MOTU PCI-424 User Manual

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Page 1

MOTU PCI

424

User’s Guide for Macintosh

™

Mark of the Unicorn, Inc.

1280 Massachusetts Avenue Cambridge, MA 02138 Business voice: (617) 576-2760 Business fax: (617) 576-3609 Tech support phone: (617) 576-3066 Tech support fax: (617) 354-3068 Tech support email: techsupport@motu.com Web site: http://www.motu.com

Page 2

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

Adapter

Make sure this is connected to a known ground.

Two-prong receptacle

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

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

Page 3

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.

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

License

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

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

Term

Your license to use the program and documentation will automatically terminate if you fail to comply with the terms of this Agreement. If this license is terminated you agree to destroy all copies of the program and documentation.

Limited Warranty

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

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

Update Policy

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

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

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

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

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

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

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

MOTU, AudioDesk and Mark of the Unicorn are trademar ks of Mark of the Unicorn, Inc.

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

• Relocate or reorient the receiving antenna

• Increase the separation between the equipment and the receiver

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

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

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

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

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CHAPTER

Contents

Quick Reference: PCI-424 Audio Card

Quick Reference: 2408mk3 I/O Front Panel

Quick Reference: 2408mk3 I/O Rear Panel

Quick Reference: 24I/O Front Panel

Quick Reference: 24I/O Rear Panel

Quick Reference: HD192 I/O Front Panel

Quick Reference: HD192 I/O Rear Panel

Quick Reference: Expansion Interfaces

Quick Reference: PCI Audio Console Window

About the PCI-424 System

Packing List and Macintosh System Requirements

Installing the PCI-424 Hardware

Installing the PCI-424 Macintosh Software

2408mk3 Front Panel Operation

MOTU PCI Audio Console

Digital Performer

AudioDesk

Cubase, Nuendo and other ASIO Software

Sound Manager

101

Expanding Your PCI-424 System

Reducing Monitoring Latency

105

111

CueMix Console

117 MOTU SMPTE Console

121 Troubleshooting

127 Index

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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).

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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.

Then press the SET

button repeatedly to

make the desired setting.

only when the 2408mk3 is

operating as a stand-alone

format converter (no

2408mk3-compatible

software is running on the

computer or the computer

is turned off). When the

You can use the SET button

When the 2408mk3 is not under

PCI control (no 2408mk3-

compatible software is running,

or the computer is turned off),

the 2408mk3 operates as a

2408mk3 is in stand-alone

stand-alone format converter,

and you can use the SELECT and

SET buttons to change the CLOCK,

SOURCE, and BOUNCE settings.

When the 2408mk3 is

under control of the

computer, press the

operation, press the SET

button repeatedly to cycle

through the current CLOCK,

SOURCE or BOUNCE

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

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

successfully reading address

(time code) information.

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.

Bounce

When the 2408mk3 is operating as a stand-

Source

When the 2408mk3 is operating as a

Clock

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

alone format converter (no 2408mk3-

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

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

activate (illuminate) the BOUNCE LED. Press

the SET button repeatedly to make the

desired bounce setting. Your choices are:

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

(1-2)

■ No shifting

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.

(3-4)

■ Shift all tracks down by two

■ Shift all tracks down by four

■ Analog (all inputs at +4)

■ Analog (all inputs at -10)

■ Analog (mixed input levels)

its own internal clock.

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

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

(5-6)

(7-8)

■ Shift all tracks down by six

■ The stereo SPDIF input

■ ADAT Bank A

■ ADAT Bank B

■ ADAT Bank C

■ ADAT banks A, B and C

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

2408mk3 is in stand-alone mode.

format being recorded. For example, if you are converting

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

Tracks that are shifted lower than track 1

wrap around to track 8 and shift down from

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

choices as shown above for

ADAT)

■ Tascam (with the same bank

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

The setting for Analog with mixed

input levels uses the input level

settings you’ve speciﬁed with the

MOTU PCI Audio Console (by clicking

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

the ADAT optical digital input.

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

received on its VIDEO IN (BNC) connector.

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

track. For example, you can copy track 4 to

the Interface Options button).

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

SMPTE time code on an analog input.

