for managing the 896mk3 hardware. Turn the PARAM knob to access each setting, explained brieﬂy below.

LCD Contrast

Turn the VALUE knob to adjust the LCD contrast.

Figure 6-8: In setup mode, the LCD displays a setup parameter in the top row of the LCD and the current setting in the bottom row.

The LCD is divided into four

sections that correspond to the

four knobs to the left.

Save/Name Preset

An 896mk3 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.

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.

Figure 6-6: The 896mk3 front panel controls.

Turn the PAGE knob to view settings for

each channel. Push it to jump to the

next section or back to the beginning.

Turn and/or push the VALUE knob to adjust

the current setting.

896MK3 FRONT PANEL OPERATION

Push the PARAM knob to cycle

among three global menus:

CUEMIX (mixer), AUDIO

(settings) and 896mk3 SETUP.

Page 47

Factory Defaults

Push VALUE to restore the 896mk3 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 Setup 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 Out Assign” on page 39

Return Assign “Return Assign” on page 39

Rate Convert “Sample Rate Convert” 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

Clip Hold Time “Clip Hold Time” on page 40

Peak Hold Time “Peak Hold Time” on page 41

* If the 896mk3 is currently connected to a computer, this setting cannot be changed from the front-panel LCD. It must be changed in MOTU Audio from the computer to change the Clock Source from the front panel.

Setup instead. Or, you can disconnect the 896mk3

ADAT SMUX Type

When the 896mk3 is operating at either 88.2 or 96 kHz, the AUDIO menu includes an item called ADAT SMUX Type.

available when the 896mk3 is operating at 88.2 or 96 kHz.

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

■ 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 896mk3

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 11, “CueMix Console”

(page 75) before learning the LCD, especially

“CueMix FX basic operation” on page 77.

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)

896MK3 FRONT PANEL OPERATION

Page 48

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 6-9). This is similar to accessing the Inputs tab in CueMix FX console (“The Inputs tab” on page 80).

“ I: ” Indicates

the IN (inputs)

menu.

Figure 6-9: 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 6-9) 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 sof tware (Figure 11-3 on page 80).

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 compressor, 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

channel strip in CueMix FX (Figure 11-3 on

page 80), as well as the settings in the Channel tab

(Figure 11-8 on page 84).

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 11-10 on

page 86), Dynamics tab (Figure 11-21 on page 93)

and Reverb tab (Figure 11-23 on page 96) 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 ina ctive for some reas on (pe rhaps

it doesn’t currently apply or it is disabled), it is

displayed in parentheses.

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 51.

The OUT (Outputs) menu

Push the CHANNEL button repeatedly until you

see “O:” in the channel section of the LCD

(Figure 6-10). This is similar to accessing the

Outputs tab in CueMix FX console (“The Outputs

tab” on page 82).

896MK3 FRONT PANEL OPERATION

Page 49

“ O: ” Indicates

the OUT

(outputs) menu.

The current

channel.

Access individual parameters

here, such as the frequency

setting for a band of EQ.

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 6-11). This is similar to

accessing the Mixes tab in CueMix FX console

(“The Mixes tab” on page 78).

“Pages” are groups of channel settings, such

as one band of EQ.

Figure 6-10: The OUT (outputs) menu.

Change the value of the

current parameter here

Choosing a channel

Once you see the Outputs menu (Figure 6-10) 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 11-6 on page 83).

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 48 and “Adjusting the value of a parameter” on page 48.

Summary of Output menu settings

For a summary of Inputs menu settings, see “Outputs menu” on page 51.

The current

mix bus.

Here, choose master fader

settings, reverb settings, and

individual input channels.

Figure 6-11: 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 6-11) 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 11-2 on page 78).

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 48 and “Adjusting the value of a

parameter” on page 48. The PAGE knob scrolls

through the following mix bus settings:

896MK3 FRONT PANEL OPERATION

■ 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.

Page 50

REVERB — these are the reverb send and return controls for the bus master fader. Access them with the PARAMETER knob. Note: if the reverb processor is currently disabled, reverb is displayed in parentheses. If you are running the 896mk3 at

88.2 kHz or higher, the Reverb processor is disabled, and therefore the REVERB setting does not appear in the LCD as an option.

■ 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 52.

The REVERB menu

Push the CHANNEL button repeatedly until you see “REVERB” in the channel section of the LCD (Figure 6-12). This is similar to accessing the Reverb tab in CueMix FX (“The Reverb tab” on page 96).

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 52.

☛ The REVERB processor is not available at

sample rates above 48 kHz. Therefore, when the 896mk3 is operating at 88.2 kHz or higher, the REVER menu does not appear in the LCD.

Access individual parameters here,

such as reverb time.

Figure 6-12: The REVERB menu.

Change the value of the current parame-

ter here.

896MK3 FRONT PANEL OPERATION

Page 51

INPUTS MENU OUTPUTS MENU

CHANNEL PAGE PARAM

INPUTS 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)

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

RETURN

TALKBACK LSNBACK

896MK3 FRONT PANEL OPERATION

Page 52

MIXES MENU REVERB MENU

CHANNEL PAGE PARAM

MIXES Mix 1 Mix 2 etc.

MASTER ASSIGN

REVERB SEND

ANALOG 1-2 (if stereo)

ANALOG 1 ANALOG 2 etc. (if mono)

AES 1-2 MUTE

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 BALANCE/WIDTH FADER

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

SOLO BAL/WID BALANCE/WIDTH FADER

SOLO BAL/WID BAL FADER

MUTE SOLO BALD/WID BALANCE/WIDTH FADER

CHANNEL PAGE PARAM

REVERB --- ENABLE

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

STAND-ALONE OPERATION

All settings, including all mix settings and global

settings, are saved in the 896mk3’s memory, and

they remain in effect even when the 896mk3 is not

connected to a computer. This allows you to use the

896mk3 as a stand-alone 8-bus mixer. You can

make adjustments to any setting at any time from

the front panel.

896MK3 FRONT PANEL OPERATION

Page 53

CHAPTER

7 Digital Performer

OVERVIEW

This chapter provides a brief overview of Digital Performer’s basic I/O and synchronization operation with the 896mk3 hardware.

Setting up your system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

The 896mk3 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Working with 896mk3 inputs and outputs . . . . . . . . . . 55

24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Processing live inputs with DP plug-ins . . . . . . . . . . . . . . 55

Working with CueMix FX mixing and effects. . . . . . . . . 55

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Using a foot switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Exchanging projects with AudioDesk. . . . . . . . . . . . . . . . 56

SETTING UP YOUR SYSTEM

As described in chapter 4, “Installing the 896mk3 Mac Software” (page 33), the Digital Performer and MOTU 896mk3 software installers will properly install and update everything for you.

If you are using a MIDI Timepiece AV or Digital Timepiece for synchronization, be sure they are present in Audio MIDI setup.

THE 896MK3 SETTINGS

Choose the 896mk3 as your audio input output device by choosing Conﬁgure Audio System> Conﬁgure Hardware Driver from the Setup menu. This window shows some of the 896mk3 settings, such as sample rate and clock source, but to access all of the 896mk3 settings, open MOTU Audio Setup, as shown in Figure 5-1 on page 36.

Figure 7-1: Choose Setup menu> Conﬁgure Audio System> Conﬁgure

Hardware Driver to open the dialog shown above and access the

896mk3 CoreAudio driver. To access the rest of the 896mk3 settings,

open MOTU Audio Setup.

For complete details about the 896mk3 settings, see

chapter 5, “MOTU Audio Setup” (page 35). The

following sections provide a brief explanation of

each 896mk3 setting for use with Digital

Per former.

Page 54

Sample rate

Choose the desired overall sample rate for the 896mk3 system and Digital Performer. Newly recorded audio in Digital Performer will have this sample rate. Imported audio or soundbites in exist ing ﬁles that do not match this sample rate w ill be displayed in the Soundbites window with a red ‘X’ on their move handles to indicate that they cannot be played.

Clock Source

This setting is very important because it determines which audio clock the 896mk3 will follow.

If you do not have any digital audio connections to your 896mk3 (you are using the analog inputs and outputs only), and you will not be slaving Digital Performer to external SMPTE time code, choose Inter nal.

If you have digital audio devices connected to the 896mk3, or if you are not sure about the clock source of your setup, be sure to read “Choosing a clock source for optical connections” on page 19 and “Clock Source” on page 37.

If you are slaving the 896mk3 and Digital Performer to SMPTE time code via the 896mk3 itself, choose SMPTE and follow the directions in “Syncing to SMPTE time code directly” on page 22.

