M-AUDIO OmniStudio User Manual

OMNISTUDIO USB

English

Table of Contents

1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

2. Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

3. What’s in the Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

4. System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

5. Features and Technical Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

6. Theory of Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

USB Operability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Audio Protocols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Inputs and Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

I/O Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

7. Operational Basics and Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Unbalanced Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Phantom Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Sends and Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Plugs and Jacks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Balanced Cabling & Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Unbalanced Cabling & Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Stereo Input and Insert Cables/Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Line Levels vs. Mic/Instr Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Virtual Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

8. Hardware Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

9. Software Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Windows XP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Windows 2000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Windows Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Windows 98SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Mac OSX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Mac OS9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Installing and Configuring OMS (MacOS 9 Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

To install OMS: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

To configure OMS: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

10. Using the Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

11. Hardware Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Using the Mic/Inst and Line Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Using the Input and Output Level Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Using the Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Using the Aux Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Using the FX Sends and Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Using the Direct Outs 1-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

12. Basic Recording/Playback Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Using the OmniStudio USB’s Direct Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Adding Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Using ASIO or WDM Software Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Setting Record Levels Using the Mic/Inst and Line Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

Setting Record Levels Using the Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

Recording External Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Monitoring Virtual Tracks Using the Aux Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Setting MIDI Playback Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Recording Your MIDI Instruments as Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Recording and Overdubbing Live Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

13. Optimizing Your Computer for Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

14. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

15. Contact Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

16. Product Specs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

17. Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

1. Introduction

Thank you for choosing the OmniStudio USB from M-Audio. We designed the OmniStudio USB to be a complete multi-channel recording and playback solution for your PC- or Mac-based Digital Audio Workstation (DAW). Using the convenience and dependability of a standard USB connection, the OmniStudio USB provides you with an exceptionally flexible audio interface offering unparalleled routing power and versatility, while delivering high-resolution 24-bit audio to and from your computer at sampling rates up to 96kHz. And it connects to your computer with a single USB cable – no tools needed, and no cards to install.

The OmniStudio USB offers low-noise mic preamps with phantom power for condenser microphones, XLR mic and 1/4” line and instrument level analog inputs. But the OmniStudio USB is more than just another analog “front end” for your computer. The OmniStudio USB also offers an impressive array of hardware input and output options to give you the kind of routing control previously only possible with a hardware mixing console.

Even if you’re an experienced recordist, please take some time to read through this owner’s manual and familiarize yourself with the OmniStudio USB’s features and operation. You may also want to refer to your audio software’s documentation, to better understand how the OmniStudio USB’s features are integrated with the program. Your experience and enjoyment of your OmniStudio USB will be greatly enhanced by a good working knowledge of your audio software.

2. Features

4-in, 4-out USB audio connectivity

High-resolution, high-performance 24-bit/96kHz A/D and D/A converters with a dynamic range of 103dB on input and 109dB on output.

Dual low-noise mic/instrument preamps on Channel 1 and 2, featuring hybrid XLR/TRS (1/4”) front panel inputs, switchable 48V phantom

power, individual gain controls, individual -20dB pads, LED metering, and up to 60dB of available gain.

Two TRS (1/4”) rear panel inputs for Line level on Channel 3 and 4, with selectable (+4dB / -10dB) input levels.

Two rear panel TRS Inserts on Channel 1 and 2.

Built-in mixer accepts four audio streams from your computer, four stereo Aux Ins, plus a stereo FX Return for a total of 14 channels.

All four Auxiliary Inputs have individual Monitor/Record switches for unequalled routing flexibility

Rear panel FX send and returns for connecting to external hardware processors.

Zero latency hardware direct monitoring with four individual level controls, enable and stereo/mono switches.

Four rear panel balanced TRS Direct Outs with switchable (+4dB / -10dB) output levels.

Individual 1/4” TRS balanced Monitor and Main output pairs.

Supports sampling rates from 8kHz to 96kHz (higher sampling rates allow fewer output channels).