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

Page 8

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

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

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

Connect up to three Tascam

digital recorders or other TDIF

compatible digital I/O devices to

these three connectors.

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 41 and chapter 14, “MOTU SMPTE Console” (page 117).

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

cable provided with

your 2408mk3 system.

software, you can switch the word

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 42

and chapter 14, “MOTU SMPTE

Console” (page 117).

Page 9

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.

Page 10

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 66), 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

Quick Reference: 24I/O Rear Panel

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 72.

Page 11

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.

19-segment ladder LEDs

for the twelve XLR analog

outputs.

19-segment ladder LEDs

for the twelve XLR analog

inputs.

Quick Reference: HD192 I/O Front Panel

When the HD192 system has no clock

signal for some reason, the ‘no clock’

LED illuminates. Check your cables and

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,

clock settings in the software.

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).

Page 12

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 73.

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

either use it as the clock source for the entire

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

For details, see “HD192 AES/EBU” on page 31.

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

Audio Wire cable provided

with your HD192 system.

word clock source, separate from the

HD192 system itself, which slaves to

the ‘System Word’ input.

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’s twelve analog inputs are balanced,

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

enhanced multibit A/D converters capable of

44.1, 48, 88.2, 96, 176.4 and 192 kHz recording. The HD192’s twelve analog outputs are balanced,

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

enhanced multibit A/D converters capable of

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

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).

Page 13

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 11, “Expanding Your PCI-424 System” (page 101).

SYNCHRONIZATION AND CLOCK SOURCE

For details about synchronizing an expanded system, see “Synchronizing multiple interfaces” on page 103.

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.

Page 14

Page 15

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).

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

Refresh checks to make sure that the computer knows about all connected MOTU PCI interfaces.

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 page 69.

The ‘Monitor Outputs’ menu determines which outputs the PCI-424’s Sound Manager driver will use.

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 72.

How to open this window

The MOTU PCI Audio Console Window gives you complete control over the settings in your PCI-424 hard disk recording system. There are several ways to access the PCI Audio Console window. But the window is the same, regardless of how you access it.

■ From the Mac OS desktop, run MOTU

PCI Audio Console (the stand-alone applet for the 2408mk3)

■ From within AudioDesk™ or Digital

Performer™, go to the Basics menu and choose MOTU Audio System

options> Conﬁgure Hardware Driver

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 output’ check boxes refer to input and output to and from the computer. If checked, inputs and outputs will be available in the menus of AudioDesk, Digital Performer, or other host audio applications that support the 2408mk3.

The stand-alone Console window, above, is the same as the “Conﬁgure Hardware Driver” dialog found in AudioDesk and Digital Performer (in their Basics menu).

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

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 channels (two stereo pairs).

Page 16

Page 17

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.

A note about Mac OS X

This manual covers the operation of the PCI-424 system under Mac OS 9. Visit www.motu.com for the latest information about using the PCI-424 system with Mac OS X.

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

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

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

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

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.

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

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

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

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

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

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

Page 18

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, re gar dle ss of wh at aud io so ftwa re y ou 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 connec tors on it s rear pa nel and s tatus 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

ABOUT THE PCI-424 SYSTEM

Page 19

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 deck without sw apping cables w ith other 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 generate tim e code . If you prefer to use 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

Page 20

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.

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

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.

■ 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

ABOUT THE PCI-424 SYSTEM

Page 21

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 play back 16-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

Page 22

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.

ABOUT THE PCI-424 SYSTEM

Page 23

CHAPTER

2 Packing List and Macintosh 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

MACINTOSH SYSTEM REQUIREMENTS

The PCI-424 system requires the following Macintosh system:

■ A G3/500 or G4 Power Macintosh or faster

■ At least 128 Mb (megabytes) of RAM (512 Mb or

more is recommended)

■ One available PCI slot

■ Mac OS version 9 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!

There is also an AudioDesk software registration card found at the beginning of your AudioDesk manual. Please be sure to ﬁll out and return this card as well, so that you will be eligible to receive on-line technical support email and announcements about AudioDesk software enhancements as soon as they become available.

