MOTU HD192 User Manual

MOTU PCI- 424

User’s Guide for Windows

™

Mark of the Unicorn, Inc.

1280 Massachusetts Avenue
Cambridge, MA 02138
Business voice: [phone]
Business fax: [phone]
Tech support phone: [phone]
Tech support fax: [phone]
Tech support email: [e-mail]
Web site: http://www.motu.com

SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS

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 YOUR MOTU AUDIO INTERFACE COULD CAUSE AN ELECTRICAL SHOCK.

Your MOTU audio interface 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 your MOTU audio interface 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

Make sure this is connected
to a known ground.

Two-prong receptacle

Adapter

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 your MOTU audio interface’s plug.

IMPORTANT SAFEGUARDS

1. Read instructions - All the safety and operating instructions should be read before operating your MOTU audio interface.

2. Retain instructions - The safety instructions and owner's manual should be retained for future reference.

3. Heed Warnings - All warnings on your MOTU audio interface and in the owner's manual should be adhered to.

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

5. Cleaning - Unplug your MOTU audio interface from the computer before cleaning and use a damp cloth. Do not use liquid or aerosol cleaners.

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

7. Power Sources - This MOTU interface should be operated only from the type of power source indicated on the marking label. If you are not sure of the type of power supply to your location, consult your local power company.

8. Power-Cord Protection - Power-supply cords should be routed so that they are not likely to be 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 your MOTU audio interface.

9. Lightning - For added protection for your MOTU audio interface during a lightning storm, unplug it from the wall outlet. This will prevent damage to your MOTU audio interface due to lightning and power line surges.

10. Servicing - Do not attempt to service this MOTU interface yourself as opening or removing covers will expose you to dangerous voltage and other hazards. Refer all servicing to qualified service personnel.

11. Damage Requiring Service - Unplug your MOTU audio interface from the computer and refer servicing to qualified service personnel under the following conditions.

a. When the power supply cord or plug is damaged.
b. If liquid has been spilled or objects have fallen into your MOTU audio interface.
c. If your MOTU audio interface has been exposed to rain or water.
d. If your MOTU audio interface does not operate normally by following the operating instructions in the owner's manual.
e. If your MOTU audio interface has been dropped or the cabinet has been damaged.
f. When your MOTU audio interface exhibits a distinct change in performance, this indicates a need for service.

12. 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.

13. Safety Check - Upon completion of any service or repairs to this MOTU interface, 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°)

AVOID THE HAZARDS OF ELECTRICAL SHOCK AND 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.

INPUT

Line Voltage: 100 - 120 volts AC, RMS (US and Japan) or 220 - 250 volts AC, RMS (Europe). Frequency: 47 - 63 Hz single phase. Power: 7 watts maximum.

CAUTION: DANGER OF EXPLOSION IF BATTERY IS REPLACED. REPLACE ONLY WITH THE SAME OR EQUIVALENT TYPE RECOMMENDED BYMANUFAC­TURER. DISPOSE OF USED BATTERY ACCORDING TO MANUFACTURER’S INSTRUCTIONS.

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 this agreement before using this software package.
Using this software package indicates your acceptance of the terms and conditions
of this license agreement.

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License

YOU MAY: (a) use the enclosed program on a single computer; (b) physically
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Term

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under this Limited Warranty.

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AND YOU HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH
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MAY NOT APPLY TO YOU.

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General

This License Agreement shall be governed by the laws of the Commonwealth of
Massachusetts and shall inure to the benefit of MOTU, its successors, adminis­trators, heirs and assigns.

Copyright Notice

Copyright © 2002 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 NINETY
(90) DAYS 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 [phone] 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
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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.

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abuse, misuse, or misapplication; has been modified without the written
permission of MOTU, or if the product serial number has been removed or defaced.

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MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE
LIMITED IN DURATION TO NINETY (90) DAYS FROM THE DATE OF THE
ORIGINAL RETAIL PURCHASE OF THIS PRODUCT.

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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.

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CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF
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AND PROPERTY AND COST OF RECOVERING REPROGRAMMING, OR
REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH
MOTU/S&S PRODUCTS.

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for incidental or consequential damages, so the above limitation or exclusion may
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other rights which vary from state to state.

MOTU, AudioDesk and Mark of the Unicorn 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.

CHAPTER

Contents

Quick Reference: PCI-424 Audio Card

5

Quick Reference: 2408mk3 I/O Front Panel

7

8

Quick Reference: 2408mk3 I/O Rear Panel

Quick Reference: 24I/O Front Panel

9

Quick Reference: 24I/O Rear Panel

10

Quick Reference: HD192 I/O Front Panel

11

Quick Reference: HD192 I/O Rear Panel

12

13

Quick Reference: Expansion Interfaces

Quick Reference: PCI Audio Console Window

15

17

About the PCI-424 System

Packing List and PC System Requirements

23

Installing the PCI-424 Windows Software

25

Installing the PCI-424 Hardware

27

2408mk3 Front Panel Operation

55

63

MOTU PCI Audio Console

Cubase, Nuendo and other ASIO Software

75

83

Sonar and other WDM software

Expanding Your PCI-424 System

87

Reducing Monitoring Latency

91

97

CueMix Console

MOTU SMPTE Console

103

107

Performance Tips & Troubleshooting

113 Index

4

Quick Reference: PCI-424 Audio Card

Connect additional MOTU
PCI audio interfaces here.
You can connect up to
four I/Os to a PCI-424
card for a maximum of 96
possible active inputs
and outputs.

Connect the first (core
system) interface to the
PCI-424 card here using the
Audio Wire cable included
with your core system. If
you use a custom cable, it
should not be longer than
50 feet.

If you are using the PCI-424 system with one or more ADATs, or any other ADAT
Sync-compatible recorder, use this standard ADAT SYNC INPUT to connect the
PCI-424 card to the end of your ADAT sync chain. For example, if you have three
ADATs, chain the ADATs in the usual fashion (SYNC OUT to SYNC IN, etc.), and
then connect the last ADAT’s SYNC OUT to this SYNC IN on the PCI-424 card. This
connection allows you to make sample-accurate audio transfers between your
host audio software (if it supports sample-accurate sync) and the ADATs. If you
have a MIDI Timepiece AV or a Digital Timepiece, make it the master of the ADAT
SYNC chain so that you can control everything from your host audio software
(or your other MIDI Machine Control compatible software).

5

6

When these three lights are illuminated,

they indicate that the 2408mk3 is operat-

ing under control of the PCI-424 card. They

When the METERS light is illuminated (on the right), this section of LEDs

provides metering for 2408mk3’s analog input and output activity. Each

channel has a 5-segment column of LEDs measuring -42 dB to 0 dB.

also indicate that the LEDs in the ANALOG

OUT section are displaying the 2408mk3’s

current clock settings (as you have chosen

in the PCI Audio Console software). Press

the Select button to toggle the ANALOG

OUT section between this clock display

and analog output metering.

When the METERS light is not illuminated, The LEDs in this section

indicate the CLOCK, SOURCE, and BOUNCE settings in the 2408mk3.

When the 2408mk3 is under control of the PCI-424 card (and the host

computer), you cannot change the settings using the SELECT and SET

buttons, as they are under control of software running on the computer.

The only thing you can do in this mode is press the SELECT button to

switch between the clock status display and analog metering.

When the 2408mk3 is in

stand-alone operation,

press the SELECT button

repeatedly to illuminate

the desired CLOCK,

SOURCE or BOUNCE LED.

only when the 2408mk3 is

operating as a stand-alone

format converter (no

2408mk3-compatible

You can use the SET button

When the 2408mk3 is not under

PCI control (no 2408mk3-

Bounce

When the 2408mk3 is operating as a stand-

alone format converter (no 2408mk3-

software is running on the

compatible software is running,

or the computer is turned off),

the 2408mk3 operates as a

stand-alone format converter,

compatible software is running on the

computer or the computer is turned off),

the BOUNCE setting lets you shift tracks

during a transfer. Use the SELECT button to

Then press the SET

button repeatedly to

make the desired setting.

When the 2408mk3 is

under control of the

computer, press the

computer or the computer

is turned off). When the

2408mk3 is in stand-alone

operation, press the SET

button repeatedly to cycle

through the current CLOCK,

SOURCE or BOUNCE

and you can use the SELECT and

SET buttons to change the CLOCK,

SOURCE, and BOUNCE settings.

(1-2)

■ No shifting

activate (illuminate) the BOUNCE LED. Press

the SET button repeatedly to make the

desired bounce setting. Your choices are:

SELECT button to toggle

between the clock

display and analog

metering in the ANALOG

OUT section of the front

settings, which control

what the 2408mk3 will do

as a format converter.

When the 2408mk3 is resolving

(3-4)

(5-6)

■ Shift all tracks down by two

■ Shift all tracks down by four

panel.

to video or SMPTE time code,

the LOCK light glows green

when lockup has been achieved.

The TACH light blinks once per

second when the 2408mk3 is

(7-8)

■ Shift all tracks down by six

Tracks that are shifted lower than track 1

wrap around to track 8 and shift down from

successfully reading address

(time code) information.

there.

The “Swap L to R” option swaps the

channels in each pair, in addition to the

amount they are shifted. This allows you to

copy any source track to any destination

track. For example, you can copy track 4 to

track 1 by choosing “3-4” and “Swap L to R”.

Quick Reference: 2408mk3 I/O Front Panel

Internally, the 2408mk3 is divided into three banks of I/O:

Banks A, B and C. This section of the 2408mk3’s front panel

shows you the input and output activity for each bank if it has

been assigned to either the ADAT, Tascam or SPDIF digital I/O

This knob

controls the

volume of the

main outs on

This knob

controls the

volume of the

headphone

This is a standard quarter-

inch stereo headphone

jack. Its output matches

analog outputs 1 and 2,

formats. When you are operating the 2408mk3 under

computer control, the 2408mk3 always outputs to both ADAT

and Tascam, regardless of which one you have chosen in

AudioDesk or the PCI-424 configuration software. The top

(orange) row of lights show input activity for each channel in

the bank, and the bottom (green) lights show output. At 88.2

or 96 kHz, TDIF and ADAT optical support 4 channels per bank.

the rear panel.

output.

but the volume knob to

the right controls the

headphone output only.

Source

When the 2408mk3 is operating as a

Clock

When the 2408mk3 is operating as a stand-alone format

stand-alone format converter (no

2408mk3-compatible software is

running on the computer or the

computer is turned off), the Source

setting determines which audio

determines what digital clock the 2408mk3 is slaving to. The

choices are:

converter (no 2408mk3-compatible software is running on the

computer or the computer is turned off), the CLOCK setting

format (ADAT, Tascam, Analog or

SPDIF) will be the source of the

transfer. Use the SELECT button to

rate. If the 2408mk3 is set to slave from an external

source, and no clock source is present, these lights blink to

■ 44 / 48 / 88 / 96 - These four LEDs indicate the sample

activate (illuminate) the SOURCE

LED. Press the SET button repeatedly

to make the desired source setting.

Your choices are:

show that the 2408mk3 does not currently detect a clock

signal. If the 2408mk3 is running under its internal clock,

use the SET button to choose the desired sample rate.

■ Analog (all inputs at +4)

■ Analog (all inputs at -10)

its own internal clock.

■ Int (Internal) - Means that the 2408mk3 is running under

■ Analog (mixed input levels)

■ The stereo SPDIF input

■ ADAT Bank A

■ ADAT Bank B

PCI-424 card. This light is not available when the

2408mk3 is in stand-alone mode.

■ PCI - This LED means that the 2408mk3 is slaved to the

choices as shown above for

ADAT)

■ ADAT Bank C

■ ADAT banks A, B and C

■ Tascam (with the same bank

format being recorded. For example, if you are converting

from ADAT to Tascam, and you have selected ADAT as the

source, the 2408mk3 will slave to the clock supplied by

the ADAT optical digital input.

■ Dig (Digital input) - This option refers to the digital I/O

The setting for Analog with mixed

input levels uses the input level

settings you’ve specified with the

■ Word - the 2408mk3 is slaved to its word clock input.

■ Vid (video) - the 2408mk3 is slaved to a video signal

MOTU PCI Audio Console (by clicking

the Interface Options button).

received on its VIDEO IN (BNC) connector.

SMPTE time code on an analog input.

■ LTC (Longitudinal Time Code) - the 2408mk3 is slaved to

Analog outputs 1 and 2 are dupli-

cated on the 2408mk3’s main

The 2408mk3’s eight

analog outputs are gold-

If you want, you can connect both an

ADAT optical and a TDIF device to a

Connect up to three Tascam

digital recorders or other TDIF

stereo outputs, as well as the

front panel stereo headphone

jack and the DAT SPDIF output.

plated, balanced +4dB

TRS (tip/ring/sleeve)

quarter-inch connectors.

bank. They will share the same

output (regardless of which format

you choose on the computer), but you

compatible digital I/O devices to

these three connectors.

They have 24-bit, 128x

oversampling converters.

can only record input from one format

or the other at a time per bank (as

chosen in the PCI Console software).

The 2408mk3’s eight analog inputs are gold-plated, balanced +4dB

TRS (tip/ring/sleeve) quarter-inch connectors. They have 24-bit,

64x oversampling converters. Each input pair can be set at +4dB or

Connect up to three ADATs or

other ADAT optical digital

I/O devices to these three

-10dB via the PCI-424 configuration window on your computer.

Click the Interface Options button to access the input level settings.

Note that you can use one of these inputs for SMPTE time code

input, instead of the RCA connectors on the left side of the unit.

connectors. Be sure to

connect the optical cables

“OUT to IN” and “IN to OUT”.

These two balanced, quarter-inch jacks serve

as the 2408mk3’s main outputs. They dupli-

cate the material from channels 1 and 2 of

the analog bank. To hear material from them,

choose “Analog” as the desired format for

one of the 2408mk3’s three banks (using the

PCI-424 configuration window on your

computer), and then assign any tracks you

want to hear to Analog channels 1-2. Use the

front panel MAIN OUT volume knob to

control the level from these outputs.

Quick Reference: 2408mk3 I/O Rear Panel

These jacks provide stereo SPDIF digital input and output. To use

them, choose the SPDIF format for one of the three banks in the PCI-

424 configuration window on your computer. Then assign the audio

tracks in your software to the SPDIF outputs that appear in its output

assignment menus.

These jacks also double as (analog audio) SMPTE time code inputs

and outputs. For complete details, see “Syncing to SMPTE time code”

on page 43 and chapter 12, “MOTU SMPTE Console” (page 103).

Connect the 2408mk3

to the PCI-424 card here

Use the word clock input and

output for digital transfers with

devices that cannot slave to the

clock supplied by their digital I/O

connection with the 2408mk3. Via

using the Audio Wire

software, you can switch the word

cable provided with

your 2408mk3 system.

clock output rate to either double

or halve the 2408mk3’s system

word rate. For example, if the

This is an extra SPDIF stereo output jack,

which carries a digital copy of the same

signal as the main outs and Analog 1-2.

You can connect it to whatever you

want. For example, you could connect it

to a DAT machine to record stereo

mixdowns of your 2408mk3 projects.

2408mk3 is running at 96 kHz, it

can transmit 48 kHz word clock

output.

The WORD IN connector can also

serve as a video input, which

allows the 2408mk3 to resolve to

video or blackburst. For details,

see “Syncing to video” on page 44

and chapter 12, “MOTU SMPTE

Console” (page 103).

Quick Reference: 24I/O Front Panel

Indicates the current sample rate. If this LED flashes, it means that you

have chosen (via software) an external clock source (such as word

clock), but the 24I/O is not successfully receiving it. Check the 24I/O’s

clock setting in the MOTU PCI Audio Console window, or check your

external clock source and its cable connections to the 24I/O.

Five segment metering for the 24 analog inputs. Five segment metering for the 24 analog outputs.

The word clock connector can be config-

Connect the 24I/O to the

PCI-424 card here using the

Audio Wire cable provided

with your 24I/O system.

ured as either an input or an output. When

you choose the 24I/O: Word Clock In

setting from the PCI-424 Clock Source

menu (see “Clock Source” on page 64), the

24I/O’s word clock jack becomes a word

clock input. When you choose any other

clock setting, it operates as a word clock

The 24I/O’s twenty four analog outputs are gold-

plated, balanced +4 dB TRS connectors. They

have 24-bit, 128x oversampling D/A converters.

The 24I/O’s twenty four analog inputs are gold-plated,

balanced TRS connectors. They have 24-bit, 128x

oversampling A/D converters. From the factory, they

are configured for a +4 dB input reference level. You

can switch them to -10 dB inputs in banks of eight. For

details, see “24I/O interface options” on page 70.

Quick Reference: 24I/O Rear Panel

Quick Reference: HD192 I/O Front Panel

The top red ‘over’ LED lights up when the signal reaches full scale — for

even just one sample — and remains illuminated until you clear it in the

software. The second ‘over’ LED below only lights up momentarily so that

you can continue to adjust level even after clipping has just occurred.

When the HD192 system has no clock

signal for some reason, the ‘no clock’

LED illuminates. Check your cables and

clock settings in the software.

19-segment ladder LEDs

for the twelve XLR analog

outputs.

19-segment ladder LEDs

for the twelve XLR analog

inputs.

When the HD192 system has a stable

clock (either internal or external), the

system’s sample rate is illuminated

here. If the HD192 is slaving to an

external clock, and the external clock is

running at either 2 times or one-half

the system clock, then both samples

rates flash. For example, if the HD192

system clock is running at 96 kHz, but

it is slaving to a 48 kHz word clock,

then both rates will flash here.

These LEDs indicate the current clock and sample rate conversion

settings for the AES/EBU section of the HD192. All of these

settings are made in the MOTU PCI Audio Console (see page 15

for a one-page overview).

AES/EBU Rate Convert IN

The AES/EBU input can either 1) slave to the HD192 system clock

(Rate convert AES IN is dark) or 2) sample rate convert the incom-

ing signal (Rate convert AES IN illuminates). To enable sample

rate conversion, check the Rate Convert check box in the Interface

Options window in MOTU PCI Audio Console (page 15).

AES/EBU Rate Convert OUT / with external clock

The AES/EBU output can either 1) match the HD192 system clock

(OUT is dark) or 2) run at different sample rate OUT lights up),

either under its own clock (with external clock is dark) or slaved

to the AES input or AES Word In (with external clock lights up).

44.1, 48, 88.2 or 96 kHz

One of these four orange LEDs lights up to indicate the current

AES OUT clock rate, even if it matches the current HD192 system

clock rate (the large green sample rate above).

These jacks provide stereo AES/EBU digital input

and output. For information about configuring

the AES/EBU input and output, see “HD192 inter-

face options” on page 71.

When you’re recording from the AES/EBU input,

either use it as the clock source for the entire

The HD192’s twelve analog inputs are balanced,

+4dB XLR connectors. They have 24-bit, 128x

enhanced multibit A/D converters capable of

system or use its built-in sample-rate converter.

For details, see “HD192 AES/EBU” on page 33.

44.1, 48, 88.2, 96, 176.4 and 192 kHz recording.

Connect the HD192 to the

PCI-424 card here using the

‘AES Word In’ allows you to slave the

AES/EBU output to an independent

The HD192’s twelve analog outputs are balanced,

+4dB XLR connectors. They have 24-bit, 128x

Audio Wire cable provided

with your HD192 system.

word clock source, separate from the

HD192 system itself, which slaves to

the ‘System Word’ input.

enhanced multibit A/D converters capable of

44.1, 48, 88.2, 176.4 and 192 kHz playback.

Use the word clock input

and output for digital trans-

fers with devices that

cannot slave to the clock

supplied by their digital I/O

connection with the HD192.

Quick Reference: HD192 I/O Rear Panel

The HD192 power supply is switchable

between 115v and 240v operation. It should

already be set to the proper voltage for your

country, but you can check the setting and

adjust it if necessary with the red switch just

to the left of this power cord receptacle (on

the side of the metal chassis).

Quick Reference: Expansion Interfaces

CHAPTER

EXPANSION I/O OR CORE SYSTEM?

Read this chapter if you have purchased a MOTU
PCI audio interface as an Expansion I/O for a
PCI-424 core system. If not, skip to the next
chapter.

PACKING LIST FOR AN EXPANSION INTERFACE

Each MOTU Expansion interface ships with:

■ One rack-mount audio interface (2408mk3,

24I/O or HD192)

■ One 15-foot “Audio Wire” cable

■ One CD-ROM with drivers and Setup Wizard

■ Power cord

■ One 2408mk3 manual and reg card

INSTALLING AN EXPANSION INTERFACE

To connect your expansion interface to a PCI-424
core system, use one of the three available Audio
Wire sockets on your core system’s PCI-424 card as
shown on page 5.

IMPORTANT NOTE

Always power on your expansion interface when
operating your core system. In fact, you should
turn on all audio interfaces connected to the
PCI-424 card.

COMPLETING THE INSTALLATION

To complete the installation, open the PCI Audio
Console to confirm that the PCI-424 card sees the
newly installed interface and to configure your
multi-interface system. For details, turn to
chapter 9, “Expanding Your PCI-424 System”
(page 87).

SYNCHRONIZATION AND CLOCK SOURCE

For details about synchronizing an expanded
system, see “Synchronizing multiple interfaces” on
page 89.

Connect the other end of the Audio Wire cable to
the Audio Wire socket on the interface as
demonstrated below with the 2408mk3 in Figure 1.

Figure 1: Attaching the Audio Wire cable to an expansion interface.

13

14

Quick Reference: PCI Audio Console Window

CHAPTER

If you have two or more interfaces
connected to the PCI-424 card in your
computer, use this menu to choose which
one you are controlling with the settings
in the middle portion of this window.

These buttons let
you save and reload
the interface
settings (in the
middle portion of
the window).

At low sample rates (44.1 or 48 kHz),
digital I/O banks provide 8 channels.
At high sample rates (88.2 or 96
kHz), digital I/O banks provide 4

Refresh checks to make
sure that the computer
knows about all
connected 2408mk3’s
and other MOTU PCI
audio interfaces.

The ‘Clock Source’ menu determines the
master clock source for your entire
PCI-424 system. This is an important
setting, as the 2408mk3 must be carefully
resolved with the clocks in the other
digital audio devices connected to it.

The stand-alone Console
window, above, is the same
as the “ASIO Control Panel”
dialog found in Cubase.

Check ‘Enable Routing’ to expand
the window as shown. This view
lets you enable or disable individ­ual inputs and outputs.

Choosing a smaller setting here
reduces the latency you may hear
when monitoring live inputs through
plug-in effects in your host software.
But lower settings also increase the
strain on your computer. For details,

see “Samples Per Buffer” on

This section of the window
has general settings for the
entire PCI-424 system.

This section of the window
shows the I/O formats
provided by the interface
currently chosen in the
Configure Interface menu.