Two headphone outputs with individual level controls

1 x 1 MIDI I/O

3. What’s in the Box

Your OmniStudio USB package contains the following:

OmniStudio USB Recording Interface

Users’ Manual

Windows and Mac driver software CD

USB 1.1 cable

9VAC 3500 milliamp Power Supply

Detachable rack ears

4. System Requirements

IImmppoorrttaanntt:

The OmniStudio USB is supported under Windows XP, Windows 2000, Windows ME and Windows 98SE. The OmniStudio USB is

not supported under Windows 98 First Edition or Windows 95.

In the case of Windows 2000, you must be running SP3 or later. For Windows XP, you must be running SP1 or later. Visit the Windows update web pages to make certain you have the most current updates and fixes supplied by Microsoft.

On the Mac, the OmniStudio USB is supported under MacOS 9.2.2 or later, and Mac OSX version 10.1.5 or later. Earlier versions of Mac operating systems are not supported. Your Macintosh computer must have native USB support.

Note that MacOS9 support has included a number of updates relevant to USB audio. Check the Apple website for current information.

Wows

Pentium 3 or equivalent – 500 MHz or higher, 128 MB RAM (for 96kHz operation).

Pentium 2 or equivalent – 400 MHz or higher, 64 MB RAM (for 48kHz operation).

UDMA EIDE or SCSI hard disk.

Windows XP (SP1), Windows 2000 (SP3), Windows ME or Windows 98SE. The OmniStudio USB is not supported under Windows 98 First Edition

or Windows 95.

Mac

Macintosh G3 or G4 with native USB compatibility

OS 9.1 or later, or OS 10.1.5 or later (Check the Apple website for update information).

128 MB RAM (for 96kHz operation)

64 MB RAM (for 48kHz operation)

OMS 2.3.8 for MIDI operation

5. Features and Technical Information

Front Panel

11.. MMiicc//IInnssttrruummeenntt IInnppuuttss 11 aanndd 2 or TRS instrument level input.

22.. PPaadd SSwwiittcchheess 11 aanndd 22 lowering the input level. Use this pad when the input level of your analog signal is too hot – as indicated by the illumination of the Clip LED even with the Input Gain at its lowest setting.

33.. IInnppuutt GGaaiinnss 11 aanndd 2

44.. SSiiggnnaall LLEEDDss 11 aanndd 22

55.. CClliipp LLEEDDss 11 aanndd 2 signal is 3dB below the clipping point. If the Clip LED lights even with your channel Input Gain is at its lowest possible setting, you may want to insert a 20dB pad into the path by pressing the associated PAD switch.

66.. DDiirreecctt MMoonniittoorr EEnnaabbllee 11 && 22 SSwwiittcch Pressing this switch and engaging it in the IN position monitors the audio directly from OmniStudio USB’s Inputs 1 and 2, giving you zerolatency monitoring.

77.. DDiirreecctt MMoonniittoorr LLeevveell 11 which is sent to the Direct Monitor bus.

88.. SStteerreeoo//MMoonnoo 11 && 22 SSwwiittcch position selects MONO mode, where the direct monitored signals for Inputs 1 and 2 are monitored as separate mono inputs, panned to center. Pressing this switch and engaging it in the OUT position selects STEREO mode, where the direct monitored signal for Inputs 1 and 2 are monitored as a L/R stereo pair.

99.. DDiirreecctt MMoonniittoorr LLeevveell 2 which is sent to the Direct Monitor bus.

– These knobs control the input level of the associated Mic/Inst input.

– When lit, the Signal LEDs indicate the presence of input signal at the associated Mic/Instrument input.

– When lit, the Clip LEDs indicate too hot an input signal at the associated Mic/Inst input. The LED will light when the

– These combo Neutrik connectors will accept a standard three pin XLR low impedance input or 1/4” TS

– Pressing and engaging this switch in the IN position inserts a 20dB pad before the microphone preamp,

– In the OUT position, OmniStudio USB outputs 1 and 2 monitor the output from your audio software.