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

Page 24

PACKING LIST AND MACINTOSH SYSTEM REQUIREMENTS

Page 25

CHAPTER

3 Installing the PCI-424 Hardware

OVERVIEW

Try the Setup Wizard . . . . . . . . . . . . . . . . . . . . . . .25

Install the PCI-424 audio card . . . . . . . . . . . . . . .26

Connect the audio interface . . . . . . . . . . . . . . . . .27

2408mk3 input & output connections . . . . . . . .28

24I/O input and output connections. . . . . . . . . .30

HD192 input and output connections . . . . . . . .31

Make sync connections . . . . . . . . . . . . . . . . . . . . .35

Do you need a synchronizer? . . . . . . . . . . . . . . . .36

Sample-accurate sync. . . . . . . . . . . . . . . . . . . . . . .37

Sample-accurate ADAT sync. . . . . . . . . . . . . . . . .38

Sample-accurate ADAT sync with no

synchronizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Sample-accurate Tascam sync . . . . . . . . . . . . . . .40

Syncing to SMPTE time code . . . . . . . . . . . . . . . .41

Syncing to video . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Syncing to video and/or SMPTE time code using

a synchronizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

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.

Syncing to ADAT or Tascam devices using

SMPTE time code . . . . . . . . . . . . . . . . . . . . . . . . . .44

Syncing to a DA-88/98 time code track . . . . . . .45

Syncing ADAT ‘lightpipe’ devices. . . . . . . . . . . . .46

Syncing Tascam ‘TDIF’ devices . . . . . . . . . . . . . .47

Syncing SPDIF devices. . . . . . . . . . . . . . . . . . . . . .48

Syncing word clock devices. . . . . . . . . . . . . . . . . .49

Sync for 2408mk3 stand-alone operation . . . . .50

Syncing large systems. . . . . . . . . . . . . . . . . . . . . . .51

Page 26

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.

5 Before removing the PCI-424 card from it’s anti-

static bag, touch the power supply inside your computer to discharge any static electricity that may have built up on you.

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.

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

7 Gently but ﬁrmly insert the card into any available PCI slot.

9 Place the cover back on your computer.

10 Reconnect the power cord to the computer

before proceeding.

INSTALLING THE PCI-424 HARDWARE

Page 27

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 3-1.

2 Plug the other end of the Audio Wire cable into the audio interface as shown below in Figure 3-1.

Step 1

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

Step 2

2408mk3 interface

24I/O interface

HD192 interface

Figure 3-1: Connecting the audio interface to the PCI-424 audio card.

INSTALLING THE PCI-424 HARDWARE

Page 28

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 optical de vice a nd Tasc am TDIF dev ice to the sa me 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 mai n outputs, as well as the DAT SPDIF 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 72.

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 3-3: 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 3-2: You can connect up to three ADAT optical devices, three Tascam TDIF devices, eight analog and two SPDIF devices to the 2408mk3.

INSTALLING THE PCI-424 HARDWARE

Page 29

2408mk3 interface

Bank A Bank B Bank C

Mixer

(ADAT optical)

Figure 3-4: 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 3-5: 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 72.

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), also with no 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 processor 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 12, “Reducing Monitoring Latency” (page 105).

INSTALLING THE PCI-424 HARDWARE

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24I/O INPUT AND OUTPUT CONNECTIONS

Here are a few things to keep in mind when m aking 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 72.

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 29. 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 3-6: You can connect up to 24 analog inputs and outputs to the 24I/O.

INSTALLING THE PCI-424 HARDWARE

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HD192 INPUT AND OUTPUT CONNECTIONS

Here are a few things to keep in mind when m aking 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).

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.

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 29. 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.

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 both input and output. In addition, the AES/EBU section has its own clo ck cr ystal, allow ing it to run at a completely 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 3-7: You can connect up to 12 analog inputs and outputs, plus stereo AES/EBU, to the HD192.

INSTALLING THE PCI-424 HARDWARE

Page 32

■ Trans fer digi tal audi o in to or o ut o f t he H D192 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 35.

Master

Slave

Figure 3-8: 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 3-9, 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 3-9: 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 73.

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.