Provides additional settings
for the interface currently
chosen in the Configure
Interface menu. For details,
see “Interface options” on
page 70.

How to open this window

The MOTU PCI Audio Console Window
gives you complete control over the
settings in your 2408 hard disk
recording system. There are several
ways to access the MOTU PCI Audio
Console window. But the window is
the same, regardless of how you
access it.

■ From Windows, run MOTU PCI

Audio Console (the stand-alone
applet for the 2408).

■ From Cubase VST, open the

Audio System Setup window
and click the ASIO Control Panel
button.

■ From Cubase SX, open the

Devices Setup window, click the
VST Multitrack device and click
the Control Panel button.

In this example, a 2408mk3 interface
is configured for ADAT optical I/O for
Bank A, Tascam TDIF I/O for bank B,
and Analog for Bank C.

The ‘Enable Input’ and ‘Enable out-put’ check boxes refer to
input and output to and from the computer. If checked,
inputs and outputs will be available in the menus of Cubase,
Logic, Nuendo, Sonar, or other host audio applications that
support the PCI-424 system.

15

16

CHAPTER

1 About the PCI-424 System

OVERVIEW

The PCI-424 core system is a computer-based hard
disk recording system for Mac OS and Windows
that offers 24 simultaneous inputs and outputs per
Audio Wire cable, expandable to 96
inputs/outputs. A core system consists of a PCI
card connected to a standard 19-inch,
single-space, rack-mountable audio interface.

The system includes AudioDesk™, full-featured
audio workstation software for Mac OS that
supports both 16-bit and 24-bit recording at any
standard sample rate up to 192 kHz.

For Windows, a WDM driver is included for
compatibility with audio applications that support
standard multi-channel WDM and Wave drivers.

Also included are Macintosh and Windows ASIO
drivers for multi-channel operation with Steinberg
Cubase and other ASIO-compatible software.

The PCI-424 card . . . . . . . . . . . . . . . . . . . . . . . . . .17

The 2408mk3 interface. . . . . . . . . . . . . . . . . . . . . .18

The 24I/O interface. . . . . . . . . . . . . . . . . . . . . . . . .20

The HD192 interface . . . . . . . . . . . . . . . . . . . . . . .20

16-bit and 24-bit recording . . . . . . . . . . . . . . . . . .21

AudioDesk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Digital Performer . . . . . . . . . . . . . . . . . . . . . . . . . .21

Other Audio Software. . . . . . . . . . . . . . . . . . . . . . .21

A computer-based system . . . . . . . . . . . . . . . . . . .21

THE PCI-424 CARD

A PCI-424 core system ships with a single PCI
audio card called the PCI-424. The card features a
custom processor, a powerful DSP chip, four 6-pin
Audio Wire connectors and an ADAT SYNC IN
connector.

High definition audio

The PCI-424 system can operate at the following
high sample rates: 44.1, 48, 88.2, 96, 176.4 and 192
kHz. All MOTU PCI-424 audio interfaces support
rates up to 96 kHz. In addition, the HD192
interface offers analog recording and playback at

176.4 or 192 kHz.

Audio Wire expansion

The PCI-424 card provides four Audio Wire jacks,
which are used to attach MOTU PCI audio
interfaces to the card installed in the computer.
Each Audio Wire is capable of transmitting 24
simultaneous channels of 96 kHz digital audio
input and output or 12 simultaneous channels of
192 kHz input and output.

Up to four MOTU PCI audio interfaces can be
connected to a single PCI-424 card for a maximum
of 96 possible input and output connections. All
MOTU PCI audio interfaces (including the
2408mk3, 24I/O and HD192) can also be “mixed
and matched” on the PCI-424 card, along with
legacy PCI-324 interfaces, such as the 2408,
2408mII, 1296, 1224, 24i and 308.

Audio Wire carries a proprietary communication
protocol between the card and the external I/O to
handle the extremely low latencies required by the
system. The heart of the PCI-424 card is a
custom-programmed VLSI chip capable of simul­taneously processing all 96 inputs and outputs (192

17

channels total) at samples rates up to 96 KHz. At

176.4 or 192 kHz, this chip can process 48
simultaneous channels of input and output.

The custom chip handles all of the system’s I/O
processing, freeing up the host computer’s
processing bandwidth for real-time DSP effects
and hard disk I/O.

CueMIx DSP

The PCI–424 card features CueMix DSP™, a
flexible DSP-driven mixing and monitoring matrix
that provides the same near-zero monitoring
latency as today’s latest digital mixers. CueMix
DSP™ allows you to connect keyboards, synth
modules, drum machines, and even effects
processors and then monitor these live inputs with
no audible delay and no processor drain on the
host computer’s CPU. The CueMix DSP engine
resides on the PCI–424 card, so it works across all
interfaces connected to the card. The included
CueMix Console software provides an on-screen
mixer that gives you hands-on control of your
mo nit or m ix, r ega rd les s of wh at a udi o so ft war e you
prefer to use. Digital Performer users have the
additional option of controlling CueMix DSP
directly within Digital Performer’s mixing
environment. CueMix DSP completely eliminates
the buffer latency associated with monitoring on
host-based recording systems.

Sample-accurate synchronization

The PCI-424 card’s standard 9-pin ADAT SYNC
IN connector provides sample-accurate synchro­nization with all ADATs or other ADAT
Sync-compatible devices connected to the system.
For example, if you digitally transfer a single track
of material from the ADAT via light pipe into the
2408mk3’s Macintosh workstation software, and
then transfer the track back to the ADAT, it will be
recorded exactly at its original location, down to
the sample.

Video and SMPTE time code synchronization

The entire PCI-424 system, including all connected
interfaces, can resolve directly to SMPTE time
being received on any analog input in the system.
In addition, the 2408mk3 interface provides a BNC
video input for resolving the entire system directly
to video.

THE 2408MK3 INTERFACE

24 simultaneous inputs and outputs

The 2408mk3 I/O is a single-space, rack mountable
chassis with gold-plated analog and digital audio
con nec tors on it s rea r pa nel a nd s tatu s LE Ds on the
front. The rear panel has seven banks of 8-channel
I/O at 44.1 or 48 kHz in the following formats:

■ One bank of 8 balanced (+4 dB) analog

quarter-inch (TRS) inputs and outputs.

■ Three Tascam DA-88 ‘TDIF’ 8-channel digital

I/O connectors.

■ Three Alesis ADAT optical ‘light pipe’ 8-channel

digital I/O connectors.

Three banks of 8-channel I/O at 44.1/48 kHz

Internally, the 2408mk3 has three 8-channel I/O
busses (A, B and C) for a total of 24 simultaneous
inputs and outputs at 44.1 or 48 kHz. Using the
included console software (available for both Mac
and PC), you can freely choose any I/O format for
each bank. For example, you can choose analog for
Bank A, ADAT optical for Bank B, and Tascam
TDIF for Bank C. Or you can choose ADAT optical
for all three banks.

Three banks of 4-channel digital I/O at 88.2/96

At 88.2 or 96 kHz, the 2408mk3 interface offers 4
channels of I/O per bank for the ADAT optical and
Tascam TDIF formats, along with 8 channels of 96

18

ABOUT THE PCI-424 SYSTEM

kHz analog input and output. Therefore, the
2408mk3 interface offers a maximum of 16
channels of input and output at 96 kHz (2 banks of
4-channel digital I/O plus 8 channels of analog
I/O). The maximum number of digital inputs and
outputs at 96 kHz is 12 (3 banks of 4-channel I/O).

Analog bank

The analog inputs are equipped with 24-bit,
96 kHz 64x oversampling A/D converters. The
analog outputs have 24-bit, 96 kHz 128x
oversampling D/A converters.

The entire analog section of the circuit board
inside the 2408mk3 is physically isolated from the
rest of the board to help ensure quiet analog
performance.

Each of the 2408mk3’s eight analog stereo input
pairs can be switched between -10 dB and +4 dB
operating levels to support a wide variety of input
sources, including synths, samplers and other
equipment.

Main Outs

For main stereo output, analog outputs 1 and 2 are
duplicated on the rear panel as a stereo pair of
balanced, +4dB quarter-inch TRS jacks. A
dedicated knob on the front panel gives you
volume control of the main outs.

SPDIF

The 2408mk3 rear panel has three SPDIF stereo
pairs. The SPDIF output on the right is dedicated
to duplicating the stereo main out so that you can,
for example, conveniently record a stereo mix to
you r DAT d eck wi thout sw apping cabl es w ith othe r
SPDIF devices. The other two SPDIF connectors
serve as independent stereo inputs/outputs. They
can be used with any SPDIF compatible device,
such as an effects processor or other device.

Word Clock

BNC Word clock connectors (in and out) are
provided for synchronization with standard word
clock devices. Via software, the word output can be
made to either double or halve the 2408mk3’s
system word rate. For example, if the 2408mk3 is
running at 96 kHz, it can generate 48 kHz word
clock output.

Video sync

The BNC input connector can be switched via
software to become a dedicated video input, allow
you to slave your PCI-424 system to NTSC or
PAL/SECAM video (or blackburst) without a
dedicated synchronizer. The PCI-424 card
provides a DSP-driven phase-lock engine with
sophisticated filtering that provides fast lockup
times and sub-frame accuracy.

SMPTE time code

The RCA jacks for SPDIF input/output can be
switched via software to become a dedicated
SMPTE time code (LTC) input and output,
allowing you to slave your PCI-424 system to time
co de and /or g enera te tim e code . If yo u pre fer t o us e
them for SPDIF digital I/O, you can use any analog
input to receive SMPTE time code. Any active
channel, digital or analog, can be chosen as a
SMPTE time code output.

Level Meters

The front panel of the 2408mk3 I/O displays
several banks of status LEDs. On the left are three
banks of eight LEDs (A, B and C) that show audio
signal on the 2408mk3’s three ADAT/TDIF digital
I/O buses. On the right are eight vertical,
five-segment LEDs that show input level from the
eight analog inputs measured from -40 dB to 0 dB.
A similar bank of dedicated five-segment LEDs is
provided for the analog outputs. These LEDs also
provide status information, such as the system
clock sample rate and other settings.

ABOUT THE PCI-424 SYSTEM

19

Stand-alone Format Conversion

Finally, several additional LEDs, along with
accompanying set/select buttons, allow you to
access the 2408mk3 I/O’s stand-alone format
conversion features. With these controls, you can
bounce any I/O format to any other format without
a computer.

Headphone output

The 2408mk3 front panel includes a quarter-inch
stereo headphone output jack and volume knob.
The headphone output matches the main stereo
outs, which have their own volume knob.

THE 24I/O INTERFACE

24 analog 24-bit/96 kHz inputs and outputs

The 24I/O is a single-space, rack mountable chassis
with gold-plated analog audio connectors on its
rear panel and level meters on the front. The rear
panel has 24 gold-plated, balanced +4dB TRS
analog inputs and outputs with 24-bit A/D
converters. All inputs and outputs can be accessed
simultaneously. Internally, the 24I/O has a 24-bit
data path to and from the computer so that all
audio data is carried to/from the computer in 24
bits.

Converters

All analog-to-digital and digital-to-analog inputs
on the 24I/O are equipped with 24-bit, 128x
oversampling, extremely high-quality,
latest-generation converters.

Word clock in and out

BNC Word clock connector can be programmed
via software for either input or output for synchro­nization with standard word clock devices.

Level Meters

The front panel of the 24I/O displays 48 level
meters, arranged in three banks of 8 channels. For
each channel, there is a five-segment meter that
measures from -42 dB to 0 dB.

The clock section in the middle of the front panel
indicates the current sample rate.

THE HD192 INTERFACE

High definition audio recording

The HD192 provides the very best A/D and D/A
conversion available. It can operate at any standard
sample rate from 44.1 kHz to 192 kHz.

12 analog inputs and 12 outputs

The HD192 I/O is a two-space, rack mountable
chassis with XLR audio connectors on its rear
panel and level meters on the front. The rear panel
has four banks of I/O in the following formats:

■ One bank of 12 XLR inputs

■ One bank of 12 XLR outputs

■ One pair of AES/EBU stereo digital I/O

connectors

All analog inputs and outputs can be accessed
simultaneously.

AES/EBU digital I/O

The HD192 rear panel includes an AES/EBU stereo
digital input and output. Both of these connectors
are capable of handling 24-bit digital audio at
sample rates up to 96 kHz. The AES/EBU input and

20

ABOUT THE PCI-424 SYSTEM

output each has its own independent sample rate
converter for real-time conversion between any
two sample rates between 40 and 100 kHz.

recording at 176.4 or 192 kHz. On Windows, 24-bit
audio files can be recorded with any compatible
host application that supports 24-bit recording.

System word clock in and out

BNC ‘System’ Word clock connectors (in and out)
are provided for synchronizing the HD192’s main
system clock with other standard word clock
devices.

AES word clock in

A BNC Word clock input connector is provided for
independently synchronizing the AES/EBU output
of the HD192 to a standard input clock.

Level Meters

The front panel of the HD192 I/O displays several
banks of status LEDs.

On the right are two banks of meters for the twelve
analog inputs and twelve analog outputs. For each
channel, there is a 19-segment meter that measures
from -42 dB to 0 dB, along with two red ‘over’
lights. The top LED remains illuminated after
clipping occurs until it is cleared via software
(either manually or via a configurable time-out
period). The red LED below it only lights
momentarily when clipping.

AUDIODESK

AudioDesk is a full-featured, 24-bit audio
workstation software package for Macintosh
included with each PCI-424 core system.
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 (in
the MOTU Audio System and Adobe Premiere
formats), background processing of file-based
operations, sample-accurate editing and
placement of audio, and more.

DIGITAL PERFORMER

The PCI-424 system is fully integrated with
MOTU’s award-winning Digital Performer audio
sequencer software package.

OTHER AUDIO SOFTWARE

The PCI-424 system ships with a standard WDM
driver that allows you to record, edit, play back and
mix your projects using your favorite WDM- and
Wave-compatible Windows software.

The Clock section on the left displays the current
system clock setting (44.1, 48, 88.2, 96, 176.4, 192
or no clock), as well as the AES/EBU clock setting if
sample rate conversion is taking place
independently of the system clock.

16-BIT AND 24-BIT RECORDING

The PCI-424 system handles all data with a 24-bit
signal path, regardless of the I/O format. Using
AudioDesk™, the PCI-424 system’s Macintosh
workstation software (included), you can record
and pl ay back 1 6-bit or 24-bit audio files at 44.1 , 48 ,

88.2 or 96 KHz via any of the system’s analog or
digital inputs and outputs. The HD192 also offers

ABOUT THE PCI-424 SYSTEM

The PCI-424 system also ships with standard Mac
OS audio drivers.

The PCI-424 also includes a Macintosh and
Windows ASIO driver for multi-channel
compatibility with Steinberg Cubase and other
ASIO-compatible software.

A COMPUTER-BASED SYSTEM

Regardless of what software you use with the
PCI-424 system, the host computer determines the
number of tracks the software can record and play
simultaneously, as well as the amount of real-time
effects processing you can apply to your mix. A
faster computer with more RAM and faster hard

21

drives will allow more simultaneous tracks and
real-time effects than a slower computer with less
RAM and slower hard drives. Standard third-party
system acceleration products can also help you
achieve higher track counts.

22

ABOUT THE PCI-424 SYSTEM

CHAPTER

2 Packing List and PC System

Requirements

PACKING LIST

A MOTU PCI-424 core system ships with the items
listed below. If any of these items are not present in
your core system box when you first open it, please
immediately contact your dealer.

■ One rack-mountable audio interface (2408mk3,

24I/O or HD192)

■ One PCI-424 audio card

■ One 15-foot “Audio Wire” cable

■ Power cord

■ One PCI-424 Mac/Windows “flip book” manual

■ One AudioDesk Manual (for Mac OS only)

■ One cross-platform CD-ROM

■ Product registration card

PC SYSTEM REQUIREMENTS

The PCI-424 system requires the following PC
system:

■ A 800 MHz Pentium CPU or faster

■ A Pentium III or faster is recommended

■ At least 128 MB (megabytes) of RAM (512 MB

or more is recommended)

■ One available PCI slot

■ Windows 98SE or later

■ A large hard drive (preferably at least 20 GB)

PLEASE REGISTER TODAY!

Please send in the registration card included with
your PCI-424 system. As a registered user, you will
be eligible to receive on-line technical support
email and announcements about product
enhancements as soon as they become available.
Only registered users receive these special update
notices, so please, complete and mail this
registration card!

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

23

24

PACKING LIST AND PC SYSTEM REQUIREMENTS

CHAPTER

3 Installing the PCI-424 Windows

Software

OVERVIEW

The 2408mk3 ships with the following software:

Software
component Purpose

MOTU
PCI Audio
Console

ASIO MOTU
PCI Driver

MOTU PCI
WDM Audio
Driver

MOTU PCI
GSIF Driver

MOTU
Setup Wizard

CueMix
Console

MOTU SMPTE
Console

Provides access to all of the settings in the
PCI-424 card and the audio interfaces con­nected to it. Required for PCI-424 operation.

Allows Cubase or other ASIO-compliant soft­ware to do multi-channel input and output
with the PCI-424. Only required if you are
using Cubase or another ASIO-dependent
program.

Allows any WDM- or Wave-compatible audio
software to handle input and output with the
PCI-424 hardware. Provides multi-channel
support for Sonar or other Windows applica­tions that support standard multi-channel
WDM audio or Wave drivers.

Allows you to use your PCI-424 system with
Tascam GigaStudio.

Asks you questions about the gear you’ll con­nect to your PCI-424 audio interfaces, and
then helps you set everything up, including
the software

Gives you complete control over the
PCI-424’s CueMix DSP feature, which pro­vides no-latency monitoring of live inputs
through your PCI-424 system.

Provides access to the PCI-424 system’s
SMPTE time code and video sync features.

INSTALL THE PCI-424 SOFTWARE FIRST!

We recommend that you install the PCI-424
software before installing the PCI-424 card itself.

If you’ve already installed the card, you might want
to tempo raril y rem ove it to in stall the soft ware , and
then put it back in after installing the software.

If you haven’t installed the PCI-424 card yet,
proceed with the installation.

INSTALLING THE MOTU AUDIO SOFTWARE

To install the MOTU Audio software, insert the
MOTU Audio CD-ROM and follow the directions
it gives you on your computer screen.

MOTU PCI Audio Console. . . . . . . . . . . . . . . . . . 26

The MOTU PCI WDM Audio Driver . . . . . . . . . 26

ASIO MOTU PCI Driver. . . . . . . . . . . . . . . . . . . . 26

CueMix Console . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Setup Wizard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

25

MOTU PCI AUDIO CONSOLE

The MOTU PCI Audio Console application is
placed by the software installer in the folder you
specify during the installation process. If you aren’t
sure where it is on your hard drive, use the Find
command in the Windows Start menu.

ASIO MOTU PCI DRIVER

ASIO stands for Audio Streaming Input and Output.
The ASIO MOTU PCI driver allows the PCI-424
audio card to do multi-channel input and output
with Steinberg’s Cubase software, or any other
audio application that supports ASIO drivers.

The MOTU PCI Audio Console gives you access to
all of the basic settings in your PCI-424 card and
the audio interface(s) connected to it, such as clock
source settings and routing to and from the
computer.

For complete details, see chapter 6, “MOTU PCI
Audio Console” (page 63).

Figure 3-1: The MOTU PCI Audio Console application gives you access
to all of the settings in the PCI-424 card and the audio interfaces
connected to it.

The ASIO MOT U PC I drive r is only required if you
are using Cubase (or another audio program that
depends on the ASIO driver to do multi-channel
I/O with the PCI-424 system).

The PCI-424 software installer correctly installs
the ASIO driver, so all you have to do is run the
installer to use it.

For details about using Cubase with your PCI-424
system, see chapter 7, “Cubase, Nuendo and other
ASIO Software” (page 75).

CUEMIX CONSOLE

This program provides a mixing console that gives
you control over the PCI-424 card’s no-latency
CueMix DSP features. For details, see “CueMix
DSP hardware monitoring” on page 94.

SETUP WIZARD

Check out the Setup Wizard. It helps you figure out
how to connect your gear to the PCI-424 audio
interfaces, and it even configures the PCI-424
driver for you based on your setup.

THE MOTU PCI WDM AUDIO DRIVER

The MOTU PCI WDM Audio Driver provides
standard multi-channel input and output for any
Windows audio program that support multi­channel WDM audio or Wave drivers. See
chapter 8, “Sonar and other WDM software”
(page 83) for details.

The PCI-424 installer disc installs the MOTU PCI
WDM Audio Driver into Windows for you.

26

INSTALLING THE PCI-424 WINDOWS SOFTWARE

CHAPTER

4 Installing the PCI-424 Hardware

OVERVIEW

Install the 2408mk3 software first! . . . . . . . . . . .27

Try the Setup Wizard . . . . . . . . . . . . . . . . . . . . . . .27

Install the PCI-424 audio card . . . . . . . . . . . . . . .28

Connect the audio interface . . . . . . . . . . . . . . . . .29

2408mk3 input & output connections . . . . . . . .30

24I/O input and output connections. . . . . . . . . .32

HD192 input and output connections . . . . . . . .33

Make sync connections . . . . . . . . . . . . . . . . . . . . .37

Do you need a synchronizer? . . . . . . . . . . . . . . . .38

Sample-accurate sync. . . . . . . . . . . . . . . . . . . . . . .39

Sample-accurate ADAT sync. . . . . . . . . . . . . . . . .40

Sample-accurate ADAT sync with no

synchronizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Sample-accurate Tascam sync . . . . . . . . . . . . . . .42

Syncing to SMPTE time code . . . . . . . . . . . . . . . .43

Syncing to video . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Syncing to video and/or SMPTE time code using

a synchronizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Syncing to ADAT or Tascam devices using

SMPTE time code . . . . . . . . . . . . . . . . . . . . . . . . . .46

Syncing to a DA-88/98 time code track . . . . . . .47

Syncing ADAT ‘lightpipe’ devices. . . . . . . . . . . . .48

Syncing Tascam ‘TDIF’ devices . . . . . . . . . . . . . .49

Syncing SPDIF devices. . . . . . . . . . . . . . . . . . . . . .50

Syncing word clock devices. . . . . . . . . . . . . . . . . .51

Sync for 2408mk3 stand-alone operation . . . . .52

Syncing large systems. . . . . . . . . . . . . . . . . . . . . . .53

INSTALL THE 2408MK3 SOFTWARE FIRST!

We recommend that you install the 2408mk3
software before installing the PCI-424 card itself.

If you’ve already installed the card, you might want
to tempo raril y rem ove it to in stall the soft ware , and
then put it back in after installing the 2408mk3
software. If you haven’t installed the PCI-424 card
yet, go now to chapter 3, “Installing the PCI-424
Windows Software” (page 25).