– With Direct Monitor Enable 1 and 2 switch in the IN position, this knob controls the level of audio from input 1,

– With Direct Monitor Enable 1 and 2 switch in the IN position, pressing this switch and engaging it in the IN

– With Direct Monitor Enable 1 and 2 switch in the IN position, this knob controls the level of audio from input 2

1100.. DDiirreecctt MMoonniittoorr EEnnaabbllee 33 && 44 SSwwiittcch Pressing this switch and engaging it in the IN position monitors the audio directly from OmniStudio USB’s Inputs 3 and 4, giving you zerolatency monitoring.

1111.. DDiirreecctt MMoonniittoorr LLeevveell 3 which is sent to the Direct Monitor bus.

1122.. SStteerreeoo//MMoonnoo 33 && 44 SSwwiittcch IN position selects MONO mode, where the direct monitored signals for Inputs 3 and 4 are monitored as separate mono inputs, panned to center. Pressing this switch and engaging it in the OUT position selects STEREO mode, where the direct monitored signal for Inputs 3

– With Direct Monitor Enable 3 and 4 switch in the IN position, this knob controls the level of audio from input 3

– In the OUT position, OmniStudio USB outputs 3 and 4 monitor the output from your audio software.

– With Direct Monitor Enable 3 and 4 switch in the IN position, pressing this switch and engaging it in the

and 4 are monitored as a L/R stereo pair.

1133.. DDiirreecctt MMoonniittoorr LLeevveell 4

– With Direct Monitor Enable 3 and 4 switch in the IN position, this knob controls the level of audio from input 4

which is sent to the Direct Monitor bus.

1144.. HHeeaaddpphhoonnee 11 aanndd 22 LLeevveells

1155.. HHeeaaddpphhoonnee 11 aanndd 22 OOuuttppuutts

– These knobs control the individual output levels of their respective headphone jacks.

– Each of these output jacks accepts a standard 1/4” stereo TRS headphone connector. The program

signal is the signal being sent to the Monitor (output) bus, and is identical on both headphone outputs, with individual levels regulated by the associated Headphone Level Controls.

1166.. FFXX SSeenndd LLeevveellss 11--44

1177.. MMaaiinn OOuuttppuutt SSiiggnnaall LLEEDDs

– These knobs control the FX Send levels from the four inputs, as sent to the rear panel FX Send output.

– When lit, these LEDs indicate the presence of an output signal greater than –15 dBFS on the OmniStudio USB’s

main output bus.

1188.. MMaaiinn OOuuttppuutt CClliipp LLEEDDs

– When lit, these LEDs indicate the presence of too “hot” an audio signal (greater than -1 dBFS) on the OmniStudio

USB’s main output bus.

1199.. MMoonniittoorr LLeevveel

2200.. PPhhaannttoomm PPoowweerr SSwwiittcchh

– This knob controls the output level to the OmniStudio USB’s rear panel Monitor Outputs.

– Pressing and engaging this switch in the IN position activates +48V phantom power to the two XLR Mic/Inst

Inputs. Phantom power is required for most condenser microphones.

NOTE: While most modern dynamic microphones are unaffected by phantom power, many ribbon mics and some older dynamic microphones may be damaged if phantom power is applied to them.

2211.. PPhhaannttoomm PPoowweerr LLEED

2222.. PPoowweerr LLEED

– This LED indicates that the OmniStudio USB is connected and powered on. It does NOT indicate a valid USB connection to

a host computer.

2233.. PPoowweerr SSwwiittcch

– Pressing this switch will power on the OmniStudio USB and light the adjacent Power LED.

Rear Panel

– When lit, this LED indicates that phantom power is enabled.

2244.. PPoowweerr CCoonnnneeccttoor

– Connect the OmniStudio USB’s 9VAC 1A power supply to this input. Connect only the power supply provided with

the OmniStudio USB, or a power supply with an equivalent value.

2255.. UUSSBB CCoonnnneeccttoor

– Connect your computer to the OmniStudio USB here using the included USB cable.

2266.. MMIIDDII IInn aanndd OOuutt CCoonnnneeccttoorrs

– These jacks provide MIDI input and MIDI output to and from your computer. Connect your MIDI keyboards,

devices or external controllers here.