INSTALLING THE PCI-424 HARDWARE

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

AES/EBU input with rate conversion

Master

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 OUT

AES/EBU IN

Slave

Figure 3-11: 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 3-12: 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 3-10: 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 In p ut’ . T h es e op t io ns, s how n b el ow i n Figure 3-13, are brieﬂy summarized in the following sections. For further details, see “HD192 interface options” on page 73.

Page 34

Figure 3-13: 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 3-14: 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 AES/ EBU out put r ate nee ds to be different than the HD192 system clock rate. When you choose one of these rates, an additional option appears called Fixed Frequency, 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 73.

☛ 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 3-14. Then, choose AES Word In from the AES Output Clock menu (Figure 3-13 above).

INSTALLING THE PCI-424 HARDWARE

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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 reference such a s SM PTE time 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 will be using only analog inputs and out puts, and you have no plans to synchronize your PCI-424 system to SMPTE time code, you don’t need to make any sync connections. You can skip this section and proceed to chapter 4, “Installing the PCI-424 Macintosh Software” (page 53). After you install the 2408mk3 software, you’ll open the PCI Audio Console Window and set the Clock Source setting to Internal as shown below in Figure 3-15. For details, see chapter 6, “MOTU PCI Audio Console” (page 65).

Figure 3-15: 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. Otherwise, you’ll hear clicks, pops, and distortion in the audio — or perhaps no audio at all.

Not phase-locked Phase-locked

Device A

Device B

Figure 3-16: 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

Slave

Master

Slave Slave

■ 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 3-16).

■ 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

Figure 3-17: To maintain phase-lock between the PCI-424 system and other digital audio devices connected to it, choose a clock master.

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.

Page 36

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 AudioDesk, Digital Performer, or other 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 39. 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 37. If you are simply using the stand-alone recorder as a way to capture live tracks that you then transfer in one pa ss into th e co mput er, no sy nchron ize r is requi red 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 46.

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 suppor t 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 (like Digital Performer and AudioDesk), 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 (like Digital Performer and AudioDesk), 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.

INSTALLING THE PCI-424 HARDWARE

Page 37

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 3-18 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 AudioDesk (or any other sampleaccurate 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 wi ll not be affected in any way by the process of transferring it between the PCI-424 system and the recorder.

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 locate all 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.

Is your audio software sample-accurate?

Sample-accurate locating is only possible with software that supports this feature, such as

Figure 3-19: AudioDesk and Digital Performer support sampleaccurate transfers with Alesis and Tascam modular digital tape decks and hard disk recorders.

AudioDesk or Digital Performer. For third-party software, sample-accurate performance (if it’s supported) is achieved through the PCI-424’s ASIO Version 2 driver.

Sample

Sync format Software Synchronizer

ADAT AudioDesk, Cubase,

Tascam (and/or ADATs)

Figure 3-18: 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.

or Digital Performer

AudioDesk, Cubase, or Digital Performer

MIDI Timepiece AV Yes Yes Yes

Digital Timepiece Yes Yes Yes

BRC (or any MMC capable ADAT synchronizer)

Digital Timepiece Yes Yes Yes

accurate locating

Yes Yes Yes

Transport control from computer

Continuous sync to SMPTE / MTC

INSTALLING THE PCI-424 HARDWARE

Page 38

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 3-20. 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.

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 (AudioDesk, Digital Performer or other sample-accurate software).

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

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

☛ For ADAT optical digital mixers, see “Syncing

ADAT ‘lightpipe’ devices” on page 46.

In AudioDesk or Digital Performer:

1. Choose Receive Sync the Basics menu.

2. Choose the Sample-accurate option shown to the left.

Macintosh computer running AudioDesk, Digital

Performer or other sample-accurate software

USB cable (or other bi-directional MIDI

connection) bearing MMC transport

commands from AudioDesk or

Digital Performer to the Digital Timepiece

(or other synchronizer)

PCI-424 card ADAT Sync In

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

ADATs

or ADAT SYNC-compatible recorders

Digital Timepiece, MIDI Timepiece AV, Alesis BRC or

any other MMC-compatible ADAT synchronizer

ADAT

Sync Out

ADAT

sync cables

Sync In

Sync Out

Sync In

Sync Out

Sync In

Sync Out

etc.

✓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).