TRY THE SETUP WIZARD

The PCI-424 software installer provides an easy­to-use Setup Wizard. This interactive software
tutorial will help you figure out the best way to
connect all your gear to the PCI-424 card and
connected audio interfaces. This chapter covers
important general concepts regarding connections
and synchronization, but the Setup Wizard asks
you specific questions about your gear and then
makes specific recommendations for you based on
your answers. To use the Wizard, just run the
software installer on the 2408mk3 CD, and then
look for it on your hard drive when the installation
is done.

27

INSTALL THE PCI-424 AUDIO CARD

1 Switch off and unplug your computer.

☛ Failure to do so may result in serious shock or

injury.

2 Open your computer.

3 Find an available PCI slot.

4 Remove the slot cover, if necessary.

7 Gently but firmly insert the card into any

available PCI slot.

8 Secure the bulkhead of the PCI-424 card to the
computer chassis with the bolt from the slot cover.

☛ We strongly recommend securing the

PCI-424 card in this manner. Doing so allows you
to ensure secure connections to the card later on in
the installation.

5 Before removing the PCI-4 24 card from it’s anti­static bag, touch the power supply inside your
computer to discharge any static electricity that
may have built up on you.

6 Remove the PCI-424 card from its anti-static
bag.

28

9 Place the cover back on your computer.

10 Reconnect the power cord to the computer

before proceeding.

INSTALLING THE PCI-424 HARDWARE

CONNECT THE AUDIO INTERFACE

1 Plug one end of the Audio Wire cable (included)
into the Audio Wire socket next to the 9-Pin ADAT
Sync connector on the PCI-424 card as shown
below in Figure 4-1.

2 Plug the other end of the Audio Wire cable into
the audio interface as shown below in Figure 4-1.

Step 1

Connect the Audio
Wire to the socket
closest to the
ADAT SYNC port.

Step 2

2408mk3 interface

Figure 4-1: Connecting the audio interface to the PCI-424 audio card.

INSTALLING THE PCI-424 HARDWARE

24I/O interface

HD192 interface

29

2408MK3 INPUT & OUTPUT CONNECTIONS

The 2408mk3 audio interface has the following
input and output connectors:

■ 8 balanced, +4 dB quarter-inch analog in/out

■ 2 balanced, +4 dB quarter-inch TRS main out

■ 1 pair of RCA SPDIF stereo in and out

■ 1 extra RCA SPDIF stereo out

■ 3 banks of Alesis ADAT optical digital in and out

■ 3 banks of Tascam TDIF digital in and out

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

Internally, the 2408mk3 has three separate banks of
8-channel input/output. You can choose any
format you want for each bank, and you can freely
switch between them at any time. Therefore, you
don’t have to be too concerned about where you
plug things in, with the exceptions noted below.

SPDIF can only be used on Bank C. Therefore, if
you would like to use another I/O format at the
same time as SPDIF, connect it to Bank A or B.

Here’s another example, if you have one ADAT and
one Tascam recorder, and you want to use them
independently at the same time, connect them to
different banks.

On the other hand, you can connect an ADAT
opt ica l de vice a nd Tasc am TDIF dev ice to th e same
bank, if you like. For input, you’ll only be able to
record from one format or the other at one time
(on that bank). But on output, the 2408mk3
actually plays back audio on both formats at the
same time, regardless of which one is currently
active. This lets you send the same audio material
to both formats (but not different audio).

The m ain o utputs , as well as the DAT SPD IF output
and the headphone output on the front panel,
match the output from Analog outputs 1-2. If none
of the 2408mk3’s three internal banks are set to the
Analog format, the 2408mk3’s analog output bank
will duplicate one of the three banks. The MOTU
PCI Audio Console Window has an Interface
Options setting that lets you choose which bank.
For details, see “Interface options” on page 70.

Here are some example connections:

Reminder: ADAT optical goes OUT to IN and IN
to OUT, like MIDI.

2408mk3 interface

Bank A Bank B Bank C

It doesn’t matter which bank you connect ADAT or
TDIF devices to, unless you want to be using them
simultaneously with other formats. For example, if
you have one ADAT, plus a DAT deck in your
studio, and you want to be able to use them both at

ADAT Analog SPDIF

Figure 4-3: A recommended setup for one ADAT optical device, a DAT
deck, and miscellaneous analog devices.

the same time, don’t connect the ADAT to Bank C
(since SPDIF can only be used on that bank).

Figure 4-2: You can connect up to three ADAT optical devices, three Tascam TDIF devices, eight analog and t wo SPDIF devices to the 2408mk3.

30

INSTALLING THE PCI-424 HARDWARE

2408mk3 interface

Bank A Bank B Bank C

Mixer

(ADAT optical)

Figure 4-4: A recommended setup for a digital mixer with ADAT
optical I/O, one TDIF device, a DAT deck and analog devices.

2408mk3 interface

Bank A Bank B Bank C

TDIF SPDIF

Analog

CueMix DSP gives you a great number of choices
for mixing and monitoring inputs in your studio.
For example, you could connect the analog output
of a synth module to a pair of 2408mk3 (or other
interface) analog inputs, and then bus that signal
via CueMix DSP to a pair of analog outputs
connected to an effects processor – say a rack­mount reverb unit. The output from the effects
processor could then be fed back into a second pair
of 2408mk3 inputs (just like an aux return) and
then routed to audio software running on the host
computer, as well as the 2408mk3 main outputs.

ADAT

TDIF

Analog

Figure 4-5: A recommended setup for a full blown setup of three ADAT
optical devices, three TDIF devices, analog and SPDIF.

ADAT

TDIF

ADAT

TDIF

SPDIF

Connecting analog devices with -10 dB signals

From the factory, the 2408mk3 provides +4 dB of
headroom for analog input signals. However, if
you’re connecting a synthesizer, drum machine,
sampler, or other device w ith a -10 dB analog input
signal, you can switch it’s analog input pair to

-10 dB. For details see “2408mk3 interface options”
on page 70.

Mixing live inputs with CueMix DSP

The PCI-424 system is ideal for computer-based
studios where mixing is done entirely in the
computer and for more advanced installations built
around a digital mixer of any size. For the
computer-based studio, the PCI–424 card features
CueMix DSP™, a flexible DSP-driven mixing and
monitoring matrix that provides the same near­zero monitoring latency as today’s latest digital
mixers.

The result is that you can apply hardware reverb to
the live synth input, listen to it on your studio
monitors with no audible delay while also
recording it into your workstation software (either
wet or dr y), als o with n o delay. The performance of
this signal path is the same as an send/return loop
on a conventional digital mixer. CueMix DSP
completely eliminates the buffer latency associated
with monitoring live inputs on host-based
recording systems, and it places no pro cessor drain
on your host computer.

If you have a fast computer, CueMix DSP can, of
course, be combined with signals monitored
through host-based effects as well. A fast computer
allows you to drop the host buffer settings low
enough to greatly reduce – and even eliminate –
audible buffer latency. The combination of CueMix
DSP and host-based monitoring with effects
processing provides a flexible, powerful system.

For more information, see chapter 10, “Reducing
Monitoring Latency” (page 91).

INSTALLING THE PCI-424 HARDWARE

31

24I/O INPUT AND OUTPUT CONNECTIONS

Here are a few th ings to keep in mi nd when mak ing
connections to the 24I/O inputs and outputs.

Connect them all, if you like

All of the 24i’s inputs and outputs can be active
simultaneously.

samplers, or other devices with a -10 dB analog
input signal, you can switch the 24I/O inputs to

-10 dB in banks of eight inputs. For example, you
might configure inputs 1 through 16 as inputs from
a console at +4 dB, while configuring inputs 17-24
at -10 dB for MIDI instruments. For details see
“24I/O interface options” on page 70.

Avoid adaptors

If you don’t have the right cable, you’ll avoid
headaches later on — and ensure the best possible
audio quality — by taking the time to obtain the
correct cable.

Connecting analog devices with -10 dB signals

From the factory, the 24I/O provides +4 dB of
headroom for analog input signals. However, if
you’re connecting synthesizers, drum machines,

Mixing live inputs with CueMix DSP

As you plan the I/O routing for your 24I/O
interface, refer to “Mixing live inputs with CueMix
DSP” on page 31. CueMix DSP™ is a flexible
DSP-driven mixing and monitoring matrix that
provides the same near-zero monitoring latency as
today’s latest digital mixers, and it will help you
determine the mixing and monitoring scheme for
your studio.

Figure 4-6: You can connect up to 24 analog inputs and outputs to the 24I/O.

32

INSTALLING THE PCI-424 HARDWARE

HD192 INPUT AND OUTPUT CONNECTIONS

Here are a few th ings to keep in mi nd when mak ing
connections to the HD192 inputs and outputs.

Connect them all, if you like

All of the HD192’s inputs and outputs can be active
simultaneously.

+4 dB analog inputs/outputs

The HD192’s analog connectors are calibrated at
+4 dB, so if you are plugging in a microphone,
you’ll need a mic preamp of some kind (or a
connection to a mixer with a mic pre).

Mixing live inputs with CueMix DSP

As you plan the I/O routing for your HD192
interface, refer to “Mixing live inputs with CueMix
DSP” on page 31. CueMix DSP™ is a flexible
DSP-driven mixing and monitoring matrix that
provides the same near-zero monitoring latency as
today’s latest digital mixers, and it will help you
determine the mixing and monitoring scheme for
your studio.

HD192 AES/EBU

If you would like to transfer stereo audio digitally
between the HD192 and another device that has
AES/EBU I/O, connect it to the HD192’s AES/EBU
jacks with balanced, AES/EBU grade audio cables.
Connecting the HD192’s AES/EBU jacks to RCA
SPDIF connectors via adaptors is not
recommended. The HD192’s AES/EBU connectors
support 24-bit digital audio at any sample rate up
to 100 kHz.

Internally, the HD192 is “hard-wired” to provide a
maximum of 12 independent inputs and outputs.
Both the analog section and AES/EBU section
share these I/O resources, with AES/EBU taking up
one pair of the 12 virtual ins and outs. For example,
in the MOTU PCI Audio Console, you could use
channels 1 through 10 for analog input and
channels 11-12 for AES/EBU input. AES/EBU
completely takes over the inputs, entirely disabling
the corresponding analog inputs. For output,
however, AES/EBU mirrors its corresponding pair
of analog outputs, so you can send the same stereo
mix to both analog and AES/EBU simultaneously.

Therefore, if you plan to use AES/EBU at the same
time as the analog inputs/outputs of the HD192,
think about which analog pair you are least likely to
need while transferring audio via AES/EBU. Plug
those analog ins/outs into the sockets on the rear
panel that correspond to the channel numbers
you’d like to use for AES/EBU. (The channels
numbers you use for AES/EBU don’t matter. Use
whatever you like.)

AES/EBU clock and sample rate conversion

The HD192 AES/EBU section is equipped with
real-time sample rate converters on b oth input and
output. In addition, the AES/EBU section has its
own clo ck cr yst al, all owin g it t o run at a comp letely
independent sample rate from the HD192 system
clock. Together, these features provide a great deal
of flexibility in making digital transfers. For
example, you can:

Figure 4-7: You can connect up to 12 analog inputs and outputs, plus stereo AES/EBU, to the HD192.

INSTALLING THE PCI-424 HARDWARE

33

■ Tra nsfer dig it al a udi o in to o r ou t of the H D1 92 at

a sample rate that is completely different than the
HD192 system clock rate.

■ Transfer digital audio into the HD192 without

the need for any external synchronization
arrangements.

■ Receive AES/EBU input at one sample rate, run

the HD192 system clock at a second sample rate,
and send AES/EBU output at yet a third sample
rate.

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

Digital I/O without sample rate conversion

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 in “Choosing a digital
audio clock master” on page 37.

Master

Slave

Figure 4-8: With the HD192’s sample rate conversion turned off, you
need to keep it phased-locked with the other AES/EBU device by
choosing a clock master.

Master

Slave Slave

Digital I/O with 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 4-9, which shows
the clocking going on when you transfer digital
audio from the HD192 (AES/EBU OUT) to a DAT
deck (AES/EBU IN) using SRC. Notice that with
SRC, the DAT deck is not slaved to the HD192’s
system clock. Instead, their clocks are running
completely independently of one another. But also
notice that the DAT deck must still slave to the

sample-rate-converted output from the HD192 for
a clean digital audio transfer (unless it has its own
rate converter on its AES/EBU input).

HD192 master clock

Input

HD192 Sample
Rate converter

Figure 4-9: Clock relationships when sending audio from the HD192
to a DAT deck using sample rate conversion. The DAT deck needs to be
slaving to its AES/EBU input. *Note: the HD192 AES/EBU output can
actually be clocked from a number of different sources. In this
example, it is running under its own crystal. For details about other
possible clock sources, see “HD192 interface options” on page 71.

clock

Output

clock

DAT deck

(master)

(slaves to HD192 master clock)

(master*)

(slaves to HD192 SRC output clock)

System clock, AES clock & rate convert settings

When you are setting up AES/EBU input and
output with the HD192, pay careful attention to the
following settings in the MOTU PCI Audio
Console window:

■ System clock

■ AES input options (Interface options button)

■ AES output options (Interface options button)

Clocking scenarios for AES/EBU input

There are three possible clocking scenarios for the
HD192 AES/EBU input:

1. Simple transfer (slave the HD192 system clock to
the AES/EBU input signal — no sample rate
conversion).

2. Sample rate convert the AES/EBU input.

34

INSTALLING THE PCI-424 HARDWARE

3. Use word clock to resolve the HD192 system
clock and the other AES/EBU device with each
other.

These three AES/EBU input scenarios are
summarized below.

Scenario 1 Scenario 2 Scenario 3

Description

HD192 system
clock setting

AES/EBU input
rate convert

Required HD192
cable
connections

Are the devices
continuously
resolved?

Is the signal
being sample
rate converted?

Example
application

Simple
transfer

HD192: AES/
EBU

unchecked
(off)

AES/EBU IN AES/EBU IN AES/EBU IN

Yes No Yes

No Yes No

Simple digital
transfer into
the HD192
from DAT
deck or digi­tal mixer.

Rate
convert

Any setting
except
HD192: AES/
EBU

checked
(on)

Transfer from
digital mixer
running at a
different
sample rate.

Use word
clock

HD192:
Word Clock

unchecked
(off)

and Word
Clock IN

Both the
HD192 and
other AES/
EBU device
are slaved to
‘house” word
clock.

AES/EBU input with rate conversion

Master

AES/EBU OUT

AES/EBU IN

Slave

Figure 4-11: Rate-converting AES/EBU input.

HD192 clock source:

PCI-424: Internal

AES input Rate

Conversion option

is checked.

AES/EBU input with word clock

‘House’ word clock master

(Slave)

Word clock IN

AES/EBU OUT/IN

(Slave)

System Word clock IN

AES/EBU IN/OUT

HD192 clock source:

HD192: Word Clock In

Figure 4-12: In this scenario, the HD192 and other AES/EBU device are
both resolved to one another via a third master word clock source.

AES input Rate

Convention option

is unchecked.

Some example scenarios are demonstrated below.

Simple AES/EBU input transfer (no rate convert)

Master

AES/EBU OUT

AES/EBU IN

Slave

Figure 4-10: Slaving the HD192 to an AES/EBU device. For the
HD192’s clock source, choose ‘HD192: AES/EBU’.

INSTALLING THE PCI-424 HARDWARE

HD192 clock source:

HD192: AES/EBU

AES input Rate

Convention option

is unchecked.

Clocking scenarios for AES/EBU output

The HD192 AES/EBU output is equipped with an
independent sample rate converter. In addition, it
can be clocked from one of several possible
sources, including its own crystal and separate ‘AES
Wor d I npu t’ . T he s e op ti on s, s h ow n be lo w in
Figure 4-13, are briefly summarized in the
following sections. For further details, see “HD192
interface options” on page 71.

35

Figure 4-13: Click the ‘Interface Options’ button in the MOTU PCI
Audio Console window to access the AES/EBU output clock options.

System

To make the AES/EBU output sample rate match
the System sample rate, choose System. No
additional connections are necessary. And no
sample rate conversion occurs when this setting is
chosen.

AES Input

To make the AES/EBU output sample rate match
the sample rate currently being received by the
HD192’s AES/EBU input, choose AES Input. This
setting requires a connection to the HD192’s AES/
EBU input from a device that is transmitting an
AES/EBU clock signal.

This BNC connector lets you
resolve the HD192 AES/EBU
output to a word clock source
that is different than the
system word clock input.

Figure 4-14: Resolving the AES/EBU output to its own independent
word clock.

44.1 / 48 / 88.2 / 96 kHz

Choose one of these sample rates when the desired
AE S/EB U out put r ate nee ds to be dif feren t tha n the
HD192 system clock rate. When you choose one of
these rates, an additional option appears called
Fixed Frequ ency, which lets you resolve the AES/EU
output rate to the HD192 system clock. In either
case, sample rate conversion occurs if the sample
rate you’ve chosen is different than the HD192
system clock rate. For further details about this
option, see “HD192 interface options” on page 71.

☛ Be careful when both the HD192’s AES/EBU

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

AES Word In

If you have an external word clock source, and you
would like the HD192 AES/EBU output to resolve
to it, connect the word clock source to the ‘HD192
AES Word In’ as shown below in Figure 4-14. Then,
choose AES Word In from the AES Output Clock
menu (Figure 4-13 above).

36

INSTALLING THE PCI-424 HARDWARE

MAKE SYNC CONNECTIONS

Synchronization between the PCI-424 system and
the devices connected to it is critical, even if you
don’t plan to synchronize your PCI-424 system
wit h an outsi de t ime refe ren ce suc h as SMPTE tim e
code. While there are dozens of ways to
synchronize the system, the next few pages discuss
common recommended setups.

Synchronization is essential for 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 PCI-424 system depends almost
entirely on proper synchronization. The following
sections guide you through several recommended
scenarios.

Do you need to synchronize the PCI-424?

If you wi ll be using only analog inputs and outputs,
and you have no plans to synchronize your
PCI-424 system to SMPTE time code, you don’t
need to make any sync connections, and you can
skip the rest of this chapter. Open the PCI Audio
Console Window and set the Clock Source setting
to Internal as shown below in Figure 4-15. For
details, see chapter 6, “MOTU PCI Audio Console”
(page 63).

Figure 4-15: You can run the PCI-424 system under its own internal
clock when it has no digital audio connections and you are not
synchronizing the PCI-424 system to SMPTE time code or video.

Situations that require synchronization

There are three general cases in which you will
need to synchronize the PCI-424 system with other
devices:

Choosing a digital audio clock master

When you transfer digital audio between two
devices, their audio clocks must be in phase with
one another — or phase-locked. Other wise, you’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 4-16: When transferring audio, two devices must have
phased-locked audio clocks to prevent clicks, pops or other artifacts.

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

Master

Master

■ The 2408mk3 or other interface is connected to

other digital audio devices, and their digital audio
clocks need to be phase-locked (as shown in
Figure 4-16).

■ You need to resolve (synchronize) the PCI-424

system to SMPTE time code and/or video.

■ Both of the above.

INSTALLING THE PCI-424 HARDWARE

Slave

Figure 4-17: To maintain phase-lock between the PCI-424 system and
other digital audio devices connected to it, choose a clock 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.

37

DO YOU NEED A SYNCHRONIZER?

Whether or not you’ll need a synchronizer depends
on your gear and what you will be doing with your
PCI-424 system. The following pages give you
specific information about common sync
scenarios. At least one of them will likely apply to
you. Here are some general considerations to help
you figure out if you need (or want) a synchronizer
for you PCI-424 system.

You don’t need a synchronizer if...

As explained earlier, the PCI-424 system’s digital
audio clock must be phase-locked (synchronized)
with other connected digital audio devices to
achieve clean digital transfers between them. Can
this be accomplished without an additional digital
audio synchronizer? It depends on the nature of the
other devices, and what you want to do with them.
You don’t need a synchronizer if the device has a
way of locking itself directly to the PCI-424
system’s clock (via ADAT lightpipe or word clock,
for example), AND if the device carries no sense of
location in time. A digital mixer is a good example:
it can slave to its ADAT lightpipe connection from
a 2408mk3, and it has no sense of time; it just
passes audio through for mixing.

A stand-alone digital recorder, on the other hand,
does have a sense of location in time, either via
SMPTE time code or via its own sample address.
For example, if you want to fly tracks back and
forth between your computer and an Alesis hard
disk recorder while maintaining the audio’s
position in time, the ADAT Sync port on the
PCI-424 card lets you do so without a separate
synchronizer — and with sample-accurate
precision, as long as you’re using sample-accurate
software. Just connect the PCI-424 card directly to
the Alesis recorder (or other ADAT SYNC­compatible device) as discussed in “Sample­accurate ADAT sync with no synchronizer” on
page 41. But if you also want transport control over
the entire rig (including the hard disk recorder)

from your audio software, you’ll need a MIDI
Machine Control-compatible synchronizer such as
MOTU’s MIDI Timepiece AV, as discussed in
“Sample-accurate sync” on page 39. If you are
simply using the stand-alone recorder as a way to
capture live tracks that you then transfer in one
pa ss i nto the comp uter, n o sy nchr onize r is req uired
because the tracks will remain in perfect phase lock
with each other as you transfer them together. In
this scenario, you can simply slave the stand-alone
recorder to the optical output from a 2408mk3 as
explained in “Syncing ADAT ‘lightpipe’ devices” on
page 48.

Transport control from your computer

If you have stand-alone digital recorders connected
to a 2408mk3, and they support ADAT Sync or
Tascam Sync, your audio software — if it supports
MIDI Machine Control (MMC) — allows you to
control the transports of everything from your
computer. Most advanced audio programs supp ort
MMC. To do this, you’ll also need an MMC­compatible ADAT or Tascam synchronizer, such as
a MOTU MIDI Timepiece AV or Digital
Timepiece. Synchronizers like these allow you to
play, stop, rewind and locate all of your tape decks
using the transport controls in the audio software.
If your audio software supports sample-accurate
sync, you can do all of this with sample-accurate
precision. The following pages show you how to
achieve MMC control, where possible.

Continuous sync to video & SMPTE time code

The PCI-424 system can synchronize directly to
video and/or SMPTE time code. If your audio
software supports sample-accurate sync, it can also
resolve to video and/or time code via the PCI-424.
If your software does not support sample-accurate
sync, you need a dedicated synchronizer, as
illustrated on the following pages.

38

INSTALLING THE PCI-424 HARDWARE

SAMPLE-ACCURATE SYNC

Your PCI-424 system provides you with the most
advanced, accurate synchronization possible with
Alesis and Tascam modular digital tape decks and
hard disk recorders—or any device that supports
the sample-accurate ADAT and Tascam sync
formats. Figure 4-18 below shows a few best-case
scenarios. Below is a brief explanation of the
benefits you achieve with these setups.