2277.. AAuuxx MMoonn//RReecc SSwwiittcchheess 11--4

– Pressing and engaging these switches in the IN (REC) position selects the associated channel’s Stereo Aux In input as that channel’s audio source. Pressing and engaging these switches in the OUT (MON) position selects the associated channel’s Channel Input as that channel’s audio source.

2288.. SStteerreeoo AAuuxx IInnppuuttss 11--4

– These unbalanced -10dB jacks accept a standard stereo 1/4” TRS plug, and are used to connect up to

four stereo analog inputs to your computer.

2299.. MMaaiinn OOuuttppuuttss LL//R

– These outputs accept standard balanced 1/4” TRS connectors, and are normally used to connect to an external recording device. The Main Output signal is at a nominal level of -10 dBV. Its level is controlled by the output mixer level within your audio software, and is unaffected by the OmniStudio USB’s Output Level Control.

3300.. MMoonniittoorr OOuuttppuuttss LL//R

– These outputs accept standard balanced 1/4” TRS connectors, and are normally used to connect to an amplifier

or powered monitors. The Monitor Output signal is at a maximum level of -10 dBV. Its level is controlled by the front panel Output Level Control.

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– This output accepts a standard balanced 1/4” TRS connector, and is typically used to output to an external device such as a

signal processor, etc. The sources and levels to this output are controlled by the four front panel FX Send Levels.

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– These inputs accept standard unbalanced 1/4” TRS connectors, and are typically used to connect the L and R returns

of an external device such as a signal processor, etc. The return level to these inputs is controlled at the source with the device’s output level controls.

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– In the OUT position, Line inputs 3 and 4 are set to expect +4dBu line level operation. Pressing this switch

to the IN position sets Line Inputs 3 and 4 to expect –10dBV line level.

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– These connectors accept standard mono 1/4” TS line level inputs. Using the adjacent Level Switch, these inputs may

be set to +4dBu or -10dBV line level. Level for these inputs is controlled at the source.

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– In the OUT position, the associated Direct Outputs (1 and 2 or 3 and 4) are set to transmit +4dBu

line level signal. Pressing this switch to the IN position sets the associated Direct Outputs to transmit -10dBV line level signal.

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– These four outputs accept standard balanced 1/4” TRS or unbalanced 1/4” TS connectors. Typically these outputs

would connect to an external mixer.

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– These jacks accept a standard stereo 1/4” TRS connector, and are normally used to connect an external signal

processor (typically a compressor/limiter or other dynamics device) to the associated channel’s input path.

NOTE: The inserts require an insert cable. This cable should have a stereo 1/4” TRS connector, terminating at the other end with a “Y” cable connected to two mono 1/4” TS connectors, one for the device’s inputs (tip) and one for its outputs (ring). Pre-wired insert cables can be purchased from most music and pro audio retailers.

6. Theory of Operation

A recording console performs two functions. It routes the signal you are about to record, providing the ability to pre-amplify and shape that signal before it gets to the recording device. At the same time, it handles all playback, allowing you to mix, add an effect, and monitor your recorded signal as well as your “virtual” MIDI keyboard tracks.

The OmniStudio USB is designed to perform these tasks. The OmniStudio USB, in conjunction with your PC or Macintosh computer and compatible audio software, adds the functionality of a recording console in a desktop unit. The OmniStudio USB is modeled after what is known as a “split console” design, where the recording and monitoring sections function independently.

Two high quality M-Audio Mic/Instrument preamps are routed to the OmniStudio USB’s analog inputs 1 and 2. The level you record is controlled by the OmniStudio USB preamp’s independent gain controls in conjunction with the 20dB pad switch. An insert jack added to the record path allows you to process the signal with outboard gear, should you choose to. Line Inputs 3 & 4 offer you selectable input level of +4dB or -10dB, and give you a total of 4 direct analog inputs to your computer.