To set the PCI-424 hardware clock source for sample-accurate sync:

1. Choose MOTU Audio System>Conﬁgure Hardware Driver from the Basics menu in AudioDesk or Digital Performer, or run the MOTU PCI Audio Console application.

2. Choose PCI-424: ADAT from the Clock Source menu as shown to above.

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

For sample-accurate sync settings in Cubase, see “Sampleaccurate sync with Cubase or Nuendo” on page 95.

Tas c am

Sync Out

Optional

Tascam sync

chain

AudioDesk automatically scans the DTP or MTP AV for Alesis and Tascam recorders, and they appear here. Just make sure you have the DTP or MTP AV in your FreeMIDI setup.

The above is also true for any version of Digital Performer later than 2.41.

For Dig ital Performer 2.41 or earlier, see the Digital Timepiece manual chapter called “Digital Timepiece and Performer”.

In AudioDesk or Digital Performer, turn on MIDI Machine Control by pressing this button (to make the arrow black). This brings on line all the tape decks connected to the DTP or MTP AV.

Figure 3-20: Connections for sample-accurate ADAT sync.

INSTALLING THE PCI-424 HARDWARE

Page 39

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 AudioDesk, Digital Performer or other sampleaccurate 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 ADATcompatible recorder.

In AudioDesk or Digital Performer:

1. Choose Receive Sync from the Basics menu.

2. Choose the Sample-accurate option shown to the left.

Macintosh computer running AudioDesk, Digital

Performer or other sample-accurate 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 (AudioDesk, Digital Performer 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.

To set the PCI-424 hardware clock source for sample-accurate sync:

1. Choose MOTU Audio System>Conﬁgure Hardware Driver from the Basics menu in AudioDesk or Digital Performer, or run the MOTU PCI Audio Console application.

2. Choose PCI-424: ADAT from the Clock Source menu as shown to above.

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

PCI-424 card ADAT Sync In

or ADAT SYNC-compatible recorders

Figure 3-21: Sample-accurate sync between AudioDesk or Digital Performer 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 AudioDesk or Digital Performer:

1. Make sure that Slave to External Sync is checked in the Basics menu.

2. Click the play or record button. The software will then wait for you to start your ADAT.

3. Press the Play button on the front panel of your ADAT to initiate playback or recording.

For sample-accurate sync settings in Cubase, see “Sampleaccurate sync with Cubase or Nuendo” on page 95.

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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 recorders , see page 38. 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 45.

In AudioDesk or Digital Performer:

1. Choose Receive Sync from the Basics menu.

2. Choose the Sample-accurate option shown to the left.

Macintosh computer running

AudioDesk or Digital Performer

USB cable (or other bi-directional MIDI

communication) bearing

MMC transport commands from

AudioDesk or

Digital Performer

PCI-424 card ADAT Sync In

Digital Timepiece or any other

Optional ADAT

sync chain

(See page 38)

Figure 3-22: Connections for sample-accurate sync between one or more Tascam recorders and a 2408mk3 interface.

MMC-compatible Tascam synchronizer

ADAT

Sync out port

Tascam Decks

Sync Out

Sync In

Tas c am

Sync Out port

Tas c am

sync cables

etc.

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 (AudioDesk, Digital Performer 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).

To set the PCI-424 hardware clock source for sample-accurate sync with Tas c am :

1. Choose MOTU Audio System>Conﬁgure Hardware Driver from the Basics menu in AudioDesk or Digital Performer, or run the MOTU PCI Audio Console application.

2. Choose PCI-424: ADAT from the Clock Source menu as shown to above.

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

For sample-accurate sync settings in Cubase, see “Sample-accurate sync with Cubase or Nuendo” on page 95.

Set the Digital Timepiece sync mode to Internal.

AudioDesk automatically scans the DTP or MTP AV for Alesis and Tascam recorders, and they appear here. Just make sure you have the DTP or MTP AV in your FreeMIDI setup.

The above is also true for any version of Digital Performer later than 2.41.

For Digital Performer

2.41 or earlier, see the Digital Timepiece manual chapter called “Digital Timepiece and

In AudioDesk or Digital Performer, turn on MIDI Machine Control by pressing this button (to make the arrow black). This brings “on line” all the tape decks connected to the DTP or MTP AV.