Sample accurate locating

With sample accurate locating, when you transfer
audio between any other sample-accurate host
software and a sample-accurate recorder, the audio
will not drift in time — even by as little as one
sample. This is the tightest possible synchroni­zation between digital audio devices. The timing in
your audio will not be affected in any way by the
process of transferring it between the PCI-424
system and the recorder.

Is your audio software sample-accurate?

Sample-accurate locating is only possible with
software that supports this feature through the
PCI-424’s ASIO Version 2 driver.

Transport control from your computer

If you have a MIDI Timepiece AV, Digital
Timepiece, Alesis BRC, or any ADAT synchronizer
that also supports MIDI Machine Control (MMC),
you can play, stop, rewind and lo cate al l of your
Alesis recorders (or other ADAT SYNC-compatible
devices) using the transport controls in the audio
software running on your computer. This includes
cueing features like markers, position bars,
playback wipers, time rulers, etc. If you have
Tascam recorders, a Digital Timepiece (or other
MMC-compatible Tascam synchronizer) provides
this feature.

Figure 4-19: Cubase and other ASIO-2.0 compliant programs support
sample-accurate transfers with Alesis and Tascam modular digital
tape decks and hard disk recorders.

Sample

Sync format Software Synchronizer

ADAT Cubase or other

ADAT Cubase or other

ADAT Cubase or other

Tascam
(and/or ADATs)

ADAT Cubase or other

Figure 4-18: These recommended combinations of hardware and software offer the tightest sync possible between the PCI-424 system and
digital audio recorders in the form of sample-accurate locating between the software and the hardware. Sample-accurate locating is possible
with Alesis recorders even without a MIDI Timepiece AV or Digital Timepiece, although you give up transport control from the computer.

INSTALLING THE PCI-424 HARDWARE

ASIO 2.0-compliant app

ASIO 2.0-compliant app

ASIO 2.0-compliant app

Cubase or other
ASIO 2.0-compliant app

ASIO 2.0-compliant app

MIDI Timepiece AV Yes Yes Yes

Digital Timepiece Yes Yes Yes

BRC (or any MMC capa­ble ADAT synchronizer)

Digital Timepiece Yes Yes Yes

None Yes No No

accurate
locating

Yes Yes Yes

Transport
control
from computer

Continuous sync
to SMPTE / MTC

39

SAMPLE-ACCURATE ADAT SYNC

This page shows an ideal setup for using the
PCI-424 and a 2408mk3 interface with one or more
ADATs, Alesis hard disk recorders or any ADAT
SYNC-compatible devices. Connect the PCI-424
card to the end of the ADAT chain and make the
software settings as shown below in Figure 4-20.
This setup is also ideal if you have both Alesis and
Tascam decks. If so, connect your Tascam
equipment to the Digital Timepiece as directed in
the Digital Timepiece manual.

☛ For ADAT optical digital mixers, see “Syncing

ADAT ‘lightpipe’ devices” on page 48.

Windows computer running Cubase or

other sample-accurate ASIO software

USB cable (or other bi-

directional MIDI connec-

tion) bearing MMC trans-

port commands from
Cubase (or other ASIO

software) to the Digital

Timepiece (or other

synchronizer)

Use this setup if you have:

ADATs, Alesis hard disk recorders or any ADAT SYNC

✓

compatible device(s).

✓A MOTU Digital Timepiece, MIDI Timepiece AV or other

ADAT synchronizer.

✓Host software that supports sample-accurate sync.

This setup provides:

Sample-accurate locating between all ADAT SYNC-compati-

✓

ble devices, the 2408mk3 and your software (Cubase or other
sample-accurate software).

✓With a Digital Timepiece, this setup provides sample-accurate

locating across all devices: ADAT, Tascam and the 2408mk3.

✓Transport control of everything from the computer, OR

continuous sync to SMPTE time code and other sync sources
(the other source is the transport master in this case).

1. In the MOTU PCI Audio Console, choose PCI-424: ADAT from the Clock
Source menu as shown to above.

2. Make sure th e Sample Rate setting matches the other recorders.

PCI-424 card
ADAT Sync In

If you have a DTP or
MTP AV, set their sync
mode to Internal.

or ADAT SYNC-compatible recorders

Figure 4-20: Connections for sample-accurate ADAT sync.

ADATs

40

Digital Timepiece, MIDI Timepiece AV, Alesis BRC or

any other MMC-compatible ADAT synchronizer

Sync In

Sync Out

Sync In

Sync Out

Sync In

Sync Out

ADAT

Sync Out

sync cables

ADAT

etc.

Tas c am

Sync Out

Optional

Tascam sync

chain

INSTALLING THE PCI-424 HARDWARE

In Cubase VST, go to the Synchronization window and
choose ASIO 2.0 MMC as the Timecode Base. In Cubase SX,
go to the Synchronization Setup window and choose the
ASIO Positioning Protocol and MIDI Machine Control options.

Put Cubase into external sync mode.

See “Sample-accurate sync with Cubase or
Nuendo” on page 80 for more information.

SAMPLE-ACCURATE ADAT SYNC WITH NO SYNCHRONIZER

Even if you don’t have an ADAT synchronizer, you
can achieve sample-accurate sync between ADAT
SYNC-compatible devices, a 2408mk3, and
sample-accurate software. Just connect the
PCI-424 card to the end of the ADAT sync chain as
shown below. But without the synchronizer, you
don’t get transport control from your computer,
nor can you slave the system to external SMPTE
time code. Instead, you have to play, stop, rewind
and cue the system from the transports on your
ADAT-compatible recorder.

Windows computer running Cubase or

other sample-accurate ASIO software

Use this setup if you have:

ADATs, Alesis hard disk recorders or any ADAT SYNC

✓

compatible device(s).

✗ No ADAT synchronizer.

✓ Host software that supports sample-accurate sync.

This setup provides:

Sample-accurate locating between all ADAT SYNC-compati-

✓

ble devices, the 2408mk3 and your software (Cubase or other
sample-accurate software).

✗ No sync with Tascam recorders.

✗ No transport control of everything from the computer.

✗ No sync to SMPTE time code or other sync sources.

1. In the MOTU PCI Audio Console, choose PCI-424: ADAT from the Clock
Source menu as shown to above.

2. Make sure the Sample Rate setting matches the other recorders.

PCI-424 card
ADAT Sync In

or ADAT SYNC-compatible recorders

Figure 4-21: Sample-accurate sync between Cubase (or other sample-accurate ASIO 2-compatible
host) and one or more ADAT SYNC-compatible devices—without an ADAT synchronizer.

INSTALLING THE PCI-424 HARDWARE

ADATs

Sync In

Sync Out

Sync In

Sync Out

Sync In

Sync Out

ADAT

sync cables

etc.

In Cubase VST, go to the Synchronization window and
choose ASIO 2.0 as the Timecode Base. In Cubase SX, go to
the Synchronization Setup window and choose the ASIO
Positioning Protocol option.

See “Sample-accurate sync with Cubase or
Nuendo” on page 80 for more information.

Put Cubase into external sync mode.

41

SAMPLE-ACCURATE TASCAM SYNC

This page shows how to set up sample-accurate
locating (the most accurate synchronization
possible) between a 2408mk3 interface and Tascam
digital recorders. This setup requires a Digital
Timepiece (or other MMC-compatible Tascam
sy nchroni zer) . If you also have Alesis re corde rs, see
page 40. If you have a DA-88/SY-88 or DA-98 and
you want to operate in offset mode from the time
code track, see “Syncing to a DA-88/98 time code
track” on page 47.

Use this setup if you have:

Tascam DA-series digital tape decks or hard disk recorders.

✓

✓A Digital Timepiece or other Tascam synchronizer.

✓Host software that supports sample-accurate sync.

This setup provides:

Sample-accurate locating between all Tascam sync-compatible

✓

devices, the 2408mk3 and your software (Cubase or other sam­ple-accurate software).

✓If you also have ADATs, this setup provides sample-accurate

locating across all devices: ADAT, Tascam and the 2408mk3.

Transport control of everything from the computer, OR

✓

continuous sync to SMPTE time code and other sync sources
(the other source is the transport master in this case).

Windows computer running Cubase or

other sample-accurate ASIO software

USB cable (or other bi-

directional MIDI

connection) bearing

MMC transport

commands from Cubase

(or other ASIO

software) to the Digital

PCI-424 card
ADAT Sync In

Optional ADAT

sync chain

(See page 40)

Figure 4-22: Connections for sample-accurate sync between
one or more Tascam recorders and a 2408mk3 interface.

Timepiece (or other

synchronizer)

Digital Timepiece or any other

MMC-compatible Tascam synchronizer

ADAT

Sync out port

Tascam Decks

42

Sync In

Sync Out

Sync In

Sync Out

Sync In

Sync Out

Tas c am

Sync Out port

Tas c am

sync cables

etc.

1. In the MOTU PCI Audio Console, choose PCI-424: ADAT from the Clock
Source menu as shown to above.

2. Make sure the Sample Rate setting matches the other recorders.

Set the Digital
Timepiece
sync mode to

Internal.

INSTALLING THE PCI-424 HARDWARE

In Cubase VST, go to the Synchronization window and
choose ASIO 2.0 MMC as the Timecode Base. In Cubase SX,
go to the Synchronization Setup window and choose the
ASIO Positioning Protocol and MIDI Machine Control options.

Put Cubase into external sync mode.

See “Sample-accurate sync with Cubase or
Nuendo” on page 80 for more information.

SYNCING TO SMPTE TIME CODE

The PCI-424 system can resolve directly to SMPTE
time code from any analog input on any audio
interface. It can also generate time code and word
clock, under its own clock or while slaving to time
code. Therefore, the system can act both as an
audio interface and digital audio synchronizer, to
which you can slave other digital audio devices.
You can use the PCI-424 system to slave your audio
soft ware to SMPT E as wel l, as l ong as yo ur so ftware
supports sample-accurate sync, which is the means
by which the software follows the PCI-424. The
accuracy may not be sample-accurate, but in most
cases it will be pretty close. If you would like to
resolve to video and SMPTE, see the next page.

SMPTE time code
source

Use this setup if you have:

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

A PCI-424 core system by itself, OR an expanded PCI-424

✓

system that includes other MOTU PCI interfaces and maybe
one other slaved device (such as a digital mixer).

✓ Host software that supports sample-accurate sync.

This setup provides:

No sample-accurate locating.

✗

✓ Continuous sync to SMPTE time code.

✓ Sub-frame timing accuracy.

✓ Transport control from the SMPTE time code source.

Choose PCI-424: SMPTE as the clock source in the MOTU PCI Audio Console application. This
setting can also be made in the MOTU SMPTE Console (shown below).

audio cable bearing LTC
(Longitudinal Time Code)

SMPTE IN

RCA jack

(or any analog input)

SMPTE

Word

out

Out

audio
cable

Other digital audio

device slaved to the

PCI-424 system

Figure 4-23: Connections for synchronizing the
PCI-424 system directly to SMPTE time code.

INSTALLING THE PCI-424 HARDWARE

video
cable

Audio Wire cable

PCI-424 card

Windows computer running Cubase or

other sample-accurate ASIO software

When lockup is achieved,
the LOCK light illuminates
and the TACH light blinks
once per second.

Any MOTU PCI interface

In Cubase VST, go to the Synchronization window and choose ASIO 2.0
as the Timecode Base. In Cubase SX, go to the Synchronization Setup
window and choose the ASIO Positioning Protocol option.

Launch the MOTU SMPTE Console and specify the SMPTE Source, which is the
analog input receiving the SMPTE time code. Also, confirm that the Clock Source
is PCI-424: SMPTE/SMPTE. For details about the other settings, see chapter 12,
“MOTU SMPTE Console” (page 103).

43

SYNCING TO VIDEO

The 2408mk3 interface can continuously resolve
directly to video, while at the same time
referencing SMPTE time code, with no additional
synchronization device required. When you
choose video as the clock source (as shown below),
the Word Clock BNC connector switches to a video
input. Both NTSC and PAL/SECAM rates are
supported. The MOTU SMPTE Console software
provides options for freewheeling both time code
and video time base. To resolve your audio
software to video as well, it must support sample­accurate sync. For details, see “Is your audio
software sample-accurate?” on page 39.

Video deck
or other video source

When lockup is
achieved, the LOCK

Video cable

audio cable bearing LTC
(Longitudinal Time Code)

light illuminates and
the TACH light blinks
once per second.

Use this setup if you have:

✓ A video deck or other video source, with SMPTE time code.

A 2408mk3 core system by itself, OR a small 2408mk3 system

✓

that includes other MOTU PCI interfaces and maybe one other
device (such as a digital mixer) slaved to the 2408mk3.

✓ Host software that supports sample-accurate sync.

This setup provides:

No sample-accurate locating.

✗

✓ Continuous sync to SMPTE time code.

✓ Sub-frame timing accuracy.

✓ Transport control from the SMPTE time code source.

Choose PCI-424: Video as the clock source in the MOTU PCI Audio Console applica­tion. This setting can also be made in the MOTU SMPTE Console (shown below).

WORD (video) IN

BNC jack

SMPTE

out

audio

cable

Other digital audio

device slaved to the

2408mk3

Figure 4-24: Connections for synchronizing the 2408mk3-based
PCI-424 system directly to video.

SMPTE IN

RCA jack

(or any analog input)

Word

Out

video
cable

PCI-424 card

2408mk3 interface

Audio Wire cable

Windows computer running Cubase or

other sample-accurate ASIO software

44

In Cubase VST, go to the Synchronization window and
choose ASIO 2.0 as the Timecode Base. In Cubase SX, go to
the Synchronization Setup window and choose the ASIO
Positioning Protocol option.

Launch the MOTU SMPTE Console and specify the SMPTE Source, which is the
analog input receiving the SMPTE time code. Also, confirm that the Clock
Source is PCI-424: SMPTE/SMPTE. For details about the other settings, see
chapter 12, “MOTU SMPTE Console” (page 103).

INSTALLING THE PCI-424 HARDWARE

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

If your host audio software does not support the
PCI-424’s on-board SMPTE sync features (because
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 your MOTU PCI audio interface
(such as a 2408mk3) to resolve the audio hardware,
and MIDI Time Code is fed to your host audio
software, which locks to it, as shown below i n
Figure 4-25.

Use this setup if you have:

✓ Video and/or a SMPTE time code source.

✓ A PCI-424 system of any size.

✓ 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:

No sample-accurate locating.

✗

✓ 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)

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

word clock MIDI Time Code

Any MOTU PCI interface

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

Figure 4-25: If your host audio software does not support sample-accurate sync and the PCI-424’s built-in
SMPTE sync features, use a universal synchronizer such as the MOTU MIDI Timepiece AV or Digital Timepiece.

INSTALLING THE PCI-424 HARDWARE

(Via MIDI interface)

PC running any audio software

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

45

SYNCING TO ADAT OR TASCAM DEVICES USING SMPTE TIME CODE

The 2408mk3’s built-in SMPTE time code sync
features described on page 43 and page 44 are ideal
for small PCI-424 systems. But if your audio
software doesn’t support sample-accurate sync, or
if you have an elab orate setup that perhaps involves
multiple Alesis and/or Tascam digital recorders,
then a dedicated synchronizer such as the Digital
Timepiece can serve as the “sync hub” for your
digital studio. The Digital Timepiece becomes the
clock master over the PCI-424 system, your audio
software, and other slaved devices so that they
remain phased-locked with each other and share a
unified time code address. This setup is also the
one to use for syncing your PCI-424 system to time
code or video if your audio software does not
support sample-accurate sync.

PC running any audio software

USB cable (or other bi-directional MIDI

communication) bearing MMC transport

commands from the software and MIDI Time

Code from the synchronizer

PCI-424 card
ADAT Sync In

MIDI
Time
Code

If you have a DTP or
MTP AV, set their sync
mode to Internal.

MMC transport
commands

ADAT

Sync out port

Tas c am

Sync Out port

Use this setup if you have:

ADATs, Alesis hard disk recorders or any ADAT SYNC

✓

compatible device(s),

AND/OR

Tascam DA-series digital tape decks or hard disk recorders.

✓ A MOTU Digital Timepiece, MIDI Timepiece AV or other

ADAT synchronizer.

✓ Host software that does not support sample-accurate sync

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

Note: for transport control from the computer, your software
must support MIDI Machine Control (MMC).

This setup provides:

No sample-accurate locating.

✗

✓ Sub-frame timing accuracy.

Transport control of everything from the computer, OR

✓

continuous sync to SMPTE time code and other sync sources
(the other source is the transport master in this case).

Set up MIDI Machine Control in your audio software. Doing so
makes the audio software send MMC transport commands (play,
stop, rewind, locating, etc.) to the synchronizer. The synchronizer
then generates MIDI Time Code for the software while at the same
time driving the ADATs and/or Tascam decks connected to it. This
provides continuous, hardware-based synchronization among your
audio software, the 2408mk3 and the digital recorders.

Digital Timepiece, MIDI Timepiece AV or any
other MMC-compatible ADAT synchronizer

Optional ADAT sync chain

Figure 4-26: An ADAT synchronizer like the Digital Timepiece or MIDI Timepiece AV gives you the best possible synchronization setup for a
2408mk3 with audio software and ADATs. A Digital Timepiece is ideal for Tascam decks (or both ADAT and Tascam).

Tascam Decks

Sync In

Sync Out

Sync In

Sync Out

Sync In

Sync Out

Tas c am

sync cables

etc.

Set the PCI-424 hardware clock source as follows:

1. Run the MOTU PCI Audio Console application.

2. If you have a Digital Timepiece, MIDI Timepiece AV or other
ADAT synchronizer, connect the PCI-424 card to the end of
the ADAT chain and choose PCI-424: ADAT from the Clock
Source menu.

3. Make sure the Sample Rate setting matches the tape decks.

Alternately, you could send word clock from the synchronizer to
the 2408mk3 interface (instead of ADAT sync). In this case,
chose 2408mk3: Word Clock In as the clock source.

46

INSTALLING THE PCI-424 HARDWARE

SYNCING TO A DA-88/98 TIME CODE TRACK

If you have a Tascam DA-88 equipped with an
SY-88 card, or a DA-98, and you would like to slave
your entire system to its time code track, the
DA-88/98 serves as the SMPTE time code master,
while the PCI-424 system serves as the word clock
master over the DA-88/98. In this setup, you feed
MIDI Time Code (MTC) to the computer from the
DA-88/98. To establish word clock phase-lock
between the DA-88/98, you can either feed word
clock from a MOTU PCI audio interface to the
DA-88/98 or the opposite (feed word clock from
the DA-88/98 to the MOTU interface). Or you can
slave them both to a third word clock master, such
as a MOTU Digital Timepiece.

Word Clock Out

Word Clock In

Use this setup if you have:

Tascam DA-88 with an SY-88 sync card, a Tascam

✓

DA-98 or any other Tascam deck with a time code track.

This setup provides:

No sample-accurate locating.

✗

No transport control from the computer (transport

✗

control is from the DA-88/98 itself).

✓ Timing accuracy that is at least as good as MIDI time

code (quarter-frame)— and maybe even tighter.

✓ Continuous sync to SMPTE time code on the time code

track of the tape in your DA-88/98.

Any MOTU PCI interface

DA-88 or DA-98

MIDI OUT

MIDI connection (via a MIDI interface)
to the computer bearing MIDI Time
Code from the DA-88/98

Figure 4-27: This setup shows how you can slave your audio software to the time code track on a Tascam DA-88/98 tape. This is the simplest
case, with no other devices involved. But regardless of your setup, make sure that the DA-88 and PCI-424 system share the same audio clock.

INSTALLING THE PCI-424 HARDWARE

MIDI Time Code

PC running any audio software

With this setup, in the MOTU PCI Audio Console
window, you can choose any clock source, since the
DA-88/98 is slaving to the 2408mk3. The DA-88/98
will slave to the 2408mk3, regardless of what the
PCI-424 system is slaving to.

47

SYNCING ADAT ‘LIGHTPIPE’ DEVICES

The word lightpipe is our short-hand way of
referring to any device that connects to a 2408mk3
interface via an ADAT optical cable. But we make a
further distinction: a lightpipe device is also one
that doesn’t care about sample location. An
example is a digital mixer. Since the digital mixer is
not a recording device, it has no sense of sample
location like an ADAT. An ADAT can cue to a
specific sample number (e.g. sample number
43,478, 103) — as can any device that supports
ADAT sync, but a digital mixer simply mixes and
processes audio digitally, with no sense of location
in time. There are many other devices that fall into
this category, including digital effects processors,
synthesizers, A/D converters, and many more.

For Alesis recorders or other devices that support
ADAT sync, sync them with a 2408mk3 as
described in the previous sections of this chapter.

For lightpipe devices, such as digital mixers, all you
have to do is make sure that their digital audio
clock is phase-locked (in sync with) the 2408mk3.
There are three ways to do this:

■ Slave the lightpipe device to the 2408mk3

■ Slave the 2408mk3 to the lightpipe device

■ Slave both the lightpipe device and the 2408mk3

to a third master clock (such as a Digital Timepiece
or MIDI Timepiece AV synchronizer)

2408mk3

Digital mixer

or other lightpipe

device

With this setup, in the MOTU PCI
Audio Console window, choose
Internal, or any clock source
setting except one of the three
Optical In settings. The lightpipe
device slaves to the 2408mk3
(via its optical cable connection).

ADAT Optical OUT

ADAT Optical IN

Digital Timepiece

set to Internal

Digital mixer

or other lightpipe

device

2408mk3

Digital mixer

or other lightpipe

device

Word Clock Out

Word Clock IN

ADAT Optical OUT

ADAT Optical IN

bi-directional

lightpipe

ADAT

Sync out port

PCI-424 card
ADAT Sync In

With this setup, in the MOTU PCI Audio
Console window, choose Optical In and
the Bank (A, B or C) to which the light­pipe device is connected. The 2408mk3
slaves to the lightpipe device via their
optical cable connection.

MOTU PCI Audio Console

Clock Source setting

Computer with PCI-424 system

Figure 4-28: Three setups for synchronizing a lightpipe device with a 2408mk3. You can slave the lightpipe device to the 2408mk3 or vice
versa with their optical connections. For more elaborate setups, you can slave both to a digital audio synchronizer like the Digital Timepiece.
Don’t use any of these setups for an ADAT or other optical device that records. Instead, see “Sample-accurate ADAT sync” on page 40.

48

INSTALLING THE PCI-424 HARDWARE

SYNCING TASCAM ‘TDIF’ DEVICES

The acronym TDIF is our short-hand way of
referring to any device that connects to a 2408mk3
via a Tascam TDIF digital I/O cable. But we make a
further distinction: a TDIF device is also one that
doesn’t care about sample location. An example is
the Tascam DM-24 digital mixer. Since the DM-24
is not a recording device, it has no sense of sample
location like a Tascam recorder does. A Tascam
recorder can cue to a specific sample number (e.g.
sample number 43,478, 103) — as can any device
that supports Tascam sync, but the DM-24 digital
mixer simply mixes digital audio, with no sense of
location in time.