The audio from your computer connects to the OmniStudio’s internal mixer, with individual FX Send Level controls to create a mono FX Send. This internal mixer then blends the audio from your computer with the Direct Monitor levels, the four Stereo Aux Inputs, and the audio from the FX Returns. The OmniStudio USB’s rear panel Stereo Aux Inputs can also be routed directly to the OmniStudio USB’s inputs to the computer, making it extremely convenient when you want to record your “virtual” tracks. The OmniStudio USB’s four Direct Outs take the audio from your computer and bypass the OmniStudio’s internal mixer. These can simultaneously be used as independent balanced/unbalanced direct outputs for additional effects sends, alternate mix outputs or feeds to a secondary mixer.

USB Operability

The USB port provides a high-speed connection to your computer. Devices can be “hot-plugged” into the USB port with no need to power down the computer. Additionally, there’s no need to open the computer, no tools are required, nor is it necessary to configure the device other than installing the drivers and plugging it in to the USB port.The OmniStudio USB utilizes the convenience of your computer’s USB port to bring high quality, high resolution audio to your desktop or laptop computer. The PC requires no IRQ other than the one that is already dedicated to the USB controller when it is enabled.

It is important to note that while multiple devices can, in theory, be connected to the USB port (with the addition of a USB hub), audio over USB requires significant bandwidth. We therefore recommend that you plug the OmniStudio USB directly into your computer’s USB port, and not into a USB hub shared with other devices. Of course, if you are using a USB keyboard and mouse, you may have those plugged into your computer’s other USB port (two are usually supplied on PC and Mac).

Note, however, that in most computers these two USB ports ultimately share a single USB bus, and all devices connected to either port will create bandwidth demands to some degree. For optimal audio performance, we strongly recommend refraining from using other bandwidth-intensive USB devices (e.g., printers, scanners, modems, etc.) while recording. In fact, in many cases it’s best to disconnect these devices entirely while recording – some device drivers are written to“poll” (send a signal to) the CPU every millisecond, even when not in use, and this can lead to drop-outs or noise in your audio.

Audio Protocols

Your OmniStudio USB is a 24-bit /96kHz capable device. This means you can record at any sampling rate your recording software supports, up to 96kHz at a bit width of 24-bits, and at 16- or 24-bits with a sampling rate of 48kHz or less. An ASIO control panel included with your driver software allows you to set the OmniStudio USB to its different operating modes.The OmniStudio USB has several operating modes, and when using the included ASIO drivers it will function as a 4-in, 4-out audio device. On the PC, the ASIO drivers, as well as the Windows WDM/MME drivers, will load automatically during the driver installation procedure.

NOTE: Macintosh Sound Manager protocol only supports two channels of 16-bit audio at 44.1kHz sampling rate. Hence, when working with Macintosh Sound Manager, the OmniStudio USB functions as a 2 in, 2 out device only. To use the OmniStudio USB in MacOS 9 as a four in, four out device, or at other bit depths and/or sampling rates, your audio software must support ASIO. Under MacOS X, the OmniStudio USB is supported by Apple’s CoreAudio protocol as a four in, four out device.

Inputs and Outputs

The OmniStudio USB provides up to four audio inputs, seen by the host audio application as two stereo pairs, i.e. 1/2 and 3/4. The OmniStudio USB also provides up to four audio outputs, also seen as stereo pairs. The outputs are routed to the internal mixer’s stereo bus, appearing at the Monitor Output, Main Output and Headphone Outputs. They can also be routed to Direct Outputs 1 through 4, and can be sent individually to the FX Send output.

When all four stereo pairs (two input pairs and two output pairs) are enabled, the OmniStudio USB will operate at 48KHz sampling rate or lower, in 16-bit mode. When any three stereo pairs are enabled (i.e., either one input pair and two output pairs, or two input pairs and one output pair), the OmniStudio USB will operate at 48kHz sampling rate or lower, in 24-bit mode. When one stereo pair is enabled (a single input or output pair only), the OmniStudio USB will operate at 96kHz sampling rate or lower, and in 24-bit mode.

For more detailed information, refer to Section 10, “Using the Control Panel.”

The OmniStudio USB also adds 1x1 MIDI operation (one input and one output port) to your USB equipped PC computer; this can be used as your only MIDI interface or in conjunction with additional MIDI interfaces.