Buffer Size

The Buffer Size setting can be used to reduce the delay — or monitoring latency — that you hear when live audio is patched through Digital Performer. For example, you might have MIDI instruments, samplers, microphones, and so on connected to the analog inputs of the 896mk3. If so, you will often be mixing their live input with audio material recorded in Digital Performer. See chapter 10, “Reducing Monitoring Latency” (page 69) for complete details.

Phones

This 896mk3 setting lets you choose what you’ll

hear from the headphone jack. For example, if you

choose Main Out 1-2, the headphones will

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

independent output pair. As a result, you’ll see

Phones 1-2 as an additional audio destination in

Digital Performer’s audio output menus. When

operating at high sample rates, the phones must

mirror one of the other output pairs.

Optical input and output

To ma ke a n 8 96 mk3 ’s op ti cal inpu ts and /or ou tpu ts

available in Digital Performer, choose 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 896mk3. If you would like to treat them as their

own separate output pair, choose Main Outs.

Return Assign

In Digital Performer’s audio input menus and the

Bundles window, you’ll see an 896mk3 input called

Return 1-2 (Figure 7-2). This is a stereo feed from

the 896mk3 that matches the output of one of its

output pairs. Use the Return Assign menu in

MOTU Audio Setup 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 896mk3

DSP (such as the Leveler) for reference and

archiving purposes.

DIGITAL PERFORMER

Page 55

Figure 7-2: The stereo return and reverb return busses from the 896mk3 in Digital Performer’s Bundles window.

☛ Warning: the Return inputs can cause

feedback loops! DO NOT assign this input to a track that shares the same 896mk3 output pair as the returns.

Reverb return

The 896mk3 also supplies a return to Digital Performer that carries the output of its reverb processor (Figure 7-2). This return can be used for any purpose you wish.

WORKING WITH 896MK3 INPUTS AND OUTPUTS

Once you’ve enabled the MOTU FireWire Audio driver as explained earlier in “The 896mk3 settings” on page 53, 896mk3 audio inputs and outputs will appear in Digital Performer’s audio input and output menus, as well as the Bundles window (Figure 7-2). If you don’t see the optical inputs and/or outputs, check MOTU Audio Setup to make sure they are turned on. If you don’t plan to use either optical bank, turn them off to conserve computer bandwidth.

Trimming the analog inputs

The 896mk3 analog inputs provide trim knobs on the front panel. To calibrate an audio input:

1 Record-enable a track in Digital Performer.

2 Choose the desired 896mk3 input for the track.

3 Open the Audio Monitor window.

4 As you feed signal to the input, adjust the input’s

corresponding trim knob on the front panel of the

896mk3 until peaks in the level meter are as high as

possible without clipping (hitting zero dB).

Phones 1-2

If you’ve chosen to treat the 896mk3 headphones as

an independent output, you’ll see Phones 1-2 in

Digital Performer’s output menus. Audio tracks

assigned to this output pair will be heard on the

headphone jack only. For further explanation, see

“Phones” on page 39.

24-BIT OPERATION

Your 896mk3 hardware fully supports Digital

Performer’s 24-bit recording capabilities, including

both analog and digital 24-bit recording. If you

would like to record and play back 24-bit audio

ﬁles, go to the Audio Options in the Digital

Performer Preferences (Digital Performer menu),

and choose 24-bit recording as the sample format.

This setting is saved with the Digital Performer

project.

PROCESSING LIVE INPUTS WITH DP

PLUG-INS

If you patch a live input (such as MIDI synthesizer)

through a plug-in effect in Digital Performer, you

might hear a slight delay. There are several ways to

reduce this delay. For details, see chapter 10,

“Reducing Monitoring Latency” (page 69).

WORKING WITH CUEMIX FX MIXING AND

EFFECTS

The 896mk3 provides powerful external mixing,

EQ, compression and reverb, which you can

operate hand-in-hand with Digital Performer’s

complete mixing environment. For example, the

896mk3 can serve as a monitor mixer routing

channels to musicians, or it can serve as an

integrated extension of your Digital Performer

mixing environment. If you program an 896mk3

DIGITAL PERFORMER

Page 56

mixing and processing conﬁguration that goes hand in hand with your DP project, be sure to use the ﬁle save features in CueMix FX to save the 896mk3 settings as a ﬁle in your DP project folder for instant recall of all settings. See chapter 11, “CueMix Console” (page 75) for complete details. You ca n eve n set up your 8 96mk3 conﬁgu ration ﬁ le as a DP startup clipping so that it automatically loads when you open the project. See your DP manual for 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 21 for the proper hardware connections. Use the synchronization diagrams to be clear about how you will be synchronizing Digital Performer and the 896mk3 to the other components of your system.

Synchronizing digital audio connections

If you have devices connected to the 896mk3 digital inputs (optical or RCA S/PDIF), you need to be concerned with the synchronization of the 896mk3’s digital audio clock with other devices connected to it digitally (if any). For example, if you have a digital mixer connected to the 896mk3 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 19 and “Making sync connections” on page 21. If you don’t have any digital audio devices connected to the 896mk3, digital audio phase-lock does not apply to you.

To resolve your 896mk3 directly to SMPTE time

code with no additional synchronization devices,

use the setup shown in “Syncing to SMPTE time

code directly” on page 22.

Resolving to video and/or time code with a

dedicated synchronizer

To resolve your 896mk3 to video and/or SMPTE

time code using an additional synchronization

device, use the setup shown in “Syncing to video

and/or SMPTE time code using a synchronizer” on

page 23.

USING A FOOT SWITCH

Use a foot switch connected to the 896mk3 to

trigger recording punch-in and punch-out, or any

other feature in Digital Performer that is assigned

to a computer keystroke. By default, the foot sw itch

triggers the 3 key on the computer keypad (which

toggles Digital Performer’s record button.) To

trigger a different set of keystrokes with the foot

switch, visit the MOTU Audio Setup. (See “Enable

Pedal” on page 41.)

EXCHANGING PROJECTS WITH AUDIODESK

Digital Performer can exchange projects with

AudioDesk. To open an AudioDesk project in

Digital Performer, open it in same way you would a

DP project. To export a project to AudioDesk, use

DP’s Save As command and choose the AudioDesk

2.0 ﬁle format.

Resolving directly to time code (with no synchronizer)

If you need to slave Digital Performer and the 896mk3 to SMPTE time code, you can do so with or without a dedicated synchronizer.

DIGITAL PERFORMER

Page 57

CHAPTER

8 AudioDesk

OVERVIEW

This chapter provides a brief overview of AudioDesk’s basic I/O and synchronization operation with the 896mk3 hardware. For complete information about all of AudioDesk’s powerful workstation features, see the AudioDesk manual included with your 896mk3 system.

Setting up your system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

The 896mk3 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Working with 896mk3 inputs and outputs . . . . . . . . . . 59

24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Processing live inputs through AudioDesk plug-ins . 59

Working with CueMix FX mixing and effects. . . . . . . . . 59

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Using a foot switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Exchanging projects with Digital performer . . . . . . . . . 60

AudioDesk and MIDI sequencing . . . . . . . . . . . . . . . . . . . . 60

SETTING UP YOUR SYSTEM

As described in chapter 4, “Installing the 896mk3 Mac Software” (page 33), the AudioDesk and MOTU 896mk3 software installers will properly install and update everything for you.

If you are using a MIDI Timepiece AV or Digital Timepiece for synchronization, be sure they are present in Audio MIDI setup.

THE 896MK3 SETTINGS

Choose the 896mk3 as your audio input output device by choosing MOTU Audio System options>Conﬁgure Hardware Driver from the Setup menu. This window shows some of the 896mk3 settings, such as sample rate and clock source, but to access all of the 896mk3 settings, open MOTU Audio Setup, as shown in Figure 5-1 on page 36.

Figure 8-1: Choose Setup menu> Conﬁgure Audio System> Conﬁgure

Hardware Driver to open the dialog shown above and access the

896mk3 CoreAudio driver. To access the rest of the 896mk3 settings,

open MOTU Audio Setup.

For complete details about the 896mk3 settings, see

chapter 5, “MOTU Audio Setup” (page 35). The

following sections provide a brief explanation of

each 896mk3 setting for use with AudioDesk.

Page 58

Sample rate

Choose the desired overall sample rate for the 896mk3 system and AudioDesk. Newly recorded audio in AudioDesk will have this sample rate. Imported audio or soundbites in existing ﬁles that do not match this sample rate will be displayed in the Soundbites window with a red ‘X’ on their move handles to indicate that they cannot be played.

Clock Source

This setting is very important because it determines which audio clock the 896mk3 will follow.

If you do not have any digital audio connections to your 896mk3 (you are using the analog inputs and outputs only), and you will not be slaving AudioDesk to external SMPTE time code, choose Inter nal.