2408mk3

Word Clock Out

Word Clock In

TDIF

TDIF

For Tascam recorders, such as the MX-2424, or
other devices that support Tascam Sync, connect
them as described in the previous sections of this
chapter.

For TDIF devices, all you have to do is make sure
that their digital audio clock is phase-locked (in
sync with) the 2408mk3. However, unlike the
ADAT optical format, the TDIF format does not
carry any form of word clock along with the actual
audio signal. Therefore, sync cannot be achieved
by the TDIF connection. It is always necessary to
synchronize TDIF devices with the 2408mk3 via
one of the following sync connections:

■ Wo r d cl oc k

■ Tascam sync (if the TDIF device supports it)

With this setup, in the MOTU PCI Audio
Console window, choose Internal, o r an y
other clock source setting. The TDIF device
slaves to the 2408mk3 via word clock.

Tascam DM-24

or other TDIF

device

Note to Yamaha mixer users (01V,
03D, 02R, etc.): for best results, make
sure that you are using Yamaha’s
Version 2.0 TDIF card (or later) for
your mixer. This card can be identified
by the text string “CD8-TDII” printed
on the card. Set DIP switch #8 on the
card to “DA-88 EXT’.

Figure 4-29: Two setups for synchronizing a TDIF device with a 2408mk3. You can slave the TDIF device to word clock from the 2408mk3 or vice
versa (not shown). For more elaborate setups, you can slave both to a digital audio synchronizer like the Digital Timepiece. Don’t use any of
these setups for a DA-38/88/98 or other TDIF device that supports Tascam sync. Instead, see the Tascam-related sections earlier in this chapter.

INSTALLING THE PCI-424 HARDWARE

Digital Timepiece

set to Internal

Tascam DM-24

or other TDIF

device

Word Clock Out

Word Clock IN

bi-directional

TDIF

ADAT

Sync out port

PCI-424 card

ADAT Sync In

Computer with PCI-424 system

MOTU PCI Audio Console

Clock Source setting

49

SYNCING SPDIF DEVICES

DAT decks and other SPDIF devices will sync to a
2408mk3 interface in one of two ways:

■ Via the SPDIF connection itself

■ Via word clock

SPDIF devices with no word clock

If your DAT deck or other SPDIF device has no
word clock sync connectors, just connect it to the
2408mk3 via the SPDIF connectors. When the
SPDIF device is programmed to receive digital
audio on its input (from the 2408mk3), it will
simply synchronize to the clock provided by the
audio input.

On the other hand, when you transfer audio from
the SPDIF device into the 2408mk3, you’ll have to
slave the 2408mk3 to the SPDIF input. If you have
other digital audio devices connected to the
2408mk3, and they are not slaved directly to the
2408mk3 itself, you may hear clicks and pops
resulting from their unsynchronized audio clock. If
so, just turn them off during the transfer.

SPDIF devices with word clock

If your SPDIF device has a Word Clock input,
connect the 2408mk3’s word clock Output to the
SPDIF device’s Word Clock input. You can then
freely transfer audio between the 2408mk3 and the
SPDIF device, regardless of how the rest of your
2408mk3 rig is synchronized.

2408mk3

SPDIF

SPDIF

DAT deck

or other TDIF device

2408mk3

DAT deck

or other SPDIF device

Figure 4-30: Two setups for synchronizing an SPDIF device with a 2408mk3. In the top diagram, sync is achieved via the SPDIF connection itself.
In this case, you have to choose SPDIF as the PCI-424’s clock source when recording from the SPDIF device. If you don’t want to have to worry
about switching the Clock Source setting depending on the direction of the SPDIF transfer, you can slave the SPDIF device to word clock from the
2408mk3 or vice versa (not shown). The Word Clock connection maintains sync, regardless of the direction of the transfer.

MOTU PCI Audio Console window

Clock Source setting

Word Clock Out

Word Clock In

SPDIF

SPDIF

When transferring from
the 2408mk3 to the SPDIF device

When transferring from
the SPDIF device to the 2408mk3

MOTU PCI Audio Console window

Clock Source setting

With this setup, in the MOTU PCI Audio
Console window, choose Internal, o r an y
other clock source setting except SPDIF.
The DAT deck (or other SPDIF device)
slaves to the 2408mk3 via word clock for
SPDIF transfers in both directions.

50

INSTALLING THE PCI-424 HARDWARE

SYNCING WORD CLOCK DEVICES

All MOTU PCI audio interfaces provide a word
clock input and/or output that allows you to
synchronize the PCI-424 system clock with other
word clock devices.

The HD192 interface has two word clock inputs:

System Word and AES Word In. Use the System
Word Inp u t for general purpose word clock sync.

For details about the AES Word In, see “Clock ing
scenarios for AES/EBU input” on page 34.

the 24I/O interface provides one BNC Wor d Cl ock
jack that can be switched via software between
input or output. For details, see “24I/O interface
options” on page 70.

For standard word clock sync, you need to choose
an audio clock master (as explained in “Choosing a
digital audio clock master” on page 37). In the
simplest case, you have two devices and one is the
word clock master and the other is the slave as
shown below in Figure 4-31 and Figure 4-32.

Master

Word clock OUT

Don’t chain word clock

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

Slaving to 2x and 1/2x word clock

All MOTU PCI interfaces that support 96 kHz
operation (see “Sample rate” on page 64 for a
summary) have the ability to slave to a word clock
signal running at either twice or half the current
PCI-424 system clock. For example, the PCI-424
system could be running at 96 kHz while slaving to
a 48 kHz word clock signal from a MOTU Digital
Timepiece. Similarly, the PCI-424 system could
run at 88.2 kHz and slave to 44.1 kHz word clock.
Conversely, the PCI-424 system could run at
48 kHz and slave to a 96 kHz word clock signal. In
all of these cases, the front panel clock LEDs flash
both sample rates to indicate that the PCI-424
system is slaving to word clock at either twice or
half its system clock rate. But if the PCI-424 system
is running at 96 kHz, it cannot slave to word clock
running at 44.1 kHz.

Word clock IN

Slave

Figure 4-31: Slaving another digital audio device to the PCI-424
system via the word clock of the PCI interface (an HD192 in this
example). For the PCI-424 system clock source, choose any source
besides word clock, as it is not advisable to chain word clock.

MOTU Digital Timepiece universal synchronizer

Audio

clock

Master

Slave

Figure 4-32: Slaving the PCI-424 system to word clock. For the
PCI-424 system clock source, choose the word clock input of the inter­face receiving the word clock.

INSTALLING THE PCI-424 HARDWARE

Word clock OUT

Word clock IN

Other device

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

■ the same as the PCI-424 system clock

■ twice the PCI-424 system clock

■ half of the PCI-424 system clock

51

SYNC FOR 2408MK3 STAND-ALONE OPERATION

The 2408mk3 interface goes into stand-alone mode
whenever it is not under control of the PCI-424
software driver. In other words, whenever there
isn’t any 2408mk3-related software running on the
computer, the 2408mk3 I/O will operate as a stand­alone format converter.

In most cases, when the 2408mk3 is performing
stand-alone format conversion, the source of the
transfer should serve as the clock source. Many of
the synchronization scenarios already discussed in
this chapter can be used. Below is a summary. For
details on how to make these settings from the
front panel, see “Clock” on page 58 and “Source”
on page 60.

For further details about this, see chapter 5,
“2408mk3 Front Panel Operation” (page 55).

Front panel SOURCE setting Front panel CLOCK setting Required sync connections

ADAT Bank A Dig (Digital) ADAT optical

ADAT Bank B Dig (Digital) same as above

ADAT Bank C Dig (Digital) same as above

ADAT Bank A, B, C Dig (Digital) same as above

(OUT from the source device
to IN on the 2408mk3)

Tascam A Wrd (word clock) (with no synchronizer)

OR

PCI
(Use PCI if the 2408mk3 is slaved to a synchronizer
via ADAT sync on the PCI-424 card, and the
Tascam source is also slaved to the synchronizer)

Note: Tascam itself cannot be used as the clock
source, since TDIF carries no clock

Tascam B Same as above Figure 4-29 on page 49

Tascam C Same as above Figure 4-29 on page 49

Tascam A, B, C Same as above Figure 4-29 on page 49

SPDIF Dig (Digital)

OR

Wrd (Word clock)

Analog Any setting that synchronizes the 2408mk3

with the destination format

Figure 4-29 on page 49

Figure 4-30 on page 50

ADAT: Figure 4-28 on page 48
Tascam: Figure 4-29 on page 49
SPDIF: Figure 4-30 on page 50

52

INSTALLING THE PCI-424 HARDWARE

SYNCING LARGE SYSTEMS

If you are connecting the PCI-424 to a lot of other
digital audio gear, get a Digital Timepiece. It can
synchronize a wide variety of devices, and it offers
sample accurate synchronization for devices that
support it. You will also be able to control
everything from the transport controls of your
audio software. If you have even more devices than
a single Digital Timepiece can support, consider a
word clock distribution device. Products like this
offer multiple word clock outputs.

INSTALLING THE PCI-424 HARDWARE

53

54

INSTALLING THE PCI-424 HARDWARE

CHAPTER

5 2408mk3 Front Panel Operation

OVERVIEW

The 2408mk3 interface has two modes of
operation:

■ PCI mode

■ Stand-alone mode

In PCI mode, the 2408mk3 is under complete
control of the PCI-424 card and any 424-related
software running on your computer. The front
panel LEDs serve entirely as status indicators.

In Stand-alone mode, the 2408mk3 front panel
buttons and LEDs give you control over the
2408mk3’s stand-alone format conversion features.

PCI MODE

PCI mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

What is PCI mode?. . . . . . . . . . . . . . . . . . . . . . . . . 56

Analog metering vs. clock settings . . . . . . . . . . .56

Clock status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

When the sample rate LEDs flash . . . . . . . . . . . .56

Analog metering . . . . . . . . . . . . . . . . . . . . . . . . . . .56

STAND-ALONE OPERATION

Stand-alone format conversion . . . . . . . . . . . . . . 58

The SELECT button . . . . . . . . . . . . . . . . . . . . . . . . 58

No clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Bounce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Analog metering . . . . . . . . . . . . . . . . . . . . . . . . . . .61

SYNC

LOCK and TACH . . . . . . . . . . . . . . . . . . . . . . . . . .61

METERING

Digital activity LEDs . . . . . . . . . . . . . . . . . . . . . . .61

55

PCI MODE

The 2408mk3 goes into PCI mode as soon as
Windows loads the 2408mk3’s PCI WDM Driver
while starting up. If the PCI WDM Driver is not
installed, and you are using the MOTU PCI ASIO
driver with Cubase instead, the 2408mk3 goes into
PCI mode as soon as you launch Cubase and the
ASIO driver establishes communication with the
PCI-424 card and 2408mk3 hardware.

What is PCI mode?

In PCI mode, the 2408mk3 I/O is completely under
control of the PCI-424 card, and you can only
make changes to its settings with the MOTU PCI
Audio Console software. You still have access to all
of its features, but in PCI mode, you control it
entirely from the PCI Audio Console window
running on the computer, not from the front panel
buttons.

Analog metering vs. clock settings

In PCI mode, the only front panel button that does
anything is the SELECT button, which lets you
switch the ANALOG OUT bank of LEDs between
analog output metering and a display of the
2408mk3’s current clock settings as shown on the
next page in Figure 5-1.

Clock status

In PCI mode, you know that the 2408mk3 is
displaying its clock status when all three CLOCK,
SOURCE, and BOUNCE LEDs are illuminated as
shown in Figure 5-1. If they aren’t, press the
SELECT button. In this mode the top two rows of
LEDs (CLOCK) tell you the sync settings in the
2408mk3 hardware as determined by the MOTU
PCI Audio Console software running on the
computer. To change the settings, use the PCI
Audio Console window as explained in “Clock
Source” on page 64.

When the sample rate LEDs flash

In PCI mode, the 48/44.1 sample rate LEDs flash
when the 2408mk3 has no clock from the currently
selected clock source (as chosen in the PCI Audio
Console window). For example, if you choose a
PCI-424 clock source setting in the console
(Inter nal or ADAT), the PCI LED becomes
illuminated. PCI indicates that the 2408mk3
interface is slaved to the PCI-424 card. But if you
then switch off the computer, the 2408mk3 has no
clock from the card, and the 48/44.1 lights flash to
alert you that the 2408mk3 interface is not
receiving a digital audio clock. As another
example, if you’ve chosen PCI-424: ADAT as the
Clock source in the PCI Audio Console window,
but your ADAT is turned off, the LEDs will also
flash.

Analog metering

In PCI mode, press the SELECT button (if
necessary) to illuminate the METERS LED as
shown at the top of Figure 5-1. This LED indicates
that the LEDs in the ANALOG OUT section are
serving as five-segment output level meters.

STAND-ALONE OPERATION

The 2408mk3 I/O goes into stand-alone mode
whenever it is not under control of the PCI-424
software driver. In other words, whenever there
isn’t any 2408mk3-related software running on the
computer, the 2408mk3 I/O will operate as a stand­alone format converter.

Here are some ways in which you can put the
2408mk3 into stand-alone operation:

■ If the PCI-424 WDM Audio Driver is not

installed in Windows, and you are instead using the
PCI-424 ASIO driver with Cubase, just quit
Cubase.

56

2408MK3 FRONT PANEL OPERATION

PCI Mode,

Analog metering

display

PCI Mode,

Clock display

PCI Mode,

Clock display,

No clock

PCI Mode,

Clock display,

locked to word clock

Use the SELECT button to toggle the
ANALOG OUT bank of LEDs between the
analog metering display (above) and
the clock status display (below). If the
2408mk3 has no clock, it won’t switch
out of the clock display (into metering).

In PCI mode, these two rows display the current
clock settings in the 2408mk3 (as set in the PCI
Audio Console software on the computer).

These three LEDs indicate that the 2408mk3 is in PCI
mode and displaying its current clock settings (as
chosen in the PCI Audio Console software).

The two sample rate LEDs flash when the PCI-424
system cannot detect a digital audio clock. For
example, if you’ve chosen ADAT sync as the Clock
Source in the PCI Audio Console window, but there
is no ADAT connected (or it is turned off), the 44.1
and 48 kHz LEDs will flash.

PCI Mode,

Clock display,

locked to SPDIF

In this example, the clock source is the
SPDIF digital input of the 2408mk3
(which is active on Bank C).

PCI Mode,
Clock display,
locked to the

PCI-424 card

“PCI” means that the 2408mk3 is
slaved to the PCI-424 card’s audio clock.

(Internal or ADAT)

Figure 5-1: In PCI mode, the 2408mk3 settings can only be changed from the computer, and the SELECT button toggles the
ANALOG OUT bank of LEDs between analog output metering and a status display of the 2408mk3’s current settings.

2408MK3 FRONT PANEL OPERATION

57

■ If the MOTU PCI WDM Audio Driver is

installed in Windows, you have to shut down the
computer to put the 2408mk3 I/O into stand-alone
operation.

■ Unplug the Audio Wire cable from the 2408mk3

(although this is not generally recommended).

Stand-alone format conversion

In stand-alone mode, the 2408mk3 I/O acts as a
digital audio format converter. It lets you transfer
audio from ADAT optical to Tascam TDIF, or vice
versa, up to 24 channels at a time. It also lets you
transfer ADAT or Tascam to SPDIF, or vice versa.
Several basic track shifting options are provided.

The SELECT button

In stand-alone mode, the SELECT button lets you
cycle through the four LEDs to its left, as shown
below. These LEDs blink continuously to confirm
that the 2408mk3 is in stand-alone mode.

Clock

The CLOCK setting determines the digital audio
clock source for the 2408mk3 when it is operating
as a stand-alone format converter. Press the
SELECT button repeatedly until the CLOCK LED
is illuminated. Then press the SET button
repeatedly to make your clock setting choice.
Notice that for the Internal setting, you also specify
the sample rate (44.1, 48, 88.2 or 96 kHz). For the
Dig (Digital) setting, you choose between low and
high sample rates (44.1/48 and 88.2/96, respec­tively). The same is true for the Wrd (word clock)
setting.

For further information about what clock settings
to choose, see “Sync for 2408mk3 stand-alone
operation” on page 52.

Figure 5-2: The SELECT button cycles through the four LEDs, each of
which lets you make a format conversion setting with the SET button.
The METERS setting switches the LEDs in the ANALOG OUT section
over to output metering, as described in “Analog metering” on
page 56.

No clock

In stand-alone operation, you specify a clock
source as explained in the next section. However, if
you choose an external clock source, and the
2408mk3 does not detect a clock signal, the 44.1
and 48 kHz sample rate lig hts flash to a lert you that
no signal can be detected. For example, if you’ve
chosen SPDIF as the clock source (as explained in
the next section), but there is no SPDIF signal
detected, the 44.1 and 48 kHz LEDs will flash.

58

Sample rates (44.1, 48, 88.2, 96)

The top row of LEDs let you specify the sample rate
for a stand-alone transfer for the following clock
sources: Internal (Int), Digital (Dig) and Word
Clock (Wrd ). Just press the SET button repeatedly
to cycle through the desired sample rates.

For the Int setting, the SET button cycles through
all four possible sample rates, letting you choose
the desired rate.

For the Dig and Wrd settings, however, the SET
button cycles through low and high sample rate
settings only (44.1/48 and 88.2/96, respectively).
Choose the pair that corresponds to the sample
rate of the incoming clock source.

2408MK3 FRONT PANEL OPERATION

☛ At high sample rates (88.2 and 96 kHz), the

2408mk3 does not support stand-alone transfers to
or from the SPDIF input or output. Use CueMix
Console for digital transfers to and from SPDIF.

Int (Internal)

Use the 2408mk3’s own Inter nal clock when you
are using Analog as the source of the transfer. Press
the SET button repeatedly to choose the desired
sample rate.

☛ Only use the Wrd setting if the 2408mk3 is

slaved to the same word clock source as the device
that is the source of the transfer, either directly
from the device itself or from a third device that is
serving as a word clock master.

The Wrd setting has two possible sample rates: low
(44.1/48) or high (88.2/96). Press the SET button
repeatedly to choose the setting that matches the
sample rate of the word clock source.

PCI

The PCI setting does not apply to stand-alone
operation, so it is not available as a clock source in
stand-alone mode.

Dig (Digital)

The Dig (Digital) setting refers to the digital device
you have chosen in the SOURCE row of LEDs as
the source of a digital transfer. For example, it
might be an ADAT optical device connected to
Bank A or a SPDIF device on B ank C. If you a re not
using any other means to synchronize the external
devices you are transferring between, use the Dig
setting, which makes the 2408mk3 slave to the
digital input source. (The destination device can
slave to the output from the 2408mk3.)

Use the Dig setting if you are using SPDIF as the
source of the transfer.

The Dig setting has two possible sample rates: low
(44.1/48) or high (88.2/96). Press the SET button
repeatedly to choose the setting that matches the
sample rate of the digital input clock source.

Vid (Video)

The Vid setting does not apply to stand-alone
operation, so it is not available as a clock source in
stand-alone mode.

LTC (Longitudinal Time Code)

The LT C setting does not apply to stand-alone
operation, so it is not available as a clock source in
stand-alone mode.

Bounce

The BOUNCE setting lets you shift all tracks
during the transfer. Press the SELECT button
repeatedly until the BOUNCE LED is illuminated.
Th en pr ess the SET b utto n rep eate dly to m ake your
bounce setting.

Figure 5-3: The Bounce setting lets you shift tracks during a transfer.

Wrd (word clock)

Use the Wrd clock source setting when you are
slaving the 2408mk3 to its word clock input. For
example, if you have the 2408mk3 synchronized to
a word clock device that is also serving as a word
clock master for the digital audio device you have
chosen as the source of the digital transfer.

2408MK3 FRONT PANEL OPERATION

In most cases, when you make a digital audio
transfer, you won’t need to bounce, as you’ll want
the destination tracks to match their source tracks.

There may be times, however, when you’d like to
shift tracks. For example, lets say that you had a
stereo guitar part on ADAT tracks 3-4, and you’d

59

like to transfer them to Tascam tracks 1-2. To
accomplish this, you would use the Bounce setting
shown below.

Figure 5-4: Shifting tracks 3-4 to tracks 1-2.

All other tracks are shifted in a similar fashion.

For example, if the 2408mk3 is mapping channels
3-4 to 1-2, channels 1-2 are wrapped back around
to the top of the bank to channels 7-8. the rest of
the channels are shifted in a similar fashion.

Source

The SOURCE setting determines the audio source
for the transfer. Press the SELECT button
repeatedly until the SOURCE LED is illuminated.
Th en pr ess the SET b utto n rep eate dly to m ake your
choice.

Swap L to R (Left to Right)

For each track shift option, you have the choice of
making a straight shift, such as that shown in
Figure 5-4 above, but if you press the Set button
one more time, you are also given the choice of
swapping the left and right channels of each track
pair, as demonstrated below.

Figure 5-5: Swapping the left and right channels, in addition to shift­ing the tracks.

In Figure 5-5, not only is the 2408mk3 shifting
tracks 3-4 to tracks 1-2, it is also swapping the
channels within each pair. So channel 4 is actually
being mapped to channel 1, and channel 3 is being
mapped to channel 2. This gives you enough
flexibility to map any channel to any other channel.

Swapping is applied to all other track pairs as well.

Figure 5-6: Choosing a source for a transfer. Press the SET button
repeatedly to choose which audio format you want to record from,
and from which bank(s) (A, B or C, or all three combined).

☛ At high sample rates (88.2 and 96 kHz), the

2408mk3 does not support stand-alone transfers to
or from the SPDIF input or output. Therefore, if
you choose SPDIF as the source, then there will be
no output to the ADAT or TDIF banks. Conversely,
if you choose ADAT or TDIF as the source, there is
no output sent to SPDIF. Use CueMix Console for
digital transfers to and from SPDIF.

Anlg (Analog)

When you choose Analog as the source in stand­alone mode, the analog bank is hard-wired to Bank
C (this is arbitrary and doesn’t matter because
there is only one bank of analog). With Analog as
the source, the Analog bank gets sent to
(duplicated on) all three output banks (A, B and C)
in both ADAT and Tascam formats. In addition,
channels 1-2 of the Analog input bank are sent to
the SPDIF outputs.

60

2408MK3 FRONT PANEL OPERATION

There are three variations for the analog source
setting. Press the SET button repeatedly to choose
the desired variation as explained below:

Analog
source setting Explanation

All in +4 All analog inputs are set to a +4 dB input level.

All in -10 All analog inputs are set to a -10 dB input level.