I/O Levels

The OmniStudio USB’s Line Inputs (3 and 4), and its outputs 1/2 and 3/4, can be configured for +4 or -10 line level input simply by pressing their associated rear panel level selection switches. This allows for seamless integration with professional balanced (balanced TRS, +4dBu) or semi-pro (unbalanced TS, -10dBV) audio devices (see Section 11, “Using the Input andOutput Level Switches”).

7. Operational Basics and Definitions

There are some basic concepts that apply to all audio gear. Understanding them will help in your operation of the OmniStudio USB, as well as create a set of common terms to use in our discussion of the OmniStudio USB components.

A “balanced” line runs the signal on two wires of opposing polarity, as a ‘twisted pair’ surrounded by a grounded shield. Doing so, it can send a ‘hotter’ signal over a longer distance with less added noise. Using a TRS (tip-ring-sleeve, or stereo) plug on the 1/4” jacks of the OmniStudio USB (designed for unbal/balanced operation) will give you this balanced line—tip positive, ring negative, and sleeve ground. Generally, if the OmniStudio USB outputs connect to a system or device that accepts a balanced line at +4dB (nominal level) operating level, you should use TRS plugs on the outputs. XLR connectors also carry a balanced signal. If your device or monitoring system accepts an XLR connector, you may need a cable that has 1/4” TRS to male or female XLR. The OmniStudio USB Mic/Instr Inputs accept a male XLR, with a balanced mic cable being female XLR to male XLR.

Unbalanced Signals

An unbalanced line on the OmniStudio USB outputs connects to a 1/4” TS (tip positive, sleeve ground) plug on a shielded cable with a single conductor, and is appropriate to use when the device you are connecting to accepts a 1/4” TS plug or an RCA plug. Typically, the signal on unbalanced lines has an operating line level of -10dB (nominal level), though this varies somewhat. You may want to consult the user guide of your sound card or sound system if you’re not sure what type of signal it can accept. If you need to, find a primer on recording or sound reinforcement to learn more about this and the other subjects covered in this manual.

Phantom Power

Unlike dynamic microphones, most condenser microphones need to receive a DC voltage (generally +48V) from an external source before they can generate an output signal. If the condenser mic doesn’t come with its own power supply, then phantom power must be applied from the OmniStudio USB’s Mic/Instr pre-amps. Pressing the Phantom Power button and engaging phantom power on the OmniStudio USB will send the necessary voltage to both of the XLR Mic Inputs. Phantom power will not affect a dynamic mic adversely, so its not a problem to have a dynamic mic connected to the XLR input while phantom power is switched on. Some ‘ribbon’ microphones (particularly older models) may be harmed, however, so check your microphone’s documentation.

Sends and Returns

These are sometimes elusive terms, as they can be used in a variety of ways. A “send” is generally an output from a device (such as a mixing console), to another device (which might be considered “outboard”). There is some expectation that the signal that is sent from the send output is going to “return” to the sending device’s signal flow. A return is an input to a device. Note that these sends and returns may be completely virtual (that is, software-based) – in fact, the entire mixer, as well as the outboard device(s) may also be software-based.

Sends and returns are generally spoken of in terms of the gear that is receiving the signal. The “effects send,” therefore, is an output from the mixer to the effect. The effect’s input receives the signal from the “effects send,” and the output of the effects device returns the signal to the mixer’s input, the “effects return.” The terms “sends and returns” can apply to other devices, such as a recording device. The outputs of mixing board are “sent” to a tape deck, for instance, and the outputs of the tape deck “return” to the mixing desk’s monitor channels for mixing (often called “tape returns,” though “tape sends” are more often known as the bus outs).

Plugs and Jacks

In general, a jack is a female connector, and a plug is a male connector. The jack is mounted within the hardware device, and the plug exists on the cable ends. XLR jacks and plugs, however, may be male or female. Usually, the output is male, and the input is female.

Balanced Cabling & Connections

The acronym “TRS” stands for Tip-Ring-Sleeve. A 1/4” TRS plug can carry a balanced mono audio signal over a two-conductor cable with a shield, which applies to certain TRS jacks on the OmniStudio USB. This may be considered a standard 1/4” “stereo cable,” though it carries a mono, balanced signal.