If you have digital audio devices connected to the MOTU 828, or if you are not sure about the clock source of your setup, be sure to read “Making sync connections” on page 21 and “Clock Source” on page 37.

If you are slaving the 896mk3 and AudioDesk to SMPTE time code via the 896mk3 itself, choose SMPTE and follow the directions in “Syncing to SMPTE time code directly” on page 22.

Buffer Size

The Buffer Size setting can be used to reduce the delay — or monitoring latency — that you hear when live audio is patched through your 896mk3 hardware and AudioDesk. For example, you might have MIDI instruments, samplers, microphones, and so on connected to the analog inputs of the 896mk3. If so, you will often be mixing their live input with audio material recorded in AudioDesk. See chapter 10, “Reducing Monitoring Latency” (page 69) for complete details.

Phones

This 896mk3 setting lets you choose what you’ll

hear from the headphone jack. For example, if you

choose Main Out 1-2, the headphones will

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

independent output pair. As a result, you’ll see

Phones 1-2 as an additional audio destination in

AudioDesk’s audio output menus. Note that when

operating at high sample rates, the phones must

mirror one of the other output pairs.

Optical input and output

To ma ke a n 8 96 mk3 ’s op ti cal inpu ts and /or ou tpu ts

available in AudioDesk, choose ADAT Optical or

TOSLINK from the optical input and/or output

menus. If you won’t be using the optical

connectors, turn them off. Note: these settings can

only be accessed in the MOTU Audio Setup

application. For details, see “Optical input/output”

on page 39.

Main Outs Assign

Use the Main Outs Assign setting to determine

what audio you will hear on the XLR main outs of

the 896mk3. If you would like to treat them as their

own separate output pair, choose Main Outs.

Return Assign

In AudioDesk’s audio input menus and the Bundles

window, you’ll see an 896mk3 input called Return

1-2 (Figure 8-2). This is a stereo feed from the

896mk3 that matches the output of one of its

output pairs. Use the Return Assign menu in

MOTU Audio Setup 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 896mk3

DSP (such as the Leveler) for reference and

archiving purposes.

AUDIODESK

Page 59

Figure 8-2: The stereo return and reverb return busses from the 896mk3 in AudioDesk’s Bundles window.

☛ Warning: the Return inputs can cause

feedback loops! DO NOT assign this input to a track that shares the same 896mk3 output pair as the returns.

Reverb return

The 896mk3 also supplies a return to AudioDesk that carries the output of its reverb processor (Figure 8-2). This return can be used for any purpose you wish.

4 As you feed signal to the input, adjust the input’s

corresponding trim knob on the front panel of the

896mk3 until peaks in the level meter are as high as

possible without clipping (hitting zero dB).

Phones 1-2

If you’ve chosen to treat the 896mk3 headphones as

an independent output, you’ll see Phones 1-2 in

AudioDesk’s output menus. Audio tracks assigned

to this output pair will be heard on the headphone

jack only. For further explanation, see “Phones” on

page 58.

24-BIT OPERATION

Your 896mk3 hardware fully supports AudioDesk’s

24-bit recording capabilities, including both

analog and digital 24-bit recording. If you would

like to record and play back 24-bit audio ﬁles, go to

the Audio Options in the AudioDesk Preferences

(AudioDesk menu), and choose 24-bit recording

as the sample format for the project. This setting is

saved with the AudioDesk project.

WORKING WITH 896MK3 INPUTS AND OUTPUTS

Once you’ve enabled the MOTU FireWire Audio driver as explained earlier in “The 896mk3 settings” on page 57, 896mk3 audio inputs and outputs will appear in AudioDesk’s audio input and output menus. If you don’t see the optical inputs and/or outputs, check the MOTU Audio Setup to make sure they are turned on and set to the format you require. If you don’t plan to use either optical bank, turn it off to conserve computer bandwidth.

Trimming the analog inputs

The 896mk3 analog inputs provide trim knobs on the front panel. To calibrate an audio input:

1 Record-enable a track in AudioDesk.

2 Choose the desired 896mk3 input for the track.

3 Open the Audio Monitor window.

AUDIODESK

PROCESSING LIVE INPUTS THROUGH

AUDIODESK PLUG-INS

If you patch a live input (such as MIDI synthesizer)

through a plug-in effect in AudioDesk, you might

hear a slight delay. There are several ways to reduce

this delay. For details, see chapter 10, “Reducing

Monitoring Latency” (page 69).

WORKING WITH CUEMIX FX MIXING AND

EFFECTS

The 896mk3 provides powerful external mixing,

EQ, compression and reverb, which you can

operate hand-in-hand with AudioDesk’s complete

mixing environment. For example, the 896mk3

can serve as a monitor mixer routing channels to

musicians, or it can serve as an integrated

extension of your AudioDesk mixing environment.

If you program an 896mk3 mixing and processing

conﬁguration that goes hand in hand with your

AudioDesk project, be sure to use the ﬁle save

features in CueMix FX to save the 896mk3 settings

Page 60

as a ﬁle in your AudioDesk project folder for instant recall of all settings. See chapter 11, “CueMix Console” (page 75) 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 21 for the proper hardware connections. Use the synchronization diagrams to be clear about how you will be synchronizing AudioDesk and the 896mk3 to the other components of your system.

Synchronizing digital audio connections

Resolving directly to time code (with no synchronizer)

If you need to slave AudioDesk and the 896mk3 to SMPTE time code, you can do so with or without a dedicated synchronizer.

To resolve your 896mk3 directly to SMPTE time code with no additional synchronization devices, use the setup shown in “Syncing to SMPTE time code directly” on page 22.

Resolving to video and/or time code with a

dedicated synchronizer

To resolve your 896mk3 to video and/or SMPTE

time code using an additional synchronization

device, use the setup shown in “Syncing to video

and/or SMPTE time code using a synchronizer” on

page 23.

USING A FOOT SWITCH

Use a foot switch connected to the 896mk3 to

trigger recording punch-in and punch-out, or any

other feature in AudioDesk that is assigned to a

computer keystroke. By default, the foot switch

triggers the 3 key on the computer keypad (which

toggles AudioDesk’s record button.) To trigger a

different set of keystrokes with the foot switch, visit

the MOTU Audio Setup. (See “Enable Pedal” on

page 41.)

EXCHANGING PROJECTS WITH DIGITAL

PERFORMER

To open AudioDesk Version 2 (or Version 1) ﬁles in

Digital Performer, just use DP’s Open command.

(No conversion is required beforehand in

AudioDesk.) To export a Digital Performer project

to AudioDesk, use Save As in Digital Performer’s

File menu and choose the AudioD esk 2.0 ﬁle

format. Then open the resulting AudioDesk 2.0

document in AudioDesk.

AUDIODESK AND MIDI SEQUENCING

AudioDesk can play audio as a background

application, allowing you to run a sequencer at the

same time in the foreground. However, there is no

way to continuously synchronize — or resolve — a

sequencer with AudioDesk, so the two programs

will eventually drift out of sync, even if you manage

to start them at the same time. If you’d like to do

integrated MIDI sequencing, your best bet is

Digital Performer, which offers pretty much all of

the same features as AudioDesk, along with

powerful, state-of-the-art MIDI sequencing. Talk

to your authorized MOTU dealer for details about

upgrading from AudioDesk to Digital Performer.

AUDIODESK

Page 61

CHAPTER

9 Other Mac OS X Audio Software

OVERVIEW

The 896mk3 provides multichannel audio and MIDI input and output for all Mac OS X audio applications, including Apple’s Logic Pro, Logic Express, SoundTrack Pro and GarageBand. Other third-party software applications are also supported, such as Ableton Live, Propellerhead Reason, Steinberg Cubase and others.

Installing the 896mk3 Mac OS X drivers . . . . . . . . . . . . . 61

Preparing MIDI input and output . . . . . . . . . . . . . . . . . . . . 61

Run MOTU Audio Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Choosing the MOTU FireWire Core Audio driver . . . . . 62

Working with 896mk3 inputs and outputs . . . . . . . . . . 64

Audio Input and output names . . . . . . . . . . . . . . . . . . . . . . 64

Number of channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Processing live inputs with host plug-ins . . . . . . . . . . . . 66

Working with CueMix FX mixing and effects. . . . . . . . . 66

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Using a foot switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

INSTALLING THE 896MK3 MAC OS X DRIVERS

To install the 896mk3’s Mac OS X audio and MIDI drivers, just run the installer on the MOTU Audio installer CD as detailed in chapter 4, “Installing the 896mk3 Mac Software” (page 33).