INSTALLING THE PCI-424 HARDWARE

Page 41

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 long as your sof tware 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

audio cable bearing LTC (Longitudinal Time Code)

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

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.

In AudioDesk or Digital Performer, choose Receive Sync from the Basics menu. Choose the Sample-accurate option. For sample-accurate sync settings in Cubase, see “Sampleaccurate sync with Cubase or Nuendo” on page 95.

SMPTE IN

RCA jack

(or any analog input)

2408mk3 interface

SMPTE

Word

out

Out

audio cable

Other digital audio

device slaved to the

PCI-424 system

Figure 3-23: 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

Macintosh computer running

AudioDesk, Digital Performer or other

sample-accurate software.

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

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 14, “MOTU SMPTE Console” (page 117).

Page 42

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 37.

Video deck or other video source

Video cable

audio cable bearing LTC (Longitudinal Time Code)

When lockup is achieved, the LOCK 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.

In AudioDesk or Digital Performer, choose Receive Sync from the Basics menu. Choose the Sample-accurate option.

For sample-accurate sync settings in Cubase, see “Sample-accurate sync with Cubase or Nuendo” on page 95.

WORD (video) IN

BNC jack

SMPTE

out

audio

cable

Other digital audio

device slaved to the

2408mk3

Figure 3-24: Connections for synchronizing a 2408mk3-based PCI-424 system directly to video.

SMPTE IN

RCA jack

(or any analog input)

Word

Out

video cable

PCI-424 card

Audio Wire cable

Macintosh computer running

AudioDesk, Digital Performer or other

sample-accurate software.

2408mk3 interface

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

INSTALLING THE PCI-424 HARDWARE

Page 43

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 in Figure 3-25.

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

(Via MIDI interface)

Any MOTU PCI interface

Macintosh computer running any audio software

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 3-25: 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.

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

INSTALLING THE PCI-424 HARDWARE

Page 44

SYNCING TO ADAT OR TASCAM DEVICES USING SMPTE TIME CODE

The 2408mk3’s built-in SMPTE time code sync features described on page 41 and page 42 are ideal for small PCI-424 systems. But if your audio software doesn’t support sample-accurate sync, or if you have an elaborate 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.

Macintosh computer 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

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

MIDI Time Code

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 3-26: 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.

INSTALLING THE PCI-424 HARDWARE

Set the PCI-424 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.

Page 45

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

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

Word Clock In

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 3-27: 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.

MIDI Time Code

Macintosh computer 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.

INSTALLING THE PCI-424 HARDWARE

Page 46

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

Word Clock IN

Digital mixer

or other lightpipe

device

Word Clock Out

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.

ADAT Optical OUT

ADAT Optical IN

MOTU PCI Audio Console

Clock Source setting

ADAT

Sync out port

PCI-424 card ADAT Sync In

Figure 3-28: 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 38.

bi-directional

lightpipe

INSTALLING THE PCI-424 HARDWARE

Computer with PCI-424 system

Page 47

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

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, or any 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 3-29: 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 Cloc k Ou t

Word Clock IN

bi-directional

TDIF

ADAT

Sync out port

PCI-424 card

ADAT Sync In

Computer with 2408mk3 system

(PCI-424 card connected to 2408mk3 I/O)

MOTU PCI Audio Console

Clock Source setting

Page 48

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

DAT deck

or other TDIF device

SPDIF

2408mk3

DAT deck

or other SPDIF device

MOTU PCI Audio Console window

Clock Source setting

Word Clock Out

Word Clock In

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, or any 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.

Figure 3-30: Two setups for synchronizing a 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 system’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.

INSTALLING THE PCI-424 HARDWARE

Page 49

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 I n pu t for general purpose word clock sync.

For details about the AES Word In, see “Clocking scenarios for AES/EBU input” on page 32.

the 24I/O interface provides one BNC Wor d Clo c k jack that can be switched via software between input or output. For details, see “24I/O interface options” on page 72.

For standard word clock sync, you need to choose an audio clock master (as explained in “Choosing a digital audio clock master” on page 35). In the simplest case, you have two devices and one is the word clock master and the other is the slave as shown below in Figure 3-31 and Figure 3-32.