Mixed +4 /-10 Analog input levels match the settings

Figure 5-7: The three variations for the analog input source setting.

specified in the MOTU PCI Audio Console (as
explained in “Input Reference Level” on
page 70).

SPDIF

When you want to transfer from SPDIF, there is
only one choice: Bank C (since SPDIF can only be
used on Bank C.)

When you choose an individual bank, it is mapped
to all three output banks, duplicated on each bank.
For example, if ADAT Bank B is the source, it will
be sent to TDIF banks A, B and C. (It will also be
sent to ADAT banks A, B and C.)

When you choose all three banks together as the
source, they pass audio straight through, i.e. Bank
A to A, B to B, and C to C.

Analog metering

Press the SELECT button repeatedly (if necessary)
to illuminate the METERS LED as shown in
Figure 5-10 below. This LED indicates that the
LEDs in the ANALOG OUT section are serving as
five-segment output level meters.

Figure 5-10: You can ignore the LED labels in the ANALOG OUT
section of the front panel when the LEDs are acting as output level
meters.

Figure 5-8: Choosing SPDIF as a source for a transfer.

The SPDIF input is mapped to the rest of the
channel pairs of the bank, and then it is also
mapped to all three ADAT banks and all three
Tascam banks.

ADAT and TDIF

When you want to transfer from either ADAT or
TDIF, you can choose Bank A, B or C, or all three
banks at once, as shown below in Figure 5-9.

Figure 5-9: Choosing a source for a transfer. Press the SET button
repeatedly to choose Bank A, B or C, or all three combined as shown.

2408MK3 FRONT PANEL OPERATION

LOCK AND TACH

When the 2408mk3 is resolving to video or SMPTE
time code (v ia it s built-in syn c feat ures), th e LOCK
light glows green when lockup has been achieved.
The TACH light blinks once per second when the
2408mk3 is successfully reading address (time
code) information. For details, see “Syncing to
SMPTE time code” on page 43 and “Syncing to
video” on page 44.

DIGITAL ACTIVITY LEDs

The Activity LEDs in the ADAT/TDIF section show
input and output activity on all three banks of
digital input and output. A signal of -40dB or
stronger illuminates these LEDs.

61

Figure 5-11: The 2408mk3’s ADAT/TDIF activity LEDs are triggered by
a signal of -40dB or greater.

62

2408MK3 FRONT PANEL OPERATION

CHAPTER

6 MOTU PCI Audio Console

OVERVIEW

The MOTU PCI Audio Console Window gives you
complete control over the settings in your PCI-424
hard disk recording system.

Accessing the PCI Audio Console window . . . .63

Quick Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . .64

PCI-424 Settings . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Sample rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Samples Per Buffer . . . . . . . . . . . . . . . . . . . . . . . . .67

Working with multiple interfaces . . . . . . . . . . . .68

Bank A / B / C (240mk3 interface) . . . . . . . . . . . .68

ADAT and TDIF banks at high sample rates. . .68

ADAT & TDIF always share the same output . .68

Disabling banks to conserve resources. . . . . . . .68

Enable routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

PCI use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

Interface options . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Analog output bank mirroring . . . . . . . . . . . . . .70

Word Out Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Saving and recalling routings. . . . . . . . . . . . . . . .73

The Refresh button . . . . . . . . . . . . . . . . . . . . . . . . .73

Choosing a Config before opening a file. . . . . . .73

ACCESSING THE PCI AUDIO CONSOLE WINDOW

There are several ways to access the PCI Audio
Console window:

■ From Windows, run MOTU PCI Audio Console

(the stand-alone applet for the PCI-424 system)

■ From within Cubase VST, go to the Audio menu,

choose System and then click the ASIO Control
Panel button. In Cubase SX, open the Devices
Setup window, click the VST Multitrack device and
click the Control Panel button.

Cubase VST

Cubase SX

It doesn’t matter which way you access the window.
The settings are the same either way.

63

QUICK REFERENCE

For a one-page overview of the MOTU PCI Audio
Console, see “Quick Reference: PCI Audio Console
Window” on page 15.

(such as a 2408, 2408mkII, 1224 or 308) will be
taken off line, with the exception of the 1296, which
supports PCI-424 operation at 88.2 or 96 kHz.

Below is a table that summarizes MOTU PCI audio
interface supported sample rates:

Interface 44.1 48 88.2 96 176.4 192

HD192

✓✓✓✓✓✓

PCI-424 SETTINGS

The top of the MOTU PCI Audio Console window,
as shown in Figure 6-1, has several settings for the
PCI-424 card itself. These are settings that are not
dependent on the interfaces connected to the card.
Instead, they imp act the function of t he sys tem as a
whole.

Figure 6-1: The PCI-424 settings at the top of the window are global
settings that apply to the system as a whole, regardless of the MOTU
PCI audio interface connected to it.

Sample rate

Choose the desired sample rate for recording and
playback. The PCI-424 system can operate at 44.1,
48, 88.2 or 96 KHz. If an HD192 interface is
connected, it can also run at 176.4 or 192 kHz. The
entire PCI-424 system will run at the sample rate
chosen in this menu . Interfaces t hat do not supp ort
the system’s current sample rate are temporarily
taken off line. For example, if you run the HD192
interface(s) at 192 kHz, all other audio interfaces
are taken off line. As another example, if you run a
PCI-424 interface (2408mk3, 24I/O or HD192) at
96 kHz, any connected legacy PCI-324 interfaces

2408mk3

24I/O

1296

2408mkII

2408

1224

24i

308

✓✓✓✓

✓✓✓✓

✓✓✓✓

✓✓

✓✓

✓✓

✓✓

✓✓

Make absolutely sure that all of the devices
connected digitally to all PCI-424 interfaces match
the PCI-424 system’s sample rate. Also make sure
that your Digital Timepiece, MIDI Timepiece AV
or other digital audio synchronizer matches it as
well.

☛ 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
the PCI Audio Console window.

Clock Source

64

MOTU PCI AUDIO CONSOLE

The clock source determines the digital audio clock
that the PCI-424 system will use as its time base.
For a complete explanation of synchronization
issues, see “Make sync connections” on page 37.
The following sections briefly discuss each clock
source setting.

PCI-424: Internal

Use the PCI-424: Internal setting when you want
the PCI-424 system 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. For example, you might simply be playing the
hard disk tracks and mixing them to the analog
outputs of your MOTU audio interface. In this
case, no other digital audio clocks are involved.

Another example is transferring a mix to DAT. You
can operate the PCI-424 system on its internal
clock, and then slave the DAT deck to the PCI-424
system, either via the SPDIF connection (usually
DAT decks slave to their SPDIF input when you
choose the SPDIF input as their record source) or
via the word clock output of your MOTU PCI
audio interface (if your DAT deck has a word clock
input).

PCI-424: ADAT

ADAT refers to the ADAT Sync digital audio
synchronization format. It allows the entire
PCI-424 system to slave to the ADAT sync chain
connected to your PCI-424 audio card (via the
9-pin connector on the card). ADAT sync also
carries precise, sample location information,
which allows sample-accurate software to transfer
audio to and from ADATs without drifting by as
much as one sample.

Use this setting when you are using the PCI-424
system with one or more ADATs or other ADAT
Sync-compatible devices. Make sure the PCI-424
card is connected to the end of the ADAT sync
chain.

You should also use this setting if you have a
MOTU MIDI Timepiece AV or Digital Timepiece
universal synchronizer, which allows you to drive
your entire system from the transport controls of
your audio software.

PCI-424: SMPTE

Choose this setting to resolve the PCI-424 card
(and all connected interfaces) directly to SMPTE
ti me code (LTC) being received via an anal og input
on any connected interface. To specify the analog
input for time code, use the MOTU SMPTE
Console application. For details, see “SMPTE
Source” on page 104.

2408mk3: Video

Choose this setting to resolve the PCI-424 card
(and all connected interfaces) directly to video
being received via the Video In BNC connector on
a 2408mk3 interface. (Only the 2408mk3 interface
supports this feature.) In this sync mode, the
system can also reference SMPTE time code via
any analog input. To specify the input for time
code, use the MOTU SMPTE Console application.
For details, see “SMPTE Source” on page 104.

2408mk3: Word Clock In
24I/O: Word Clock In
HD192: Word Clock In

These settings refer to the Word Clock In BNC
connector on their respective interface. Choosing
one of these settings allows the entire PCI-424
system (including other 2408mk3 I/Os connect to
the PCI-424 card) to slave to an external word
clock source, such as the word clock output from a
digital mixer.

MOTU PCI AUDIO CONSOLE

65

The 24I/O: Word Clock In setting is unique because
it switches the operation of the single BNC word
clock connector on the 24I/O interface. When you
choose the 24I/O: Word Clock In setting, the 24I/O’s
word clock jack becomes a word clock input. When
you choose any other clock source setting, it
operates as a word clock output.

2408mk3: Bank A/B/C Optical In

These settings refer to the clock provided by the
ADAT optical inputs on the 2408mk3 interface.
This setting can be used to slave the entire PCI-424
system directly to an optical input connection.

These settings are useful if you just need to make a
simple, click-free digital transfer between the
2408mk3 and another device — where a time code
reference and shared transport control are not
needed — without having to set up a full-fledged
synchronization scenario.

2408mk3: SPDIF

This setting refers to the SPDIF RCA input
connector on the 2408mk3 interface. This setting
allows the entire PCI-424 system (including other
2408mk3 I/Os connect to the PCI-424 card) to
slave to another SPDIF device.

Use this setting whenever you are recording input
from a DAT deck or other SPDIF device into the
2408mk3. It is not necessary in the opposite
direction (when you are transferring from the
2408mk3 to the DAT machine).

HD192: Bank C AES/EBU

This setting refers to the AES/EBU digital input
jack on the HD192 interface. This setting allows the
entire PCI-424 system (including other interfaces
connect to the PCI-424 card) to slave to another
AES/EBU device connected to the HD192 AES/
EBU digital input.

In many cases, 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 ADAT optical compatible device that
has no way of synchronizing digitally to the
2408mk3 or an external synchronizer such as the
Digital Timepiece. In this case, the “Bank A/B/C
Optical In” setting lets you slave the 2408mk3 to
the device itself via its digital input to the 2408mk3.

Note: TDIF can’t be used as a clock source

Please note that TDIF cannot be used as a clock
source. This is because the TDIF I/O format does
not contain a stable clock source. Therefore, if you
have selected TDIF as the audio format for one of
the three banks, and you then try to choose ADAT
optical from that bank as the clock source, the PCI
Audio Console will alert you that it cannot use the
TDIF input as a clock source.

Use this setting whenever you are recording input
from a DAT deck or o ther A ES/EBU device into the
HD192, and you are not using the HD192’s sample
rate conversion features.

HD192: Internal
24I/O: Internal

These settings produce the highest possible audio
performance (best signal to noise ratio, etc.) from a
PCI-424 system with one of these interfaces
connected. Use this setting when you want the
PCI-424 system 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. For example, you might simply be playing the
hard disk tracks and mixing them to the main
outputs of your audio interface. In this case, no
other digital audio clocks are involved.

66

MOTU PCI AUDIO CONSOLE

For all practical purposes, this clock source setting
produces the same results as the PCI-424: Internal
setting explained on page 65.

Samples Per Buffer

The Samples Per Buffer setting lets you reduce the
delay you hear when patching live audio through
your audio software. For example, you might have
a live microphone input that you would like to run
through a reverb plug-in that you are running in
your host audio software. When doing so, you may
hear or feel some “sponginess” (delay) between the
source and the processed signal. If so, don’t worry.
This effect only affects what you hear: it is not
present in what is actually recorded.

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

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

signal with software plug-ins, you can monitor the
signal with no delay at all using CueMix Console,
which routes the signal directly to your speakers
via hardware. For details, see chapter 11, “CueMix
Console” (page 97).

Adjusting the Samples Per Buffer setting impacts
the following things:

■ The strain on your computer’s CPU

increase the Samples Per Buffer, you reduce the load
on your computer, freeing up bandwidth for
effects, mixing and other real-time operations. But
don’t set the Samples Per Buffer too low, or it may
cause distortion in your audio.

If you don’t process live inputs with software
plug-ins, leave this setting at its default value of
1024 samples. If you do, try settings of 256 samples
or less, if your computer seems to be able to handle
them. If your host audio software has a processor
meter, check it. If it starts getting maxed out, or if
the computer seems sluggish, raise the Samples Per
Buffer until performance returns to normal.

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

The Samples Per Buffer setting also impacts how
quic kly you r aud io s oft ware will respond when you
begin playback, although not by amounts that are
very noticeable. Lowering the Samples Per Buffer
will make your software respond faster; raising the
Samples Per Buffer will make it a little bit slower, but
barely enough to notice.

■ The delay you hear when routing a live signal

through your host audio software plug-ins

■ How responsive the transport controls are in

your software

This setting presents you with a trade-off between
the processing power of your computer and the
delay of live audio as it is being processed by
plug-ins. If you reduce the Samples Per Buffer, you
reduce patch thru latency, but significantly increase
the overall processing load on your computer,
leaving less CPU bandwidth for things like real­time effects processing. On the other hand, if you

MOTU PCI AUDIO CONSOLE

Monitoring live inputs without plug-in effects

As mentioned earlier, CueMix Console allows you
to monitor dry, unprocessed live inputs with no
delay at all. For complete details, see chapter 10,
“Reducing Monitoring Latency” (page 91).

67

INTERFACE SETTINGS

The middle portion of the MOTU PCI Audio
Console Window displays settings for the audio
interface(s) connected to your PCI-424 card.

Figure 6-2: The interface settings for the 2408mk3, 24I/O and HD192
interfaces.

Working with multiple interfaces

If you have t wo or m ore audio inte rfac es connec ted
to your PCI-424 card, the PCI Audio Console
displays settings for one interface at a time. To view
the settings for a particular interface, choose it
from the Configure interface menu as shown in
Figure 6-1 on page 64.

Bank B, and SPDIF I/O on bank C. Or you could
work with the ADAT optical format on all three
banks. You can freely switch between formats at
any time.

ADAT and TDIF banks at high sample rates

When using ADAT or TDIF banks on a 2408mk3
interface, and the PCI-424 system clock is set to a
sample rate higher than 48 kHz, these banks
change to four channels each, as these for mats only
support four channels at 88.2 or 96 kHz.

ADAT & TDIF always share the same output

If you have both TDIF and ADAT optical devices
connected to the same bank, use the
corresponding menu to switch between formats.
Your choice, however, only affects input for the
bank. For output, the 2408mk3 always sends the
same material to both digital formats on a bank.
For example, if you chose ADAT for Bank B, you
would be able to record tracks in your computer
software from the ADAT optical inputs connected
to Bank B on your 2408mk3 interface. At the same
time, however, any tracks you play back on Bank B
would be output to both the ADAT and TDIF
devices connected to Bank B.

Disabling banks to conserve resources

If you are not using a bank, it is a good idea to
choose Disable from the bank menu to disable the
bank entirely and free up PCI bus bandwidth and
other system resources.

Figure 6-3: The console displays one interface at a time. Choose the
desired interface from the Configure Interface menu.

Bank A / B / C (240mk3 interface)

The three 2408mk3 Bank menus (Bank A, Bank B
and Bank C) let you choose the type of I/O format
you would like to use for each of the 2408mk3’s
three internal banks of 8-channel I/O. For example,
you could work with an ADAT connected to bank
A, the 2408mk3’s 8 analog inputs and outputs on

68

☛ The Disable menu item does not appear in the

menu when the Enable Routing box is checked.

Figure 6-4: Disabling a bank to conserve system resources.

MOTU PCI AUDIO CONSOLE

Disabling banks does not affect CueMix DSP

When you disable a bank as shown in Figure 6-4
above, it only affects PCI bus routing to the
computer and your host software. Disabling a bank
here has no effect on CueMix DSP mixing.
Therefore, feel free to disable banks that you don’t
need for your software, even if you are using them
for CueMix DSP live mixing and monitoring.

ENABLE ROUTING

The Enable Routing check box expands the
window to display each individual input and
output pair. Each check box represents the
availability of that input or output pair to audio
software running on your computer. Check the
Enable Input check box to make it available as
inputs to your audio software; check the Enable
Output check box to make the output pair available
to your host software. When a box is checked, the
input or output pair will appear in the input or
output source menus in your host audio
application. When it is unchecked, it won’t. But as
described above, unchecking inputs has no effect
on CueMix DSP mixing and monitoring.

PCI USE

Enabled banks (or individual inputs and outputs)
take up a small portion of your computer’s
processing power. And while the amount is quite
small for individual I/O pairs, a core PCI-424
system lets you enable up to 24 inputs and outputs
at a time (a total of 48). An expanded PCI-424
system with four interfaces lets you enable up to 96
inputs and outputs at a time (a total of 192). To
conserve your computer’s processing power, only
enable banks (or individual inputs and outputs)
when you are actually using them. Otherwise, leave
them unchecked.

Figure 6-6: Keep an eye on the PCI bus resources when using two or
more audio interfaces.

Figure 6-5: Check the ‘Enable Routing’ check box (circled above) to
expand the window. You can then disable (or enable) individual input
and output pairs.

☛ Remember: ADAT and TDIF banks show four

channels (instead of eight) at sample rates higher
than 48 kHz.

MOTU PCI AUDIO CONSOLE

The PCI Use status display tells you the
approximate PCI bandwidth being used by the
PCI-424 card for the currently enabled inputs and
outputs. This display is mostly intended for
expanded PCI-424 systems, which push the limits
of the PCI bus itself. A higher number will alert you
that there are a significant number of inputs and
outputs enabled, perhaps including the ones you
are not currently viewing.

While the theoretical maximum PCI bandwidth is
132 MB per second, there are no hard and fast rules
for how much bandwidth is actually available on
any given computer. Many factors come in to play,
including the efficiency of the bridge chip that
controls the PCI bus and the number of other PCI
devices on the bus competing for bandwidth.
Practically speaking, most of today’s personal

69

computers seem to have approximately 30-50 MB
per second of PCI bandwidth for the 2408mk3 and
other PCI cards in the computer.

WAVE SUPPORT FOR LEGACY (MME) SOFTWARE

For complete Wave support while using
applications which do not support WDM
technology, check the Enable Full Wave Support for
Legacy (MME) Software option. This option
produces slightly less efficient operation, so only
use it if your software is not WDM compatible.

INTERFACE OPTIONS

The Interface options button opens a dialog that
provides several settings for the interface currently
chosen in the Configure Interface menu.

2408mk3 interface options

Each 2408mk3 interface has the following options:

By default, they mirror Bank A. To choose another
bank, click the Inter face O ptions button and choose
the desired bank from the menu as shown above in
Figure 6-7.

Input Reference Level

These settings let you specific the input reference
level for the four analog input pairs on the
2408mk3 interface. The factory default setting is
+4 dB. If an input signal sounds weak, try the

-10 dB setting.

Word Out Rate

The Word O ut Ra te menu lets you either double or
halve the current system word clock rate.

If the current PCI-424 system word rate is a high
sample rate (88.2 or 96 kHz), then the word clock
out put c an eit her m atch it or oper ate at half th e rat e
(44.1 or 48 kHz).

If the current system word rate is a low sample rate
(44.1 or 48 kHz), the word clock output can either
match it or operate at twice the rate (88.2 or
96 kHz).

Figure 6-7: The 2408mk3 interface options.

Analog output bank mirroring

The Bank t o mi rror on Ana log menu lets you choose
what comes out of the Analog outputs when none
of the 2408mk3’s three banks (A, B or C) are set to
Analog.

Even when Analog is not currently selected on any
of the three banks in the PCI Audio Console
window, the Analog outputs of the 2408mk3
mirror — or duplicate — one of the three banks.

70

24I/O interface options

Each 24I/O interface has the options shown below
in Figure 6-8.

Figure 6-8: The 24I/O interface options.

Input Reference Level

These settings let you specific the input reference
level for the inputs on the 24I/O interface. On the
24I/O, the input reference level is set in banks of 8

MOTU PCI AUDIO CONSOLE

inputs at a time. The factory default setting is
+4 dB. If an input signal sounds weak, try the

-10 dB setting.

Wor d O ut Ra te

The Word O ut Ra te menu lets you either double or
halve the current PCI-424 system word clock rate.

If the cu rrent s yste m wor d rat e is a hig h sampl e rate
(88.2 or 96 kHz), then the word clock output can
eit her m atch it or op erate at half the r ate (44.1 or 48
kHz).

If the current system word rate is a low sample rate
(44.1 or 48 kHz), the word clock output can either
match it or operate at twice the rate (88.2 or
96 kHz).

HD192 interface options

The Interface options button opens a dialog that
provides several options for the HD192’s AES/EBU
section and front-panel the level meters.

Steal inputs

Internally, the AES/EBU stereo section shares the
same bus as the analog section of the HD192. The
Steal Inputs menu lets you choose which pair of
analog inputs to replace with AES/EBU input. For
example, if you choose inputs 11-12 from this
menu, analog inputs 11 and 12 are temporarily
disabled and replaced by the AES/EBU inputs. In
your host audio software, inputs 11-12 now refer to
the AES/EBU input.

Rate Convert

Enable the Rate Convert option when you wish to
convert the sample rate of the incoming AES/EBU
digital audio signal to the sample rate at which the
HD192 system clock is running. For example, if the
HD192 system clock is running at 96 kHz, and the
AES/EBU input signal is at 44.1 kHz, enable Rate
Convert to transform the 44.1 kHz signal into a 96
kHz signal. Rate conversion is applied in real time
as the signal passes through the AES/EBU input’s
sample rate converter.

Mirror Analog

Choose the analog output pair you would like to
match for AES/EBU output. For example, if you
choose analog Outs 3-4 from the Mirror analog
menu, then the audio signal being sent out analog
outputs 3-4 will also be sent to the AES/EBU stereo
output. This would allow you, for example, to
monitor a stereo mix via analog outs 3-4 while at
the same time transferring the same stereo mix via
AES/EBU to a DAT deck or other AES/EBU device.

Figure 6-9: The HD192 interface options.

The HD192 AES/EBU section has flexible clocking
options and separate sample rate converters on
both input and output. Below is a brief summary of
the possible settings for these features.

MOTU PCI AUDIO CONSOLE

Figure 6-10: The choices in the Mirror Analog menu for the HD192’s
AES/EBU output.

71

As shown above in Figure 6-10, notice that the
AES/EBU output can also directly mirror a pair of
HD192 analog inputs. In effect, this lets you route
any analog input pair directly to the AES/EBU
output.

AES Output Clock

The AES Output Clock menu provides several
clock sources and sample rate options for the AES/
EBU output.

Figure 6-11: Clock sources for the AES/EBU output.

Each clock option is briefly explained below.

System

Choose System when you want the AES/EBU
output sample rate to match the HD192’s system
clock, and you don’t need to convert to a different
sample rate or resolve the output to some other
external clock. No sample rate conversion will
occur when this option is chosen.