PREPARING MIDI INPUT AND OUTPUT

If you will be using the 896mk3’s MIDI input and output ports, be sure to follow the procedure in “Preparing MIDI input and output” on page 61.

RUN MOTU AUDIO SETUP

Before you run your host audio software, launch MOTU Audio Setup to conﬁgure your 896mk3 hardware. MOTU Audio Setup 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 software, so

this is an important step. For complete details see

chapter 5, “MOTU Audio Setup” (page 35).

Figure 9-1: MOTU Audio Setup.

For complete details about the 896mk3 settings, see

chapter 5, “MOTU Audio Setup” (page 35). The

following sections provide a brief explanation of

each 896mk3 setting for use with Logic and other

Mac OS X audio software.

Sample rate

Choose the desired overall sample rate for the

896mk3 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 896mk3 will

follow.

If you do not have any digital audio connections to

your 896mk3 (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.

Page 62

If you have digital audio devices connected to the 896mk3, or if you are not sure about the clock source of your setup, be sure to read “Making sync connections” on page 21 and “Clock Source” on page 37.

If you are slaving the 896mk3 and your host software to SMPTE time code, follow the directions in “Syncing to video and/or SMPTE time code using a synchronizer” on page 23.

Phones

This 896mk3 setting lets you choose what you’ll hear from the headphone jack. For example, if you choose Main Out 1-2, the headphones will 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 independent output pair. As a result, you’ll see Phones 1-2 as an additional audio destination in you r host’s aud io out put m enus . When oper ati ng at high sample rates, the phones must mirror one of the other output pairs.

Optical input and output

To make a 896mk3 optical input or output available in your host software, choose the appropriate format (ADAT optical or TOSLINK) from the optical input and/or output menu. 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 896mk3. If you would like to treat them as their own separate output pair, choose Main Outs.

this return. This can be used, for example, to

record back a ﬁnal stereo mix that includes effects

processing from the 896mk3 DSP (such as the

Leveler) for reference and archiving purposes.

☛ Warning: the Return inputs can cause

feedback loops! DO NOT assign this input to a

track that shares the same 896mk3 output pair as

the returns.

Reverb return

The 896mk3 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.

CHOOSING THE MOTU FIREWIRE CORE

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 896mk3 Core

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 896mk3 from this menu.

Logic Pro and Logic Express

In Logic Pro and Logic Express, go to the

Preferences window, click the Au dio tab, click the

Drivers tab and click the Core Audio tab as shown

in Figure 9-2. Choose the MOTU 896mk3 from the

Driver menu. For information about the I/O Buffer

Size setting, see “Adjusting the audio I/O buffer” on

page 71.

Return Assign

In your OS X host audio software audio input menus, you’ll see an 896mk3 input called Return 1-2. This is a stereo feed from the 896mk3 that matches the signal of one of its output pairs. Use the Return Assign menu in MOTU Audio Setup to choo se w hich o utpu t pair you w ould like to hea r on

OTHER MAC OS X AUDIO SOFTWARE

Page 63

Figure 9-2: Enabling the 896mk3 in Logic Pro or Logic Express.

Soundtrack Pro

In Soundtrack Pro, access the preferences window, click the Recording tab and choose MOTU 896mk3 from the Input and Monitor menu as shown below in Figure 9-3.

Figure 9-4. For information about the Optimize for

setting, see “Adjusting the audio I/O buffer” on

page 71.

Figure 9-4: Enabling the 896mk3 in Garage Band.

Live

In Ableton Live, access the preferences window and

click the Aud io tab. Choose CoreAudio from the

Driver Type menu. Choose the MOTU 896mk3

from the Input Audio Device and Output Audio

Device menus as shown below in Figure 9-5. For

information about the Buffer Size setting, see

“Adjusting the audio I/O buffer” on page 71.

Figure 9-3: Enabling the 896mk3 in Soundtrack Pro.

Garage Band

In Garage Band, go to the Audio/MIDI preferences and choose MOTU 896mk3 from the Audio O utput and Audio Input menus as shown below in

OTHER MAC OS X AUDIO SOFTWARE

Figure 9-5: Enabling the 896mk3 in Live.

Page 64

Reason

In Propellerhead Reason, go to the Preferences window, choose Audi o preferences from the menu and choose MOTU 896mk3 from the Audio O utput menu as shown below in Figure 9-6. For information about the Buffer Size setting, see “Adjusting the audio I/O buffer” on page 71.

Figure 9-6: Enabling the 896mk3 in Reason.

Cubase and Nuendo

Go to the Devices menu and choose Device Setup. Click the VST Audio System item in the Devices list and choose MOTU 896mk3 from the Master ASIO Driver menu as shown below in Figure 9-7. Activate the inputs and outputs within Cubase or Nuendo as usual. For information about the Audio Buffer Size setting, see “Adjusting the audio I/O buffer” on page 71.

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 896MK3 INPUTS AND

OUTPUTS

Once you’ve enabled the 896mk3’s Core Audio

driver, 896mk3 audio inputs and outputs will

ap pea r in you r ho st s of twa re w her eve r au dio inp uts

and outputs are listed. If you don’t see the optical

inputs and/or outputs, check MOTU Audio Setup

to make sure they are turned on. If you don’t plan

to use either optical bank, turn it off to conserve

computer bandwidth.

AUDIO INPUT AND OUTPUT NAMES

The 896mk3 Core Audio driver supplies text string

labels for its inputs and outputs to clearly identify

each one, but some applications do not display

these labels. For example, in Cubase, the 896mk3

outputs are numbered like this:

Figure 9-7: Enabling the 896mk3 audio driver in Cubase.

Figure 9-8: Some applications number the 896mk3 inputs and

outputs, but don’t display which outputs they refer to.

The following sections show how you can identify

each input and output in a numbered list like this.

OTHER MAC OS X AUDIO SOFTWARE

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Inputs at 1x sample rates

Inputs are always listed in the same order as follows, when operating the 896mk3 at 1x sample rates (44.1 or 48 kHz):

Input

44.1/48 kHz Channels List position Comment

Analog 8 1-8 -

AES/EBU 2 9-10 -

SPDIF 2 11-12 -

Stereo return

Reverb return

Optical A 8 ADAT

Optical B 8 ADAT

2 13-14 See “Return Assign”

2 15-16 See “Reverb return”

2 TOSLINK

17-24 17-18

25-32 19-20

on page 62.

These starting channel numbers assume that optical A is operating with the same format.

Inputs at 2x sample rates

When operating the 896mk3 at a 2x sample rate (88.2 or 96 kHz), inputs are listed as follows:

Input

88.2 / 96 kHz Channels List position Comment

Analog 8 1-8 -

AES/EBU 2 9-10 -

SPDIF 2 11-12 -

Stereo return

Reverb return

Optical A 4 ADAT

Optical B 4 ADAT

2 13-14 See “Return Assign”

not available

2 TOSLINK

not available

15-18 15-16

19-22 17-18

on page 62.

not available

These starting channel numbers assume that optical A is operating with the same format.

Inputs at 4x sample rates

When operating the 896mk3 at a 4x sample rate

(176.4 or 192 kHz), inputs are listed as follows:

Input

176.4 /192 kHz Channels List position Comment

Analog 8 1-8 -

Stereo return 2 9-10 See “Return

Reverb return not

SPDIF not

AES/EBU not

Optical A not

Optical B not

available

not available

Assign” on page 62.

not available

Outputs at 1x sample rates

Outputs are always listed in the same order as

follows, when operating the 896mk3 at 1x sample

rates (44.1 or 48 kHz):

Output

44.1 / 48 kHz Channels List position Comment

Main outs 2 1-2 -

Analog 8 3-10 -

AES/EBU 2 11-12 -

SPDIF 2 13-14 -

Phones 2 15-16 -

Optical A 8 ADAT

Optical B 8 ADAT

2 TOSLINK

17-24 17-18

25-32 19-20

These channel number ranges assume that optical A is operating with the same format.

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Outputs at 2x sample rates

When operating the 896mk3 at a 2x sample rate (88.2 or 96 kHz), outputs are listed as follows:

Output

88.2/ 96 kHz Channels List position Comment

Main outs 2 1-2 -

Analog 8 3-10 -

AES/EBU 2 11-12 -

SPDIF 2 13-14 -

Phones Mirror only -- -

Optical A 4 ADAT

Optical B 4 ADAT

2 TOSLINK

15-18 15-16

19-22 17-18

These channel number ranges assume that optical A is operating with the same format.