If you are using one of the OmniStudio USB’s jacks for balanced operation, you will need a cable with a 1/4” Tip-Ring-Sleeve plug on one end (for the OmniStudio USB jack), and a plug on the other end that is appropriate for the device that you are connecting to. This may be a 1/4” TRS plug, an XLR plug, an 1/8” TRS plug, etc.

Unbalanced Cabling & Connections

The acronym “TS” stands for Tip-Sleeve. A 1/4” TS plug is found on what is commonly referred to as a “guitar cable.” This is a single conductor cable with a shield, and is generally associated with unbalanced operation.

If you are using one of the OmniStudio USB’s jacks for unbalanced operation, you will need a cable with a 1/4” Tip-Sleeve plug on one end (for the OmniStudio USB jack), and a plug on the other end that is appropriate for the device that you are connecting to. This may be a 1/4” TS plug, an RCA plug, an 1/8” TS plug, etc.

Stereo Input and Insert Cables/Connections

Alternatively, 1/4” TRS plug can carry an unbalanced stereo audio signal over a two-conductor cable with a shield, which applies to the Stereo Aux In and the Insert TRS jacks on the OmniStudio USB. A TRS plug on one end with two mono TS plugs on the other is in fact a stereo cable, and is sometimes referred to as an “insert cable.” Keep in mind that the Stereo Aux Ins are stereo inputs. A stereo 1/4” TRS plug to two 1/4” mono TS plugs will work for connecting most MIDI sound modules into the OmniStudio USB’s Stereo Aux Ins, but you may have to purchase a cable for your particular needs. This same cable will work for most outboard gear used with the OmniStudio USB’s two Inserts. See section 11, "Using the Inserts," for further information.

Line Levels vs. Mic/Instr Levels

Microphones and guitar pickups typically emit a low signal level, requiring a pre-amp such as those found in the OmniStudio USB’s Mic/Instr 1 & 2 Inputs. The OmniStudio USB’s Mic/Instr inputs provide up to 60dB of gain at the XLR mic inputs, and up to 45dB of gain at the high impedance inputs. This is enough gain to bring the signal up to the +4dB line level at which the OmniStudio USB is capable of operating. The Mic/Inst inputs can be set to two different line level references: -10dB, “Consumer” (which is -4dB), and +4dB, which is the default setting.

Most other signals are already at line level, and can be plugged into the OmniStudio USB’s rear panel Line Ins 3 and 4. If you use the Line Ins on the OmniStudio USB at +4 dB and find that you’re not getting adequate record levels, you can try switching the input level to

-10 dB. You can also experiment with using the front panel Mic/Inst inputs, to take advantage of the OmniStudio USB’s preamps and level controls. You might find this gives some line level signals a little extra “punch.”

Virtual Tracks

Often, instruments such as MIDI gear, which are being played by a your DAW’s sequencer, are not recorded as audio into your software; rather, only the MIDI data is being recorded. In this case, these MIDI tracks are referred to as “virtual” tracks. MIDI instruments whose audio outputs are being played through the OmniStudio USB’s Stereo Aux Inputs, for example, are virtual MIDI tracks. Often, once the MIDI sequencing is complete or it’s time to mix, those virtual tracks are then recorded into the audio software as audio tracks. You can also mix down your virtual tracks from the OmniStudio USB’s internal mixer, using the Main Outs.

IMPORTANT NOTE: Do not connect the OmniStudio USB to your computer until you have run the installer application on the included Driver CD-ROM.

Once you have run the OmniStudio USB’s installer application and restarted your computer, connect the supplied USB cable between the OmniStudio USB and your computer and allow installation to complete. Then start your audio software. See section 9 for details on software installation.

8. Hardware Installation

IMPORTANT NOTE: Do not connect the OmniStudio USB to your computer until you have run the installer application on

the included Driver CD-ROM.

Note that installation procedures may vary slightly, depending on your particular system’s precise hardware and software configurations

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