AES Input

Choose AES Input when you would like the AES/
EBU output sample rate to match — and
continuously resolve to — the sample rate
currently being received by the AES/EBU input. If
necessary, the AES/EBU output signal will be
sample rate converted to match the AES input rate.

☛ Be careful when both the HD192’s AES/EBU

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

AES Word In

Choose AES Word In when you would like the AES/
EBU output to match — and continuously resolve
to — word clock being received from the HD192’s
‘AES Word In’ BNC jack. If necessary, the AES/EBU
output signal will be sample rate converted to
match the AES Word In rate.

44.1 / 48 / 88.2 / 96 kHz

Choose one of these sample rates when you need to
convert the AES/EBU output to a rate different
than the HD192’s sample rate. When you choose
one of these rates, the additional Fixed Frequency
option appears, as shown below in Figure 6-12.

Figure 6-12: The Fixed Frequency option.

Check the Fixed Frequency option to generate the
chosen sample rate with AES/EBU output
independently driven by its own clock crystal (not
resolved to the system clock).

Unch eck the Fixed Frequency option to generate
the chosen sample rate but also resolve to the
System clock. For example, if the system clock is set
to 48 kHz and the AES/EBU output is set to
96 kHz, the AES/EBU output will run at exactly
twice the sample rate of the system clock. This will
be true even if the system clock is running faster or
slower than 48 kHz because the HD192 system is
slaving to an external clock.

Metering options

The HD192 provides several options for the front­panel input and output meters.

72

MOTU PCI AUDIO CONSOLE

Clip Time-Out

The Clip Time-Out option controls how long the
top red LED remains illuminated after clipping
occurs (see Figure 6-13 below).

The ‘Clip Time-Out’ option controls how
long this LED remains illuminated.

This LED lights up momentarily.

Figure 6-13: The Clip Time-Out option.

If you want the ability to clear the LED manually
from your hos t audio software or CueMix Console,
Choose Infinite from the Clip Time-Out menu.
Then, in CueMix Console, click the Clear Clip
button as shown in Figure 11-1 on page 97.

Peak/Hold Time-Out

The HD192 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-Out controls how long the
peak-hold LED remain illuminated before going
dark again.

SAVING AND RECALLING ROUTINGS

If you have several interfaces connected to your
system, there are a lot of banks to configure in the
middle portion of the PCI Audio Console window
(one entire “page” for each). For your convenience,
the Save button lets you save the current routing
configuration (including the routing for the 2nd,
3rd and 4th interfaces, if you have them) so you can
recall the configuration later on with an easy click
of the Load button. Save the file in the standard
fashion. Note that only the settings in the middle
portion of the window (i.e. the input and output
routings) are saved. The PCI-424 settings are not
included as part of the configuration, as they are
usually system-wide settings that you won’t change
very often.

THE REFRESH BUTTON

The Refresh button makes the MOTU PCI Audio
Console window query the audio interfaces
connected to the PCI-424 card to make sure that
the settings in the window accurately reflect the
settings in the hardware. Under normal operations,
this should never be necessary. Even if you switch
off the interfaces, the PCI-424 software driver is
designed to re-establish contact with the hardware.
Even so, if you suspect that the hardware might be
in a different state than what you see in the window,
click Refresh.

CHOOSING A CONFIG BEFORE OPENING A FILE

The settings in the PCI Audio Console window are
not saved with the files you create and save with
host audio applications. To save time, you can save
the current PCI Audio Console Window settings as
a file on disk (as explained earlier), along with your
host audio program files. If you work on the project
later on, you can quickly load the configuration
file, without having to remember how the PCI
Audio Console window was configured.

Some host audio applications remember the PCI
Audio Console Window’s input and output settings
at the time you last saved a project file. This means
that even if the PCI Audio Console Window doesn’t
currently have the exact same settings, the program
displays the inputs and outputs that were in effect
when the file was last saved.

Some host applications, however, lose their input
and output settings if they are not available at the
time you open the file. You can save yourself the
time of reassigning them by saving a 424
configuration along with the file. For details, see
“Saving and recalling routings” on page 73.

MOTU PCI AUDIO CONSOLE

73

74

MOTU PCI AUDIO CONSOLE

CHAPTER

7 Cubase, Nuendo and other ASIO

Software

OVERVIEW

The PCI-424 system includes an ASIO driver that
provides multi-channel I/O and sample-accurate
synchronization with Steinberg’s Cubase family of
digital audio sequencers, including Cubase VST,
Cubase SX and Nuendo. The 2408mk3 requires
Cubase for Windows Version 3.553 or higher.

Preparation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

Run MOTU PCI Audio Console before Cubase 75

Choosing the PCI-424 driver in Cubase. . . . . . .76

Number of channels . . . . . . . . . . . . . . . . . . . . . . . .76

Reducing delay when processing live inputs with

plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

Audio clock source . . . . . . . . . . . . . . . . . . . . . . . . .76

Other System dialog settings . . . . . . . . . . . . . . . .77

Activating PCI-424 inputs. . . . . . . . . . . . . . . . . . .77

Assigning inputs . . . . . . . . . . . . . . . . . . . . . . . . . . .77

Assigning outputs. . . . . . . . . . . . . . . . . . . . . . . . . .78

Changing PCI-424 settings . . . . . . . . . . . . . . . . . .78

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . .79

24-bit operation. . . . . . . . . . . . . . . . . . . . . . . . . . . .81

Monitoring system performance . . . . . . . . . . . . .81

PREPARATION

To make sure that everything is ready for Cubase,
install Cubase first (if you haven’t already done so),
and then see these chapters before proceeding:

■ chapter 4, “Installing the PCI-424 Hardware”

(page 27).

■ chapter 3, “Installing the PCI-424 Windows

Software” (page 25)

RUN MOTU PCI AUDIO CONSOLE BEFORE CUBASE

Before you run Cubase, launch the MOTU PCI
Audio Console to configure your PCI-424
hardware. The MOTU PCI Audio Console lets you
configure your audio interface, and it lets you
enable the desired inputs and outputs. Only
enabled inputs and outputs will be available to
Cubase, so this is an important step. For complete
details regarding the MOTU PCI Audio Console,
see chapter 6, “MOTU PCI Audio Console”
(page 63).

Figure 7-1: This example shows a 2408mk3 interface. Configure the
three banks as you would like to use them in Cubase. Only activate
the banks you really need, though, to conserve CPU and PCI
bandwidth.

75

☛ Changing input and output settings in the

MOTU PCI Audio Console causes Cubase to lose
the input and bussing assignments in any files that
don’t match the new settings. To avoid this, you can
save a PCI-424 setup on disk with your Cubase file.
Then, the next time you open the Cubase file, you
can load the 424 configuration first so that no
settings are lost. For details, see “Saving and
recalling routings” on page 73.

Cubase VST

CHOOSING THE PCI-424 DRIVER IN CUBASE

Once you’ve made the preparations described so
far in this chapter, you’re ready to run Cubase.

Cubase VST

To activate the PCI-424 driver in Cubase VST,
choose Audio S etup>System from the Options
menu, and then choose MOTU PCI ASIO from the
ASIO device menu. Make the other settings in the
dialog as need for your system and synchroni­zation scenario.

Nuendo and Cubase SX

To activate the PCI-424 driver in Nuendo or
Cubase SX, go to the Device Setup window, click
VST Multitrack and choose MOTU PCI ASIO from
the ASIO Driver menu as shown below. Make the
other settings in the dialog as need for your system
and synchronization scenario.

Nuendo and Cubase SX

Figure 7-2: Activating the PCI-424 driver in Nuendo and Cubase.

NUMBER OF CHANNELS

In Cubase VST, be sure to choose enough channels
in the System dialog (as shown above in
Figure 7-2) to cover the number of inputs and
outputs provided by your PCI-424 system.

REDUCING DELAY WHEN PROCESSING LIVE INPUTS WITH PLUG-INS

If you patch a live input (such as MIDI synthesizer)
through a VST plug-in effect in Cubase, you might
hear a slight delay. There are several ways to reduce
this delay. For details, see chapter 10, “Reducing
Monitoring Latency” (page 91).

ASIO DIRECT MONITORING

The ASIO Direct Monitoring option (Figure 7-2)
allows you to monitor inputs directly in the
hardware with no drain on your computer and
near zero latency. When you enable this option,
Cubase uses the PCI-424’s CueMix monitoring
features whenever you use Cubase’s monitoring
features. For further information, see “Controlling
CueMix DSP from within Cubase” on page 94.

76

AUDIO CLOCK SOURCE

This setting is the same as the Clock Source setting
in the MOTU PCI Audio Console window. It
determines which audio clock the PCI-424 system
will slave to. Choose the setting that is most
appropriate for your synchronization scenario. For
complete details, see “Clock Source” on page 64.

CUBASE, NUENDO AND OTHER ASIO SOFTWARE

OTHER SYSTEM DIALOG SETTINGS

Consult your Cubase or Nuendo documentation
for details about the rest of the settings in this
dialog.

ACTIVATING PCI-424 INPUTS

Once you’ve chosen the MOTU PCI-424 ASIO
driver in the Audio System dialog, choose VST
Inputs from the Panels menu (or the Devices menu
in Cubase SX) to see the PCI-424 inputs. To
activate them, click the Act ive light next to each
input.

The inputs that appear in the VST Inputs window
correspond to the banks you enabled (or
individual inputs you checked) in the MOTU PCI
Audio Console, as shown in Figure 7-1 on page 75.

Figure 7-4: Activating PCI-424 inputs in Nuendo or Cubase SX.

ASSIGNING INPUTS

Once you’ve activated the PCI-424 system inputs as
shown in the previous section, you can then assign
them to Cubase or Nuendo audio channels in the
channel mixers in the usual fashion.

Figure 7-3: Activating PCI-424 inputs in Cubase VST.

CUBASE, NUENDO AND OTHER ASIO SOFTWARE

Figure 7-5: To assign a PCI-424 input to a Cubase VST audio channel:
control-click the input button at the top of the channel strip. For
Nuendo or Cubase SX, consult your documentation.

77

ASSIGNING OUTPUTS

As shown earlier in Figure 7-1 on page 75, any
banks that you have enabled in the MOTU PCI
Audio Console will be available in Cubase or
Nuendo as outputs. In Cubase VST, these outputs
appear in the VST Master Mixer window as output

CHANGING PCI-424 SETTINGS

To change the PCI-424 settings at any time, go to
the Audio System Setup window in Cubase VST or
the Device Setup window in Nuendo or Cubase SX
and click the ASIO Control Panel button, as shown

in Figure 7-2 on page 76.
assignments for the master fader and busses, as
shown below in Figure 7-6. In NuendoCubase SX,
they appear in the VST Outputs window.

In Cubase VST, use the output buttons at the bottom of each channel strip, including the master fader, to assign
PCI-424 outputs to busses. You can then assign channels in the VST Master Mixer window to each bus as desired.

In Nuendo or Cubase SX, access the PCI-424 outputs via the busses in the VST Outputs window.

Figure 7-6: Working with PCI-424 outputs in Nuendo or Cubase.

78

CUBASE, NUENDO AND OTHER ASIO SOFTWARE

SYNCHRONIZATION

Cubase or Nuendo can run under its own transport
control or slave to SMPTE time code. It can also
perform sample-accurate digital audio transfers
with Alesis digital recorders and Tascam family
digital recorders.

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 chapter 4, “Installing the PCI-424
Hardware” (page 27) for the proper hardware
connections. Use the synchronization diagrams in
that chapter to be clear about how you will be
synchronizing Cubase to the other components of
your system.

Running Cubase or Nuendo under its own transport control

If you do not need to synchronize Cubase or
Nuendo with time code or another recording
device, such as a tape deck, just leave its SMPTE
time code synchronization features disabled.

However, even though Cubase or Nuendo is not
slaving to SMPTE time code, you still need to be
concerned with the synchronization of the
PCI-424 system’s digital audio clock with other
devices connected to it digitally (if any). For
example, if you have a digital mixer connected to a
2408mk3 interface via an ADAT optical lightpipe
cable, you need to make sure that their audio clocks
are phase-locked. For details, see “Syncing ADAT
‘lightpipe’ devices” on page 48 and “Make sync
connections” on page 37. If you don’t have any
digital audio devices connected, digital audio
phase-lock does not apply to you.

Resolving Cubase or Nuendo and the PCI-424
to video and/or SMPTE time code

If you need to slave Cubase or Nuendo and the
PCI-424 system to video and/or SMPTE time code,
you can do so with or without a dedicated
synchronizer. SMPTE time code synchronization

can be accomplished via the analog input of any
connected interface. Direct video synchronization
requires as 2408mk3 interface.

Resolving directly to video and/or time code
(with no synchronizer)

To resolve your PCI-424 system directly to video
and/or SMPTE time code with no additional
synchronization devices, use the setup shown in
“Syncing to SMPTE time code” on page 43 or
“Syncing to video” on page 44.

☛ Direct video sync requires a 2408mk3

interface. SMPTE time code sy nc can be done with
any MOTU PCI audio interface.

First, set up Cubase or Nuendo for sample-accurate
sync as explained in “Sample-accurate sync with
Cubase or Nuendo” on page 80. Make sure the
Clock Source setting in the MOTU PCI Audio
Console window is set to PCI-424: SMPTE or
PCI-424: Video. Also, make sure that you’ve
specified the SMPTE time code input (if necessary)
in the MOTU SMPTE Console applet, as shown in
Figure 4-23 on page 43 or Figure 4-24 on page 44.

Resolving to video and/or time code with a
dedicated synchronizer

To resolve your PCI-424 system 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 45.

Follow the instructions in your Cubase or Nuendo
manual for slaving them to MIDI Time Code
(MTC). To ensure that your audio tra cks don’t drif t
out of sync with your MIDI tracks — or time code,
use a hardware synchronizer like the MIDI
Timepiece AV or Digital Timepiece to resolve the
PCI-424 hardware as well, as explained in “Sy ncing
to video and/or SMPTE time code using a
synchronizer” on page 45. A digital audio
synchronizer is required for drift-free SMPTE/
MIDI time code sync. Make sure the Clock Source

CUBASE, NUENDO AND OTHER ASIO SOFTWARE

79

setting in the MOTU PCI Audio Console window
has the appropriate setting for locking the PCI-424
system to the synchronizer. For example, in
Figure 4-25 on page 45, word clo ck is b eing u sed to
resolve a 2408mk3 interface, so the Clock Source
setting is 2408mk3: Word Clock In.

☛ If you have an ADAT sync or a Tascam sync

compatible device, don’t use SMPTE time code.
Instead, use sample-accurate sync as described in
the next section.

Sample-accurate sync with Cubase or Nuendo

Cubase and Nuendo, along with the PCI-424
system and its ASIO 2 driver, provide you with
sample-accurate transfers with ADATs and any
other devices that support standard ADAT sample
address (ADAT Sync).

Similarly, with the help of a MOTU Digital
Timepiece universal A/V synchronizer, Cubase (or
Nuendo) and a 2408mk3-based PCI-424 system
can perform sample-accurate transfers with
Tascam digital recorders.

A sample-accurate transfer is one in which the
original location of the audio is preserved in the
transfer, down to the sample.

For details on how to connect your hardware for
sample-accurate sync, see “Sample-accurate sync”
on page 39. Then, set up Cubase as follows:

1 Choose PCI-424: ADAT as the Audio Clock
Source setting. In Cubase VST, this setting is in the

Audio System Setup window (Audio menu). In
Nuendo or Cubase SX, this setting is in the Device
Setup window (Options menu).

2 Go to Cubase or Nuendo’s Synchronization
window, as shown below:

Cubase VST

Nuendo or Cubase SX

Figure 7-7: Setting up sample-accurate sync via ASIO 2.

3 If you are not using an MMC-compatible

synchronizer (such as a MOTU MIDI

Timepiece AV, Digital Timepiece or Alesis BRC),

choose the settings shown above in Figure 7-7 that

applies to you. In this scenario, transport control is

handled by the ADAT (or other sample-accurate

sync source).

4 If you are using an MMC-compatible

synchronizer (such as a MOTU MIDI

Timepiece AV, Digital Timepiece or Alesis BRC),

set Cubase VST’s Sync Source Timecode Base to

ASIO 2.0 MMC or enable Nuendo’s (or Cubase

SX’s) MIDI Machine Control option. In addition,

choose the appropriate MIDI port for the MMC

synchronizer from VST’s Output menu or Nuendo/

SX’s MIDI machine Control MIDI Output menu. If

you’re using a MIDI Timepiece AV, you can choose

any of its MIDI ports in this menu. Doing so makes

Cubase or Nuendo send the MMC control

messages to the MTP AV (or other MMC device).

In this scenario, transport control is handled by

Cubase or Nuendo itself.

80

CUBASE, NUENDO AND OTHER ASIO SOFTWARE

5 In Cubase VST’s Controls window, enable
SYNC. In Nuendo or Cubase SX, enable (check)
the Sync Online command in the Transport menu.

Figure 7-8: Enabling the SYNC button.

6 Begin playback from the sample-accurate sync
source (ADAT, DA-88, etc.) Transport control is
handled by the sample-accurate sync source.

MONITORING SYSTEM PERFORMANCE

Because it has so many inputs and outputs, the
PCI-424 system pushes the limits of your
computer’s processing power. Keep the VST
Per for man ce w ind ow op en t o keep tab s on the load
on your CPU and disk buffers. If the meters get too
high, you can reduce the load by reducing the
number of inputs and outputs you are working
with. Use the MOTU PCI Audio Console to
uncheck input check boxes and set output source
menus to None.

MIDI MACHINE CONTROL (MMC)

If you have ADATs (or other ADAT Sync­compatible recorders) and a MMC-compatible
ADAT synchronizer like the MIDI Timepiece AV
and Digital Timepiece, you can control everything
from your computer screen with Cubase’s
transport controls and cueing features (like the
playback wiper, etc.)

Similarly, if you have Tascam digital recorders and
a MOTU Digital Timepiece (or other MMC­compatible Tascam synchronizer), you can control
all of your Tascam tape decks (in ABS time) in a
similar fashion from Cubase.

See “Sample-accurate sync with Cubase or
Nuendo” on page 80 for details on how to set this
up.

24-BIT OPERATION

Your PCI424 hardware fully supports Cubase and
Nuendo’s 24-bit recording capabilities. Simply
enable 24-bit operation as instructed in your
Cubase or Nuendo manual. The PCI-424 system
always supplies a 24-bit data stream, and when you
enable 24-bit operation in Cubase or Nuendo, it
simply uses all 24-bits supplied by the PCI-424
hardware.

Cubase VST

Nuendo or Cubase SX

Figure 7-9: Keep the Audio Performance window open to keep tabs
on your computer’s processing power and hard disk performance.

CUBASE, NUENDO AND OTHER ASIO SOFTWARE

81

82

CUBASE, NUENDO AND OTHER ASIO SOFTWARE

CHAPTER

8 Sonar and other WDM software

OVERVIEW

The MOTU PCI WDM Audio Driver provides
standard multi-channel input and output for any
Windows audio program that support multi­channel WDM and Wave drivers.

Installing the MOTU PCI WDM Audio Driver.83

Choosing inputs and outputs . . . . . . . . . . . . . . . .83

Reducing delay when monitoring live inputs . .83

Using Sonar with the PCI-424 system. . . . . . . . .83

Sonar Audio settings. . . . . . . . . . . . . . . . . . . . . . . .84

Other WDM audio compatible software . . . . . .85

Wave support for legacy (MME) software . . . . .85

A note to Sound Forge users . . . . . . . . . . . . . . . . .85

INSTALLING THE MOTU PCI WDM AUDIO DRIVER

The PCI-424 system installer CD installs the
MOTU PCI WDM Audio Driver into Windows for
you. That’s pretty much all the preparation you
need. See chapter 3, “Installing the PCI-424
Windows Software” (page 25).

CHOOSING INPUTS AND OUTPUTS

Use the MOTU PCI Audio Console application to
configure the audio interface inputs and outputs
for your MOTU audio interface. For example, if
you have a 2408mk3 interface, you need to
configure the three 2408mk3 format banks as
desired. You also use the MOTU PCI Audio
Console to make other important 2408mk3
settings, such the 2408mk3’s clock source, and
others.

Figure 8-1: Configure the three banks as you would like to use them in
your WDM- or Wave-compatible audio software. Only activate the
banks you really need, though, to conser ve CPU and PCI bandwidth.

REDUCING DELAY WHEN MONITORING LIVE INPUTS

If you patch a live input (such as MIDI synthesizer)
through a real-time plug-in effect in your audio
software, you might hear a slight delay. There are
several ways to reduce this delay. For details, see
chapter 10, “Reducing Monitoring Latency”
(page 91).

USING SONAR WITH THE PCI-424 SYSTEM

After installing the WDM driver as discussed in
chapter 3, “Installing the PCI-424 Windows
Software” (page 25), and then running the MOTU
PCI Audio Console to configure your 2408mk3
banks as just described above, the 2408mk3’s
inputs wil l appe ar in Sonar. Choose Aud io from the
Options menu, and then click the Drivers tab.

83

Figure 8-2: The PCI-424 system’s inputs and outputs appear in the
Audio Options window under the Drivers tab. If you highlight them,
they appear in the track input and port menus for each track.

SONAR AUDIO SETTINGS

Only a few of Sonar’s audio settings require specific
settings for the PCI-424 system.

Playback/Record Timing Master

In the Audio Options window, under the General
tab, be sure to choose a PCI-424 output and input
for playback and recording timing. It doesn’t
matter which input or output you choose.

Consult your Sonar documentation for the other
settings in the General tab of the Audio Options
window.

Figure 8-3: Make sure you have chosen a PCI-424 input and output

for the playback and record timing master settings.

The Wave Profiler

If you see the alert shown below in Figure 8-4 when

launching Sonar, go to the Audio Options window

(Figure 8-3) and click the Wave Profiler button.

Doing so adjust the DMA buffers, and other

settings, so that Sonar can successfully use all

PCI-424 inputs and outputs.

Figure 8-4: Recommended Advanced settings.

84

SONAR AND OTHER WDM SOFTWARE

OTHER WDM AUDIO COMPATIBLE SOFTWARE

The PCI-424 system can be used with any WDM
audio-compatible audio software. Use the MOTU
PCI Audio Console application to configure
PCI-424 hardware as described earlier in this
chapter in “Choosing inputs and outputs” on
page 83. Then consult the documentation for your
audio software.

WAVE SUPPORT FOR LEGACY (MME) SOFTWARE

The MOTU PCI WDM driver provides legacy
Wave driver support for MME-compatible audio
software. For details, see “Wave support for legacy
(MME) software” on page 70.

A NOTE TO SOUND FORGE USERS

If the Smooth Scroll option under the Options
menu is turned on, you may experience clicks and
pops or other anomalies in audio playback. This
gets worse as you zoom in more to the waveform
while playing. For the best quality playback, turn
this option off.