Outputs at 4x sample rates

When operating the 896mk3 at a 4x sample rate (176.4 or 192 kHz), outputs are listed as follows:

Output

176.4/ 192 kHz Channels List position Comment

Main outs 2 1-2 -

PROCESSING LIVE INPUTS WITH HOST

PLUG-INS

If you patch a live input (such as a MIDI

synthesizer) through a plug-in effect in your host

software, you might hear a slight delay. There are

several ways to reduce this delay. For details, see

chapter 10, “Reducing Monitoring Latency”

(page 69).

WORKING WITH CUEMIX FX MIXING AND

EFFECTS

The 896mk3 provides powerful external mixing,

EQ, compression and reverb, which you can

operate hand-in-hand with your host’s mixing

environment. For example, the 896mk3 can serve

as a monitor mixer routing channels to musicians,

or it can serve as an integrated extension of your

host’s mixing environment. If you program an

896mk3 mixing and processing conﬁguration that

goes hand in hand with your host project, be sure

to use the ﬁle save features in CueMix FX to save

the 896mk3 settings as a ﬁle in your host project

folder for instant recall of all settings. See

chapter 11, “CueMix Console” (page 75) for

complete details.

Analog 8 3-10 -

Phones Mirror only -- -

SPDIF Not available -- -

AES/EBU Not available -- -

Optical A Not available -- -

Optical B Not available -- -

NUMBER OF CHANNELS

If your host audio software requires that you spec ify th e numbe r of aud io voices or channe ls you wi ll be using , be sure to choose enough channels to cover the 28 inputs and 32 outputs provided by your 896mk3 — although the number of channels may depend on how your 896mk3 is conﬁgured.

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 21 for

the proper hardware connections. Use the

synchronization diagrams to be clear about how

you will be synchronizing your audio software and

the 896mk3 to the other components of your

system.

Synchronizing digital audio connections

If you have devices connected to the 896mk3

digital inputs (optical or RCA S/PDIF), you need to

be concerned with the synchronization of the

896mk3’s digital audio clock with other devices

connected to it digitally (if any). For example, if

you have a digital mixer connected to the 896mk3

OTHER MAC OS X AUDIO SOFTWARE

Page 67

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 19 and “Making sync connections” on page 21. If you don’t have any digital audio devices connected to the 896mk3, digital audio phase-lock does not apply to you.

Resolving directly to time code (with no synchronizer)

If your host audio software supports Core Audio’s sample-accurate positioning protocol, then it can resolve to the 896mk3’s built-in time code synchronization feature. To resolve your 896mk3 directly to SMPTE time code with no additional synchronization devices, use the setup shown in “Syncing to SMPTE time code directly” on page 22.

Resolving to video and/or time code with a

dedicated synchronizer

If your host software has the ability to synchronize

to SMPTE time code but does not support Core

Audio’s sample-accurate positioning protocol, you

can slave your host software and the 896mk3 to

video and/or SMPTE time code using a dedicated

synchronization device. To do so, use the setup

shown in “Syncing to video and/or SMPTE time

code using a synchronizer” on page 23.

USING A FOOT SWITCH

Use a foot switch connected to the 896mk3 to

trigger recording punch-in and punch-out, or any

other feature in your host audio software that is

assigned to a computer keystroke. By default, the

foot switch triggers the 3 key on the computer

keypad. To trigger a different set of keystrokes with

the foot switch, visit MOTU Audio Setup. (See

“Enable Pedal” on page 41.)

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CHAPTER

10 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 896mk3 input, passes through the 896mk3 hardware into the computer, through your host audio software, and then back out to an 896mk3 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 896mk3’s CueMix FX digital mixer to patch the input directly to your monitor outs via the 896mk3 audio hardware. The 896mk3 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 73.

Monitoring live input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Adjusting the audio I/O buffer . . . . . . . . . . . . . . . . . . . . . . . 71

Lower latency versus higher CPU overhead . . . . . . . . . . 72

Transport responsiveness . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Effects processing and automated mixing . . . . . . . . . . . 73

CueMix FX hardware monitoring. . . . . . . . . . . . . . . . . . . . . 73

Two methods for controlling CueMix FX . . . . . . . . . . . . . 73

Using CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Controlling CueMix FX from your audio software . . . . 74

If you do need to process a live input with host software plug-ins, or if you are playing virtual instruments live through your 896mk3 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 no te th at mon itor 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 70

MONITORING LIVE INPUT

There are two ways to monitor live audio input with an 896mk3: 1) through the computer or 2) via the 82mk3 CueMix FX hardware mixer. Figure 10-1 shows method 1, which allows you to apply host-based 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.

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).

Figure 10-2 shows how to use CueMix FX

hardware-based 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 896mk3-based effects processing

(EQ, 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.

3. Mic signal is ‘patched thru’ back to the audio interface with reverb or other

2. Mic signal goes immediately to the computer.

Mac

Figure 10-1: There are two ways to monitor live audio inputs with an 896mk3: 1) through the computer or 2) via CueMix FX hardware monitoring. 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.

plug-in effects, if any.

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

REDUCING MONITORING LATENCY

Page 71

If the material you are recording is suitable, there is a third way to monitor live input: use both methods (Figure 10-1 and Figure 10-2) 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 896mk3 Classic Reverb.

ADJUSTING THE AUDIO I/O BUFFER

A buffer is a small amount of computer memory

used to hold data. For audio interfaces like the

896mk3, 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.

Under Mac OS X, audio I/O buffer size is handled

by the host audio application (not the 896mk3

Core Audio driver). Most audio software

applications provide an adjustable audio buffer

setting that lets you control the amount of delay

you’ll hear when monitoring live inputs or

processing them with software plug-ins. Below are

a few examples.

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 Console.

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 896mk3 effects processing, such as EQ, compression or Classic Reverb.

Figure 10-2: 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 896mk3 effects, such as the reverb, EQ and/or compression.

REDUCING MONITORING LATENCY

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

Page 72

Figure 10-3: In Dig it al Perf or me r a nd AudioDesk, choose Se tu p menu> Conﬁgure Audio System> Conﬁgure Hardware Driver to open the dialog shown above and access the Buffer Size setting. Refer to your Digital Performer or AudioDesk manual for information about the Host Buffer Multiplier setting.

Figure 10-4: In Cubase or Nuendo, choose Devices menu> Device Setup and click VST Audio System to access the window above and the Audio Buffer Size setting.

Figure 10-5: In Logic Pro or Logic Express, go to the Audio Driver

preferences to access the Buffer Size option shown above.

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

AudioDesk, Digital Performer or other 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 real-

time 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.

REDUCING MONITORING LATENCY

Page 73

■ 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.

Figure 10-6: When adjusting the buffer size to reduce monitoring latency, watch the ‘processor’ meter in Digital Performer or AudioDesk’s Performance Monitor. If you hear distortion, or if the Performance meter is peaking, try raising the buffer size.

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 896mk3 has a more direct method of patching audio through the system. This method employs the 896mk3’s CueMix FX digital mixer. When enabled, CueMix activates hardware patch-thru in the 896mk3 itself. CueMix FX has two important beneﬁts:

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 896mk3 itself and are mixed with

disk tracks playing back from your 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.

Using CueMix FX

If your host audio software 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 896mk3 stereo mixes, or any other desired

routing conﬁgurations. These routings are

REDUCING MONITORING LATENCY

Page 74

independent of your host audio software. For complete details, see chapter 11, “CueMix Console” (page 75).

Controlling CueMix FX from your audio software

Some audio applications 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 896mk3 input directly to an output when you record-arm a track. Exactly how this is handled depends on the application.

The following applications are among those that support direct control over CueMix FX:

■ Digital Performer

■ Aud ioDe sk

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.

Figure 10-7: Enabling CueMix FX in AudioDesk or Digital Performer.

Note: the ‘Only during recording...’ and ‘Always’ options are for

AudioDesk 2 and DP4 only. Later versions of DP have expanded input

monitoring features. Consult your documentation.

Once enabled, CueMix FX monitoring is tied with

Digital Performer or AudioDesk’s Audio Patch

Thru feature: when you record-enable a track, the

track’s input is routed directly to its output (via

CueMix FX in the 896mk3 hardware). For

example, if you record-enable a track called guitar

in your DP or AudioDesk project, and its audio

input assignment is Analog in 2, and its audio

output assignment is optical channels 7-8,

CueMix FX no-latency hardware monitoring will

automatically be set up from analog in 2 to optical

outputs 7-8.

Controlling CueMix FX from within other

software

Consult the manual for your software.

Controlling CueMix FX from within AudioDesk or Digital Performer

To turn on CueMix FX in AudioDesk and Digital Per former :

1 From the Setup menu, choose Conﬁgure Audio System> Input Monitoring Mode.

2 Choose the Direct hardware playthrough option, as shown below in Figure 10-7.

3 From the Studio menu, choose Audio Patch Thru, and choose any monitoring mode except Off.

REDUCING MONITORING LATENCY

Page 75

CHAPTER

11 CueMix Console

OVERVIEW

CueMix FX is a cross-platform software application that provides graphic, on-screen control for the 896mk3’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 896mk3’s on-board mixing and effects using the front panel LCD, see chapter 6, “896mk3 Front Panel Operation” (page 43).

A 16-bus mixer with EQ, compression and reverb. . . . 75

Advantages over host-based mixing and processing 76

CueMix FX software installation . . . . . . . . . . . . . . . . . . . . . 76

CueMix FX basic operation . . . . . . . . . . . . . . . . . . . . . . . . . . 77

The Mixes tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

The Inputs tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

The Outputs tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

The channel settings section. . . . . . . . . . . . . . . . . . . . . . . . . 84

The Monitor Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

DSP meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Solo light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Talkback and listenback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

File menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Edit menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Devices menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Conﬁgurations menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Talkback menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Phones menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Control Surfaces menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

A 16-BUS MIXER WITH EQ, COMPRESSION

AND REVERB

All 896mk3 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 no-

latency effects processing to inputs, outputs or

busses directly in the 896mk3 hardware,

independent of the computer. Effects can even be

applied when the 896mk3 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).

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 60 channels), with enough

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 896mk3’s processing resources.

Page 76

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 software:

■ CueMix has no buffer latency. Thanks to the

896mk3’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 896mk3 to operate as a

portable, stand-alone mixer with effects.

CUEMIX FX SOFTWARE INSTALLATION

CueMix FX is an application installed with the rest

of your 896mk3 software that lets you control the

896mk3 CueMix FX on-board mixer from your

computer.

Channel

focus

Channel scroll bar

DSP

resources

MIx bus

meter

Mic inputs Inputs split

Solo

light

Tabs for inputs, mix busses and

outputs

into mono

channels

896mk3

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

Channel settings

processor.

Monitoring/

talkback

section

Monitor

group

metering

Grow handle

Figure 11-1: CueMix FX is a virtual mixer that gives you control over the 896mk3’s on-board mixing features.

CUEMIX CONSOLE

Page 77

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 896mk3 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 outpu t 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 11-2 on page 78). To select which mix you are viewing, choose it from the mix bus menu (Figure 11-2). The mix name appears above the mix bus master fader (Figure 11-2), where you can click the name to change it.

Output channels

The Outputs tab (Figure 11-6 on page 83) gives you

access to settings for each 896mk3 output pair,

including EQ, dynamics processing and send/

return controls for feeding and returning the

output signal to/from the 896mk3’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 11-1)

to view channel-spe ciﬁc parameters in the Channel

Settings section of the CueMix FX window

(Figure 11-1). 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 896mk3 has a global reverb module

(Figure 11-23 on page 96). Once it has been

activated, you can feed signals to the reverb

processor from various points in the 896mk3 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.

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 11-3 on page 80) gives you access to settings for individual 896mk3 inputs (or input pairs), such as phase, trim, EQ and dynamics processing. Each input also includes a send to the 896mk3’s global reverb processor. These settings are applied to the signal before it goes anywhere else (to a mix bus or the computer).

CUEMIX CONSOLE

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 grow

box (Figure 11-1) to the right.

Page 78

THE MIXES TAB

Click the Mixes tab (Figure 11-2) to gain access to the 896mk3’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 11-2). The menu shows all mixes by name, followed by the 896mk3 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 11-2). The bus

output menu displays all current available

(enabled) 896mk3 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 11-2) 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 11-2) 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.

896mk3

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

Mic inputs Inputs grouped as

Figure 11-2: The Mixes tab.

stereo pairs

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Bus mute

The bus mute button (Figure 11-2) disables (silences) the mix.

page 84). Clicking the mix bus master fader focus

button brings the assigned output into focus, if

there is one.

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 11-2) feeds the output of the mix bus, pre-fader, to the 896mk3’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 11-2) feeds the output of the 896mk3’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 96.

Input section

The horizontally scrolling area in the Mix tab to the left of the master fader (Figure 11-2) displays channel strips for all currently enabled 896mk3 inputs.

Naming an input

Click the input name at the top of the input channel strip (Figure 11-2) to edit the name. Input names are global across all mixes. This name also appears in host audio software on the computer (if the software supports channel names).

Input pan section

The input pan knob (Figure 11-2) 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:

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 11-2) 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.

Input channel focus

Click the channel focus button (Figure 11-3) to view and edit parameters in the channel settings section of the CueMix FX window (Figure 11-7 on

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If any solo button on the current (active) bus is

enabled, the Solo Light (Figure 11-1) will

illuminate.

Page 80

THE INPUTS TAB

The 896mk3 provides many features for managing analog and digital input signals. Some of these features, such as the front panel trim knobs, 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 11-3) to access and control all of these input channel settings for each 896mk3 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 record a completely unprocessed input signal, do

Inputs tab

Input name

Channel focus

Mono/stereo paring

Invert phase

Input trim

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 896mk3’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:

front-panel trim, overload protection, phase,

stereo versus M/S decoding, width, L/R swap, EQ,

dynamics and reverb send.

Input name

Click the input name at the top of the input channel

strip (Figure 11-3) to edit the name. Input names

are global across all mixes. This name also appears

in host audio software on the computer (if the

software supports channel names).

EQ/dynamics controls

EQ/dynamics graph

EQ/dynamics

enable/disable

Reverb send

Input scroll bar

Figure 11-3: The Inputs tab.

EQ band selectors

LP/HP ﬁlter selector Compressor selector

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Input channel focus

Click the channel focus button (Figure 11-3) to view and edit parameters in the channel settings section of the CueMix FX window (Figure 11-7 on page 84).

Mono/stereo pairing

Click the Mono button (Figure 11-3) if you would li ke an inp ut to be treated as a m ono c hann el. 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 (Analog 1-2, 3-4, etc.) Stereo pairs appear as a single channel st rip in the CueMix FX mixer (in all tabs).

Invert phase

Click the Phase button (Figure 11-3) to invert the phase of the input signal. For stereo pairs, you can invert the phase for the left and right channels independently.

Input EQ and dynamics

The 896mk3 lets you apply 7-band parametric EQ

and dynamics processing (DSP) to any input,

analog or digital.

The controls in the EQ/Compression section of the

Inputs tab (Figure 11-3) 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 11-1). 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 84.

Input trim

All 896mk3 inputs, both analog and digital, offer continuously variable input trim. For analog inputs, trim is handled in the analog domain. For digital inputs, trim level can be controlled digitally in 1 dB increments. Here is a summary of input trim ranges for each type of 896mk3 input:

Input

Analog inputs 0 dB +60 dB 60 dB

AES/EBU 0 dB +12 dB 12 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

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 100 and “Conﬁgurations menu” on page 100.

The EQ/Dynamics graph

The EQ/Dynamics graph for each input channel

strip (Figure 11-3) 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 11-10 on page 86).

EQ/Dynamics selectors

The EQ/Dynamics selector buttons along the

right-hand edge of the EQ/Dynamics section

(Figure 11-3) allow you to choose what you are

viewing and editing in the EQ/Dynamics section.

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Orange Green Blue Red

Yellow White Black

Figure 11-4: The EQ/Dynamics selectors.

EQ band selectors

LP/HP ﬁlter selector Compressor selector

Colored knobs

Click the selector (Figure 11-4) for the desired EQ band, low-pass (LP) ﬁlter, high pass (HP) ﬁlter or compressor to view it across all channels.

Compressor

graph

Figure 11-5: The Compressor controls.

Compressor

meter

Compressor

selector

☛ Shortcut: hold down the option 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 11-10), as explained in “Enabling EQ” on page 87.

EQ/Dynamics enable/disable buttons

Click the EQ or Dynamics button at the bottom of

the input channel (Figure 11-3) 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 11-3) feeds the input

signal to the 896mk3’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 11-6) lets you apply EQ,

dynamics and reverb to any output pair, just before

the signal leaves the 896mk3. This is processing

that occurs at the very end of the signal ﬂow, after

everything else (host based effects, 896mk3 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.

Naming an output

Click the output name at the top of the output

channel strip (Figure 11-6) to edit the name.

Output names are global and will also appear in

host audio software on the computer (if the

software supports channel names).

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Page 83

Output channel focus

Click the channel focus button (Figure 11-6) to view and edit parameters in the channel settings section of the CueMix FX window (Figure 11-7 on page 84).

Output EQ and Dynamics

The EQ/Dynamics section in the Outputs tab (Figure 11-6) works identically to the EQ/ Dynamics section for the Inputs tab (Figure 11-3). See “Input EQ and dynamics” on page 81.