SONAR AND OTHER WDM SOFTWARE

85

86

SONAR AND OTHER WDM SOFTWARE

CHAPTER

9 Expanding Your PCI-424 System

OVERVIEW

Up to four MOTU PCI audio interfaces can be
connected to a single PCI-424 card for up to 96
simultaneously active inputs and outputs. For
example, if you connect four 2408mk3 interfaces,
you get a total of 232 and 248 physical input and
output connections (respectively) and up to 96
input and output channels. You can freely “mix and
match” any MOTU PCI audio interfaces together
on a single PCI-424 card, including the 24I/O,
HD192, 2408, 2408mkII, 1296, 1224, 24i and 308
models.

The PCI-424 card, with its CueMix DSP engine,
ties all connected audio interfaces together,
allowing them to act as a massive audio routing
matrix for mixing, merging, splitting and routing
to/from all connected inputs and outputs.

MOTU PCI audio interfaces are sold separately as
expanders for any MOTU core system. See your
MOTU dealer for details.

Connecting expansion interfaces. . . . . . . . . . . . .87

Multiple interfaces in the Console. . . . . . . . . . . .87

Enabling banks, or individual ins and outs . . . .88

Working with input and output menus . . . . . . .88

CueMix DSP routing among interfaces . . . . . . .88

Synchronizing multiple interfaces. . . . . . . . . . . .89

Word clock connections are not necessary . . . .89

Sample rate issues . . . . . . . . . . . . . . . . . . . . . . . . . .89

PCI bandwidth issues. . . . . . . . . . . . . . . . . . . . . . .89

CONNECTING EXPANSION INTERFACES

Connect expansion interfaces to the three available
Audio Wire sockets on your core system’s PCI-424
card as shown below in Figure 9-1.

Interface #4

Interface #3

Interface #2

Core system interface (#1)

Figure 9-1: You can connect up to four MOTU PCI audio interfaces to
a single PCI-424 card.

MULTIPLE INTERFACES IN THE CONSOLE

The MOTU PCI Audio Console window displays
the settings for one PCI-424 interface at a time. To
choose which I/O you are looking at, choose it
from the Configure Interface menu as shown below
in Figure 9-2.

Figure 9-2: Choosing which audio interface you are working with in
the MOTU PCI Audio Console window.

87

Enabling banks, or individual ins and outs

Bank enabling, or enabling individual inputs and
outputs, works the same for each interface in the
MOTU PCI Audio Console window. Choose an
interface from the Configure Interface menu
(Figure 9-2) and then configure the banks (or
individual outputs) as usual. See “Interface
settings” on page 68 and “Enable routing” on
page 69 for details.

2408mk3 #1

2408mk3 #2

2408mk3 #3

24I/O (on
Audio Wire
port #4)

Working with input and output menus

With multiple interfaces connected, input and
output menus show all available ports on all
interfaces, as demonstrated below in Figure 9-3. If
interfaces are configured to share the same type of
I/O format (analog, for example), their outputs are
labeled with the bank letter (A, B or C) and
interface name, along with numbered suffixes (e.g.
2408mk3-1, 2408mk3-2, etc.) according to the
order in which they are connected to the PCI-424
card as shown in Figure 9-1 on page 87.

Notice that in the example below, the second
2408mk3 interface is configured for three ADAT
banks, but since no other interface is configured for
the ADAT format, the interface name is not
included in the name of the input or output.

Figure 9-3: Input and output menus show the ports of all connected

interfaces. In this example, there are three 2408mk3 interfaces and

one 24I/O interface.

CUEMIX DSP ROUTING AMONG

INTERFACES

The PCI-424 card, with its CueMix DSP engine,

ties all connected audio interfaces together,

allowing them to act as a massive audio routing

matrix for mixing, merging, splitting and routing

to/from all connected inputs and outputs. You can

route any input to any output, create multiple mix

busses and mix inputs to outputs across all

interfaces. For details, see chapter 11, “CueMix

Console” (page 97).

88

EXPANDING YOUR PCI-424 SYSTEM

SYNCHRONIZING MULTIPLE INTERFACES

The entire PCI-424 system gets its clock from
whatever you choose from the Clock Source menu
in the MOTU PCI Audio Console window.
Synchronization across all connected interfaces is
sample-accurate. All available sync sources on all
connected interfaces are displayed in the menu as
demonstrated below in Figure 9-4.

Figure 9-4: The entire PCI-424 system can be clocked from any sync
source on any connected interface. After you choose a source from
this menu, the entire system, including all connected interfaces,
synchronizes to it with sample-accurate precision. This example
shows three 2408mk3 interfaces and one 24I/O interface.

Word clock connections are not necessary

Each MOTU PCI audio interface in the system gets
its clock from the Audio Wire cable connection to
the PCI-424 card (unless it is the master clock
itself). There is no need to make word clock
connections between interfaces.

SAMPLE RATE ISSUES

While the PCI-424 card can operate at sample rates
as high as 192 kHz, not all MOTU PCI audio
interfaces support the higher rates. When choosing
hi gh samp le rate s (above 4 8 kHz) interf aces that do
not support the rate will be temporarily taken off
line by the system. For complete details, see “Clock
Source” on page 64.

PCI BANDWIDTH ISSUES

Attempting to run 96 channels of 96 kHz audio
input and output (that’s 192 channels total) places
extreme demands on your computer’s PCI bus.
Today’s fastest computers can just barely handle
this much data on their PCI bus. Slower computers
will lower the number of banks you can use at one
time. See “Disabling banks to conserve resources”
on page 68 and “PCI use” on page 69 to learn more
about managing your system’s PCI resources.

EXPANDING YOUR PCI-424 SYSTEM

89

90

EXPANDING YOUR PCI-424 SYSTEM

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 mic input signal through a
reverb 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
you r comput er, from w hen it first enters a 2408mk 3
input, passes through the 2408mk3 hardware into
the computer, through your host audio software,
and then back out to a 2408mk3 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 PCI-424’s CueMix DSP feature
to patch the input directly to your monitor outs via
the PCI-424 audio hardware. This is just like
bussing inputs to outputs in a digital mixer. For
details, see “CueMix DSP hardware monitoring”
on page 94.

If you do need to process a live input with plug-ins,
or if you are playing virtual instruments live
through your MOTU PCI audio hardware, you can
significantly reduce latency — and even make it
com pletely i naudible , re gard less of w hat host audio
application software you use. This chapter explains
how.

Monitoring live input. . . . . . . . . . . . . . . . . . . . . . . 92

The samples Per Buffer setting. . . . . . . . . . . . . . . 92

Lower latency versus higher CPU overhead . . . 93

Transport responsiveness . . . . . . . . . . . . . . . . . . . 94

Effects processing and automated mixing. . . . . 94

CueMix DSP hardware monitoring . . . . . . . . . .94

Two methods for controlling CueMix DSP . . . . 94

Controlling CueMix DSP from your audio

software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94

Controlling CueMix DSP from within Cubase. 94

Other ASIO-compatible host software. . . . . . . . 95

Using CueMix DSP with WDM- or Wave-

compatible software . . . . . . . . . . . . . . . . . . . . . . . .95

Using CueMix Console . . . . . . . . . . . . . . . . . . . . .95

91

MONITORING LIVE INPUT

There are two ways to monitor live audio input
with a MOTU PCI-424 system: 1) through the
computer or 2) via CueMix™ DSP hardware
monitoring. Figure 10-1 on page 92 below shows
method 1, which allows you to add effects
processing such as reverb and guitar amp effects
via plug-ins in your audio software. See the next
section, “Samples Per Buffer” for details about how
to reduce — and possibly eliminate — the audible
monitoring delay that the computer introduces.

monitoring” later in this chapter for details on how

to use CueMix DSP with your audio software, or

with the included CueMix Console software.

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 vocals to both the

computer (for a bit of reverb) and mix that

processed signal on the main outs with dry vocals

from CueMix DSP.

Figure 10-2 shows how to use CueMix™ DSP
hardware-based monitoring, which lets you hear
what you are recording with no monitoring delay
and no computer-based effects processing. (You
can add effects later, after you’ve recorded the live
input as a disk track.) See “CueMix DSP hardware

2. Mic signal goes immedi­ately to the computer (dry,
with no effects processing).

PC

THE SAMPLES PER BUFFER SETTING

As shown in Figure 10-3, the Samples Per Buffer

setting determines the size of the buffers used by

the PCI-424 drivers to transfer audio to and from

the PCI-424 hardware. This setting can be used to

reduce latency.

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

3. Mic signal is ‘patched thru’
back to the audio interface
with reverb or other plug-in
effects, if any.

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

Figure 10-1: There are two ways to monitor live audio inputs with a PCI-424 system: 1) through the computer or 2) via CueMix™ DSP hardware
monitoring. This diagram shows method 1 (through the computer). When using this method, use the PCI-424’s ‘Samples Per Buffer’ setting to
reduce the slight delay you hear when monitoring the live input, but don’t lower it too much, or your computer will act sluggish.

92

REDUCING MONITORING LATENCY

Figure 10-3: Lowering the ‘Samples Per Buffer’ setting in the MOTU
PCI Audio Console Window reduces patch thru latency. But doing so
increases the processing load on your computer, so keep an eye on
the Performance Monitor window in your host audio software.

For details on how to access the MOTU PCI Audio
Console window show above in Figure 10-3, see
“Accessing the PCI Audio Console window” on
page 63.

The Samples Per 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

Lower latency versus higher CPU overhead

The Samples Per 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
Samples Per Buffer, you reduce patch thru latency,
but significantly increase the overall processing
load on your computer, leaving less CPU
bandwidth for things like real-time effects
processing. On the other hand, if you increase the
Samples Per Buffer, you reduce the load on your
computer, freeing up bandwidth for effects, mixing
and other real-time operations.

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,

2. CueMix™ DSP immediately patches the
live mic signal directly to the main outs (or
other output), completely bypassing the
computer (dry, with no effects processing).

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.

Figure 10-2: This diagram shows the signal flow when using CueMix™ DSP no-latency monitoring. Notice that this method does not allow you
to process the live input with plug-ins in your audio software while it is being monitored. You can, however, add effects later — after recording
the live input as a disk track. CueMix™ DSP lets you hear what you are recording with no delay and no computer-based effects.

REDUCING MONITORING LATENCY

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

93

choose a higher Samples Per Buffer setting.
Depending on your computer’s CPU speed, you
might find that settings in the middle work best
(256 to 2048).

Transport responsiveness

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

On the other hand, if you really need to use the

mixing and processing provided by your audio

software, you should not use CueMix DSP. Instead,

reduce latency with the Samples Per Buffer setting

(as explained earlier in this chapter).

TWO METHODS FOR CONTROLLING

CUEMIX DSP

If you are using ASIO-compatible audio software,

there are two ways to control CueMix DSP:

■ From your ASIO-compatible host software

■ From CueMix Console

Effects processing and automated mixing

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

CUEMIX DSP HARDWARE MONITORING

The PCI-424 card has a more direct method of
patching audio through the system. This method is
called CueMix DSP. When enabled, CueMix
activates hardware patch-thru in the PCI-424 card
itself. CueMix DSP has two important benefits:

■ First, it completely eliminates the patch thru

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

■ Secondly, CueMix DSP imposes no strain on the

computer.

The trade-off, however, is that CueMix DSP
bypasses your host audio software. Instead, live
audio inputs are patched directly through to
outputs in the PCI-424 card itself and are mixed
with disk tracks playing back from your audio
software. This means that you cannot apply
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 DSP is the way to go.

You can even use both methods simultaneously.

Controlling CueMix DSP from your audio

software

Follow the directions below in the section that

applies to you.

Controlling CueMix DSP from within Cubase

To t urn on Cue Mix in Cubase VST, enable the ASIO

Direct Monitor check box in the Monitoring section

of the Audio System Setup window (Figure 7-2 on

page 76).

Once enabled, CueMix DSP monitoring is

controlled with Cubase’s input monitoring

features: when you enable monitoring for a track,

the track’s input is routed directly to its output

fader (via CueMix DSP in the PCI-424 hardware).

This connection is made “under the hood”, which

means that you won’t see it in CueMix Console.

However, CueMix DSP monitoring connections

made inside Cubase will dovetail with any other

mixes you’ve set up in CueMix Console. For

example, if monitoring is enabled for track

assigned to an output pair that is already being

used in CueMix Console for an entirely separate

mix bus, the Cubase-enabled audio will simply be

merged with the CueMix Console mix bus output.

94

REDUCING MONITORING LATENCY

☛ Note t o PC I-3 24 u sers who have upg rad ed t o a

PCI-424 system: CueMix DSP monitoring in
Cubase no longer affects the settings in CueMix
Console. Instead, you now enjoy the benefits of
CueMix DSP monitoring in Cubase, plus separate,
independent mixing under CueMix Console,
thanks to the much more powerful CueMix DSP
engine.

Other ASIO-compatible host software

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

Using CueMix DSP with WDM- or Wave­compatible software

Run CueMix Console (chapter 11, “CueMix
Console” (page 97)) and use it to route live inputs
directly to outputs, control their volume and
panning, etc. If necessary, you can save your
CueMix Console setup with your project file.

Using CueMix Console

If you are not u sing ASIO com pati ble s oft ware , or if
your host audio software does not support ASIO’s
direct hardware monitoring features, you can set
up your monitor mix in CueMix Console.

CueMix Console allows you to set up monitor
mixes, or any other desired routing configurations,
that are independent of your host audio software.
See chapter 11, “CueMix Console” (page 97).

REDUCING MONITORING LATENCY

95

96

REDUCING MONITORING LATENCY

CHAPTER

11 CueMix Console

OVERVIEW

CueMix Console provides access to the flexible
on-board mixing features of the PCI-424 system.
CueMix lets you route any combination of inputs to
any stereo output pair. These mixes can be set up
entirely independently of your host audio software.
CueMix allows you to set up as many separate
mixes as there are stereo outputs in your system.
You can also save and load mix configurations.

CueMix Console can be used independently of
host audio software, or together with it. CueMix
mixing dovetails with the direct monitoring
(hardware patch thru) features of your host audio
software, allowing you to seemlessly mix in both
environments.

Message

center

Global mute/trim

Input name

Input scroll bar

Input mute/solo

Input pan

Advantages of CueMix monitoring. . . . . . . . . . . 98

CueMix Console installation . . . . . . . . . . . . . . . . 98

Cuemix Console basic operation. . . . . . . . . . . . . 98

Working with a mix . . . . . . . . . . . . . . . . . . . . . . . .98

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

Copying & pasting (duplicating) entire mixes .99

Message center. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Global mute and trim. . . . . . . . . . . . . . . . . . . . . . . 99

Saving and loading CueMix configurations . . 100

Managing CueMix DSP resources. . . . . . . . . . . 100

CueMix Console examples . . . . . . . . . . . . . . . . . 101

DSP and PCI meters

Boost (green)
Clip (red)

Solo indicator

Master mute
(enable/disable)

Mix selector

Input volume

Disabled input

Mix name

Input section

Figure 11-1: CueMix Console is a virtual mixer that gives you control over the PCI-424 card’s on-board mixing features.

Master fader

Mix level

Output level

Drag the edge of
the window to
view more inputs.

97

ADVANTAGES OF CUEMIX MONITORING

CueMix Console provides several major
advantages over monitoring live inputs through
your host audio software:

■ CueMix has no buffer latency. Thanks to the

PCI-424 card’s DSP chip, CueMix provides the
same throughput performance as a digital mixer.

■ CueMix imposes absolutely no processor drain

on the computer’s CPU.

■ CueMix routing can be maintained

independently of individual software applications
or projects.

Viewing one mix at a time

CueMix Console displays one mix at a time. To

select which mix you are viewing, choose it from

the Mix Selector menu above the master fader, as

shown in Figure 11-1. The mix name appears in the

tab at the bottom of the window. Double-click the

name to change it.

Each mix is completely independent

Each mix has its own settings. Settings in one mix

will not affect another. For example, if an input is

used in one mix, it will still be available in other

mixes. In addition, inputs can have a different

volume, pan, mute and solo setting in each mix.

CueMix Console does not provide effects
processing. For information about using your
audio software’s native plug-ins together with
CueMix, see chapter 10, “Reducing Monitoring
Latency” (page 91).

CUEMIX CONSOLE INSTALLATION

CueMix Console is installed with the rest of your
PCI-424 software.

CUEMIX CONSOLE BASIC OPERATION

The CueMix console is simple to operate, once you
understand these basic concepts.

One mix per stereo output pair

CueMix provides one mix for every physical stereo
output pair in your system. For example, if you
have a core 2408mk3 system with all three banks
enabled for 8-channel I/O (using any available
format), your system has 24 outputs. Therefore,
CueMix Console provides you with 12 mixes (12
stereo output pairs). Each mix is identified by its
stereo outputs (e.g. Analog 1-2).

Many inputs to one output pair

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

Widening the CueMix Console window

To view more input faders at once, drag the right-

hand edge of the window to the right.

WORKING WITH A MIX

Each mix has the following components:

■ A stereo output with master fader

■ Name

■ Master mute (to enable/disable the entire mix)

■ Any number of mono or stereo inputs

■ Pan, volume, mute and solo for each input

These elements are visually grouped together in the

lightly shaded area in the lower half of the CueMix

Console window.

Choosing a mix

To view mix, choose it from the Mix Selector menu

above the master fader, as shown in Figure 11-1.

The mix name appears in the tab at the bottom of

the window.

Naming a mix

Choose the mix from the Mix Selector menu, and

then double-click the name tab below the channel

strip section (Figure 11-1) to type in a new name.

98

CUEMIX CONSOLE

Master mute

The master mute button (Figure 11-1) temporarily
disables (silences) the mix.

area belong to the mix currently being viewed.
Note that an input can have different settings in
different mixes.

Master fader

The master fader (Figure 11-1) 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.

Mix and Output level meters

There are two sets of level meters to the right of the
master fader: MIX and OUT. The MIX meters
show you the overall mix output. The OUT level
meters show you the level of the physical outputs
for the mix, which may include audio from your
host audio software. Use the CLEAR CLIPs button
to clear the clip indicators on these meters.

Input section

The channel strips to the left of the master fader
represent each input in your PCI-424 system. Use
the input scroll bar to view additional inputs. All
inputs currently available on all connected
interfaces will be available in this scrollable section
of the window.

Input mute/solo

To add an input to a mix, or remove it, click its
MUTE button. To solo it, use its SOLO button. To
toggle these buttons for a stereo pair, hold down
the control key while clicking either channel. The
Solo indicator LED (Figure 11-1) lights up when
any input is soloed (including inputs that may
currently be scrolled off-screen).

☛ The Global Mute buttons above the channel

strips (just below the message center) enable or
disable the input globally. For details, see “Global
mute and trim” on page 99.

Input volume and pan

Use the input fader and pan knob (Figure 11-1) to
adjust these settings for the input in the mix. Again,
all settings within the gray-shaded channel strip

To adjust the volume or panning for a stereo input
pair, hold down the control key while dragging the
fader or knob for either the left or right input.

SHORTCUTS

Hold down the following modifier keys as
shortcuts:

Shortcut Result

Shift key Applies your action to all inputs in the mix.

Control key Applies your action to the stereo input pair

Alt key Applies your action to all busses

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

center, unity gain, etc.)

COPYING & PASTING (DUPLICATING) ENTIRE MIXES

To copy and paste the settings from one mix to
another:

1 Select the source mix from the Mix Selector
menu (Figure 11-1) and choose Copy from the file
menu (or press control-C).

2 Choose the destination mix from the Mix
Selector and choose Paste from the file menu (or
press control-V).

MESSAGE CENTER

The Message Center displays fly-over help for items
in the CueMix Console window, as well as
information about the current PCI bus usage in
your computer. It also displays messages regarding
the overall operation of the PCI-424 system.

GLOBAL MUTE AND TRIM

The MUTE and trim controls at the very top of the
CueMix Console window (Figure 11-1) affect each
input globally, across all mixes and for audio being
routed to the computer. For example, if you

CUEMIX CONSOLE

99

globally mute an input, it is temporarily muted in
all mixes, and your host software will not receive
any audio from that input, either.

Up to 12 dB of boost with the global trim

The global trim knob for each input (Figure 11-1)
provides up to 12 dB of boost. This setting is
applied globally for the input. For zero boost, turn
the knob all the way down until the green boost
LED becomes dark.

Input clip indicator

The LED to the right of each input’s global trim
knob (Figure 11-1) turns red when clipping occurs
on the input and stays yellow for a few seconds.

Clear Clips

This button clears the “over” LEDs on the front
panel of an HD192 or 1296 interface. It also clears
the (temporary) clip LEDs in CueMix Console.

SAVING AND LOADING CUEMIX CONFIGURATIONS

The Save and Load buttons above the master fader
allow you to save CueMix console configurations.
This can be particularly convenient if you have
multiple MOTU audio interfaces connected to
your system and have several operating scenarios
in regards to managing live input mixing. Click the
Save button to save the current configuration; click
the Load button to open an existing configuration
that you have previously saved on disk.

MANAGING CUEMIX DSP RESOURCES

CueMix DSP’s resources are not unlimited: every
time you enable an input, it requires a small
amount of the PCI-424 card’s DSP bandwidth. At
the time of this writing, CueMix DSP is still being
tested and optimized. It appears to be able to

support at least 96 total inputs (across any/all

mixes), and perhaps more. For example, you could

enable 12 mixes and assign up to 8 inputs each, or 6

mixes with 16 inputs each, or any combination that

totals 96 faders.

Grayed out faders

If you exceed CueMix DSP’s bandwidth limit, one

input will become temporarily disabled for each

input you enable over the limit. CueMix DSP

inp uts t hat a re enabled f rom w ithin you r MOTU or

ASIO ho st software (see “Control ling CueMix DSP

from your audio software” on page 94) are given

highest priority, followed by CueMix Console

inputs, which gray out as shown in Figure 11-1

when they are temporarily disabled. In addition, a

disabled fader displays its level readout in red.

DSP meter

The DSP meter in CueMix Console gives you a

rough idea of how much CueMix DSP bandwidth

is used up and how mu ch is st ill available. If you are

using a lot of CueMix DSP inputs, keep your eye on

this meter for an idea of when you’ll run out.

PCI Meter

The PCI meter gives you a rough idea of how much

PCI bandwidth is used up and how much is still

available. The PCI-424 card often shares this

bandwidth with other PCI cards, or other

components in your computer. The light blue

portion indicates overall PCI use (from all devices

using the bus), while the dark blue portion

indicates how much bandwidth the PCI-424 card is

using. If this meter gets close to peaking, disable

other PCI devices, or disable banks and/or audio

channels in your PCI-424 system using the MOTU

PCI Audio Console.

100

CUEMIX CONSOLE