Output reverb send/return

The output reverb send (Figure 11-6) feeds the signal for the output to the 896mk3’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 same output from which it was sent (discussed below). The output reverb send is disabled (grayed out) when the reverb Split

Outputs tab

Point is set to Mix to eliminate the possibility for

feedback loops created by reverb send/return

loops. See “Split point” on page 96.

The output reverb return (Figure 11-6) feeds the

output of the 896mk3’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 11-6) to toggle whether the output pair is

included in the Talkback or Listenback group. See

“Talkback and listenback” on page 98.

Monitor group assign

Click the Monitor buttons (Figure 11-6) to toggle

whether the output pair is included in the Monitor

group. See “The Monitor Group” on page 97.

Output name

Channel focus

EQ/Dynamics graph

EQ/Dynamics controls

EQ/Dynamics

enable/disable

Output reverb

send/return

Talkback/listenback

enable/disable

Monitor group assign

Figure 11-6: The Outputs tab.

CUEMIX CONSOLE

EQ band selectors

LP/HP ﬁlter selector Compressor selector

Page 84

THE CHANNEL SETTINGS SECTION

The channel settings section in the CueMix FX window (Figure 11-1) 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 11-8) 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 11-7: The Channel Settings section.

Tabs for the global meter

bridge and reverb processor

Figure 11-8: 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 11-3 on page 80). 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.

Stereo settings

Inputs t hat h ave be en grou ped as stereo pairs in the

Inputs tab (Figure 11-3) provide two stereo modes

(Figure 11-8): Normal and M/S. M/S mode

provides decoding for a mid-side microphone

conﬁguration.

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Page 85

The Widt h knob (Figure 11-8) provides control over the stereo imaging, going from a full stereo image to mono (both channels panned equally). See “Width” on page 79.

The Swap L/R button (Figure 11-8) lets you switch the left and right channels.

Ta l kb ac k s ec t i on

Click the Ta l k b a c k or Listenback button

(Figure 11-8) 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 98.

Overload protection (mic/guitar inputs only)

The Overload Protection section (Figure 11-8) provides two features that help prevent digital clipping on the eight mic/guitar inputs. These options are only available on these preampequipped inputs.

V-L imi t™ (Figure 11-8) 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.

☛ Lookahead adds a 1.5 millisecond delay to the

input signal. Therefore, when you enable lookahead for one or more inputs, all analog inputs (even ones without the limiter and lookahead enabled) are delayed together by 1.5 ms so that all eight inputs remain perfectly in phase with each other.

Additional or alternative protection can be applied to the mic/guitar inputs by enabling Soft Clip (Figure 11-8). When enabled, Soft Clip engages just before clipping occurs and helps further reduce perceptible distortion. When V-Limit is tur ned off, Sof t Clip begins to engage around -2 dB (just below zero); when V-Limit is turned on, Soft Clip begins to engage around +10 dB (just below +12 dB).

Reverb section

The Send in the reverb section (Figure 11-8) is the

same control as the reverb send in the Input tab

channel strip (Figure 11-3). See “Reverb send” on

page 82. 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 11-8) to pan the mono signal for the stereo

reverb processor.

Input meter and bus activity LEDs

When the Channel tab is active (Figure 11-8), the

display above the tab provides a horizontal level

meter and eight bus activity LEDs (Figure 11-9).

Bus activity LEDs

Figure 11-9: Input meter and bus activity LEDs.

The input level meter (Figure 11-9) is the same as

the input meters in the Meters tab (Figure 11-22 on

page 95) 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 the

896mk3. 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.

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The Bus Activity LEDs (Figure 11-9) 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.

The EQ tab

The EQ tab (Figure 11-10) displays the EQ settings

for the input or output channel that currently has

the focus. Click any focus button in the Inputs or

Outputs tab to view the EQ tab settings for the

channel.

Vintage EQ

Inspired by legendary British large console EQs,

the 896mk3 Vintage EQ section (Figure 11-10)

gives you the look, feel and sound of the most

sought-after 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

al ik e. Tw o b an ds i nc lu de she lf ﬁl t er in g. Tw o

additional bands of variable slope low pass and

Filter response display

Filter curve toggle Parameter display

EQ tab

EQ ﬁlter

EQ Filter types

Shelf ﬁlter

High-pass ﬁlter

Slope

High-pass frequency

Q handles

(red lines)

Filter

handle

Composite

curve

(white line)

Individual

ﬁlter curve

(colored area)

Vertical scale

Filter enable/disable

Low-pass ﬁlter

Figure 11-10: The EQ tab.

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Page 87

high pass ﬁltering are provided. The ﬁlter response display provides comprehensive control and visual feedback of the EQ curve being applied. With 64-bit ﬂoating point processing, the 896mk3 Vintage EQ has been carefully crafted and meticulously engineered to produce musical results in a wide variety of applications.

Enabling EQ

Each input and output channel has a global EQ enable/disable button (Figure 11-3 and

Figure 11-6). 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 11-10), allowing you to enable as few or as many bands as needed for each individual channel.

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 fou r or ﬁ ve

EQ styles for each independent band of EQ.

Low/High Pass ﬁlter: Bo th a low pa ss a nd h ig h pa ss

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.

Filter handle: Drag this handle to graphically

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

Vintage EQ Quick reference

Filter response display: Shows the response curve

for the current settings.

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 11-11: 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).

Composite curve (white line): shows the overall

response curve of the current settings in the

window.

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 curve toggle: Shows/hides the colored ﬁlter

curves in the 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 11-10).

Each ﬁlter can be set to one of four different ﬁlter

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Page 88

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 ﬁlters (lower left) have gray cutoff frequency 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 11-10).

Showing and hiding ﬁlter curves

To view a ﬁlter in the display, turn on the ﬁlter. The shape of the ﬁlter, according to its current settings, is shaded in the same color as the ﬁlter’s knob(s). Use the ﬁlter curve toggle (Figure 11-10) to show or hide them in the display.

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.

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”.

Adjusting ﬁlters in the display

Each ﬁlter has a handle, displayed as shown below in Figure 11-12 (in the ﬁlter’s color), for adjusting its boost/cut and/or frequency:

Filter handle

Filter Q (red line)

Figure 11-12: 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.

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.

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The following sections describe the character of each type of EQ ﬁlter and their suggested applications. In the illustrations for each ﬁlter style (Figure 11-13 through Figure 11-16), 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

Typ e I

discussed in the following sections might be more

appropriate. This ﬁlter type is the most similar to a

standard parametric EQ.

Typ e I I

Figure 11-13: 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 gai n or re ducti on p rodu ce rel ati vely 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

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Figure 11-14: Type II EQ ﬁlter style.

The Typ e I I EQ ﬁlte r 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.

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Type III

Typ e I V

Figure 11-15: 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.

Figure 11-16: Type IV EQ ﬁlter style.

The Typ e I V EQ ﬁlte r is a more extreme form of t he

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 styles 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.

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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 11-17

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 11-17: Shelf ﬁlter Q parameter overshoot.

When two top-most bands in the EQ tab are set to their shelf ﬁlter setting (Figure 11-10), the Q parameter controls the amount of overshoot applied to the response curve, as illustrated in Figure 11-17. When Q = 0.01 (the lowest setting), normal shelving is applied w ith no overshoot. This produces the response provided by a ﬁrst order shelf. When Q = 1.0 (the default setting), the

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Figure 11-18: Overshoot when low shelf boost is applied.

Overshoot is also applied to high shelf boost and

cut:

Figure 11-19: Overshoot when high shelf cut and boost is applied.

Page 92

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 11-20: The low pass ﬁlter with three example slope settings.

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The Dynamics tab

The Dynamics tab (Figure 11-21) 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 11-21) 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

Attac k 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 11-21: The Dynamics tab.

Enabling Dynamics

Each input and output channel has a global Dynamics enable/disable button (Figure 11-3 and Figure 11-6). 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 11-21) for the channel.

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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 11-21).

Input level meter

The Input Level meter (Figure 11-21) 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 11-21) displays the current amount of

attenuation applied by the compressor.

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Output level

The Output Level meter (Figure 11-21) displays the peaks of the output signal. Trim is applied before the Output Level meter.

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 era lly us ed fo r dr ums, 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 11-21) 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 896mk3 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.

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Page 95

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 11-21) 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 11-21) sets the strength of the signal sent to the AGC model.

Bus activity LEDs (inputs only)

Channel meter display

Meters tab

Pre/post processing switch

Makeup Gain

Makeup gain (Figure 11-21) ampliﬁes the output signal to make up for gain reduction.

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.

The Meters tab

The Meters tab (Figure 11-22) serves as a comprehensive meter bridge for all inputs, outputs and mix busses in the 896mk3. This tab gives you a “bird’s-eye” view of all signal activity in the 896mk3; it is ideal for conﬁrming your signal routing programming and for troubleshooting.

Figure 11-22: The Meters tab.

Channel meter display

The channel meter display (Figure 11-22) 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 11-22) are present

only for inputs. See “Input meter and bus activity

LEDs” on page 85.

Pre/post processing switch

The pre/post processing switch (Figure 11-22)

affects all input meters (and the meter in the

channel meter display above the tab, if this area is

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.)

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The Reverb tab

The Reverb tab (Figure 11-23) provides access to the 896mk3’s single, global reverb processor, which provides high-ﬁdelity reverberation and graphic control over its parameters.

Low band

(yellow)

Mid band reverb

time handle

High band

(purple)

together. The resulting stereo output from the

reverb can then be inserted into a mix bus or

output using stereo returns.

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 11-3 on page 80)

Crossover handle

Reverb enable/disable

Figure 11-23: The Reverb tab.

Enabling reverb

Use the enable/disable button (Figure 11-23) 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.

■ Mix bus output (Figure 11-2 on page 78)

■ Outputs (Figure 11-6 on page 83)

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 11-23) prevents feedback

loops t hat would be caus ed by a s ignal bein g sent 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.

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

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.

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Primary controls

The Primary Controls section (Figure 11-23) in the Reverb tab provides the following basic parameters for programming the reverb.

☛ 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 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.

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 types of spaces. The Size and Level parameters let you control the size of the room and the strength of the initial reﬂections.

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 reverb tim e in the

Primary Controls section at the top of the tab.

You can edit these parameters graphically by

dragging the handles in the graphic display

(Figure 11-23).

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.

THE MONITOR GROUP

The monitor group is a set of 896mk3 outputs that

can be controlled with the master Monitor Level

knob in upper right corner of the CueMix FX

mixer window (Figure 11-24), as well as the

MASTER VOL knob on the 896mk3 front panel.

Monitor group presets menu

Figure 11-24: Monitor group volume control from CueMix FX and the

front panel MASTER VOL knob.

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 11-6 on page 83).

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Monitor group presets menu

The monitor group presets menu (Figure 11-24) provides several presets for commonly used monitor groups:

SOLO LIGHT

The Solo light (Figure 11-1) illuminates when any

input in the current (active) mix bus is soloed

(even if it is currently scrolled off-screen).

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 11-1 on page 76) show levels for any/all output pairs that are currently included in the monitor group. The wi dth of th e meters s cales proportion ally s o that 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.

DSP METER

The DSP meter (Figure 11-1) shows how much of the available DSP processing power is currently being used by the 896mk3 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.

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 11-25 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 896mk3

output, as demonstrated below in Figure 11-25.

Control room

Talkback mic

Main

outs

Analog out 7-8

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.

Live room

Headphone distribution amp

Figure 11-25: Typical hardware setup for Talkback and Listenback.

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Listenback mic

Page 99

Talkback / Listenback Mic Input

To conﬁgure the talkback mic in CueMix FX, go to the Inputs tab (Figure 11-3 on page 80) and click the Focus button for the input that the talkback mic is connected to. Click the Channel tab (Figure 11-8 on page 84) 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 11-6 on page 83) and enable the Ta l k but ton f or any o utpu t pa ir on whi ch 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 11-26) 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 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.

Engaging/disengaging Talkback and

Listenback

To engage Talk back or Listenback, press on the

Talk or Listen buttons (Figure 11-26) and then

release to disengage. Talkback and/or Listenback is

engaged for as long as you hold down the mouse

button. Option-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

Ta l kb ac k m e nu it e ms .

If you would like to engage both Talkback and

Listenback at the s ame t ime, e nable the Link button

(Figure 11-26).

Controlling Talkback and Listenback volume

To control the volume of the Talkback and/or

Listenback mics, adjust their input trim in CueMix

FX.

SHORTCUTS

Hold down the following general modiﬁer keys as

shortcuts:

Shortcut Result

Shift key Applies your action to all inputs or all out-

Command key Applies your action to the stereo input pair,

Option key Applies your action to all busses.

puts in the mix.

even when it is currently configured as mono.

Tal k d im

Listen dim

Figure 11-26: The Talkback/Listenback controls.

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Shift-Option Applies your action to all inputs and mixes.

Double-click Returns the control to its default value (pan

center, unity gain, etc.)

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-click Applies EQ enable button changes to all

Shift-Option-

click

puts.

bands in that input or output.

Applies EQ enable button changes to all bands and all inputs or outputs.

Page 100

FILE MENU

EDIT MENU

Saving and loading hardware presets

The 896mk3 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 896mk3.

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 fa ces pro duc ts a nd ha s no effect on the 896mk3.

Hardware follows CueMix Stereo Settings

This File menu item applies to other MOTU interfaces products and has no effect on the 896mk3.

Show meter in dock icon

This CueMix FX File menu item applies to other MOTU interfaces and has no effect on the 896mk3.

Undo/Redo

CueMix FX supports multiple undo/redo. This

allows you to step backwards and forwards

through your actions in the software.

Copying & pasting (duplicating) entire mixes

To copy and paste the settings from one mix to

another:

1 Select the source mix (Figure 11-1) and choose

Copy from the Edit menu (or press command-C).

2 Choose the destination mix and choose Paste

from the Edit menu (or press command-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 on line. Choose any

device from the menu to edit its settings using the

CueMix FX software.

CONFIGURATIONS MENU

A conﬁguration is just like a hardware preset (a

“snapshot” of all settings in CueMix FX and

therefore the 896mk3 hardware itself), except that

it can be created and managed using the CueMix

FX software on your computer, completely

independently of the 896mk3 hardware. The

commands in the Conﬁgurations menu let you

create, save, load, import, export and otherwise

manage as many conﬁgurations as you wish.

100

CUEMIX CONSOLE

Mark of the Unicorn 896mk3 FireWire User's Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Quick Reference: 896mk3 Front Panel

Quick Reference: 896mk3 Rear Panel

About the 896mk3

OVERVIEW

THE 896MK3 REAR PANEL

28 inputs and 32 outputs

Analog

Mic/guitar preamps

Analog input overload protection

Main Outs

Optical

AES/EBU with sample rate conversion

S/PDIF

Word clock

On-board SMPTE synchronization

1394 FireWire

THE 896MK3 FRONT PANEL

Metering

Input trim knobs, phantom power & 20 dB Pad

Headphone output and main volume control

Foot switch

Programmable backlit LCD display

16-BIT AND 24-BIT RECORDING

CUEMIX FX 32-BIT FLOATING POINT MIXING AND EFFECTS

AUDIODESK

DIGITAL PERFORMER

OTHER HOST AUDIO SOFTWARE

Mac System Requirements

PACKING LIST

PLEASE REGISTER TODAY!

Installing the 896mk3 Hardware

OVERVIEW

CONNECT THE 896MK3 INTERFACE

CONNECT AUDIO INPUTS AND OUTPUTS

Analog inputs

Analog outputs

Main outs

ADAT optical

S/PDIF

AES/EBU

CONNECT A FOOT SWITCH

A TYPICAL 896MK3 SETUP

MAKING SYNC CONNECTIONS

Do you need to synchronize the 896mk3?

Synchronization is critical for clean digital I/O

Be sure to choose a digital audio clock master

Situations that require synchronization

SYNCING TO SMPTE TIME CODE DIRECTLY

SYNCING TO VIDEO AND/OR SMPTE TIME CODE USING A SYNCHRONIZER

SYNCING S/PDIF DEVICES

S/PDIF devices with no word clock

S/PDIF devices with word clock

SYNCING OPTICAL DEVICES

SYNCING AES/EBU DEVICES

AES/EBU clock and sample rate conversion

Digital audio phase lock

Sample rate conversion

System clock, AES clock & rate convert settings

Clocking scenarios for AES/EBU input

Clocking scenarios for AES/EBU output

SYNCING WORD CLOCK DEVICES

Don’t chain word clock

Slaving to a 2x and 1/2x word clock

Forcing a 1x word out rate

CONNECTING MULTIPLE MOTU FIREWIRE INTERFACES

Multiple interfaces cannot be bus-powered

Multiple interfaces in MOTU Audio Setup

Synchronizing multiple interfaces

Connecting other MOTU FireWire interfaces

Operating multiple FireWire interfaces at high sample rates

Adding additional interfaces with a second FireWire bus

4 Installing the 896mk3 Mac Software

OVERVIEW

SOFTWARE INSTALLATION

The 896mk3 CoreAudio driver

What does the installer do?