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 66 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 3-31: 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 3-32: 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

Page 50

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 60 and “Source” on page 62.

For further details about this, see chapter 5, “2408mk3 Front Panel Operation” (page 57).

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)

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 3-29 on page 47

Tascam C Same as above Figure 3-29 on page 47

Tascam A, B, C Same as above Figure 3-29 on page 47

SPDIF Dig (Digital)

Wrd (Word clock)

Analog Any setting that synchronizes the 2408mk3

with the destination format

Figure 3-29 on page 47

Figure 3-30 on page 48

ADAT: Figure 3-28 on page 46 Tascam: Figure 3-29 on page 47 SPDIF: Figure 3-30 on page 48

INSTALLING THE PCI-424 HARDWARE

Page 51

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

Page 52

INSTALLING THE PCI-424 HARDWARE

Page 53

CHAPTER

4 Installing the PCI-424 Macintosh

Software

OVERVIEW

The PCI-424 system ships with this software:

Software component Location Purpose

MOTU Folder

MOTU PCI Audio Console

MOTU SMPTE Console

AudioDesk Workstation Software

ASIO MOTU PCI Driver

Extensions Folder

Top level of your startup disk

In the ASIO Drivers folder of Cubase or any other ASIO compliant audio program

Contains the drivers and hard disk recording engine for the PCI-424 card and hardware. Required for 2408mk3 operation.

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

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

Provides complete multitrack recording, mixing and processing. Optional.

Allows Cubase or other ASIO-compliant software to do multi-channel input and output with the 2408mk3. Only required if you are using Cubase or another ASIO-dependent program.

Running the MOTU Audio/AudioDesk software

installer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Setup Wizard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

MOTU Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

MOTU PCI Audio Console. . . . . . . . . . . . . . . . . . 54

AudioDesk workstation software . . . . . . . . . . . . 55

ASIO MOTU PCI Driver. . . . . . . . . . . . . . . . . . . . 55

MOTU PCI Sound Manager Driver . . . . . . . . . . 56

CueMix Console . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

MOTU PCI Sound Manager Driver

AudioDesk Demo Project

MOTU Setup Wizard

CueMix Console

Extensions Folder

Anywhere you want

Top level of your startup disk

Allows any Sound Manager compatible software to do stereo input and output with the 2408mk3 hardware. Optional.

Provides a multi-track mix that you can open, play, and mix in AudioDesk. Optional.

Asks you questions about the gear you’ll connect to the 2408mk3, 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.

Page 54

RUNNING THE MOTU AUDIO/AUDIODESK SOFTWARE INSTALLER

Insert the Macintosh and Windows compatible installer CD-ROM into your Macintosh and run the MOTU Audio/AudioDesk installer on the CD. It will guide you through the installation. If you are unsure about what components to install, refer to the rest of the sections in this chapter, which explain the purpose of each software item.

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.

MOTU FOLDER

The MOTU Folder goes in the Extensions Folder inside the System Folder on the Macintosh startup disk.

Figure 4-1: The MOTU Folder contains the software driver for the PCI-424 card and the ‘MOTU Audio System’ hard disk recording engine.

MOTU PCI AUDIO CONSOLE

The MOTU PCI Audio Console application is placed by the PCI-424 software installer on the top level of your Mac’s startup disk. It gives you access to all of the basic settings in your PCI-424 card and the interfaces 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 65).

The MOTU Folder contains the “under the hood” software dr ivers and hard disk recording engine for the PCI-424 hardware. It also holds the real-time effects processing plug-ins used by MOTU Audio system compatible software, such as AudioDesk and Digital Performer.

The items in the MOTU Folder are required for PCI-424 operation.

Figure 4-2: 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.

INSTALLING THE PCI-424 MACINTOSH SOFTWARE

Page 55

AUDIODESK WORKSTATION SOFTWARE

The PCI-424 installer places AudioDesk on the top level of your Macintosh’s startup volume.

AudioDesk is an advanced workstation software package for the PCI-424 system that lets you record, edit, mix, process, bounce and master multi-track digital audio recording projects. Advanced features include real-time 32-bit effects processing, sample-accurate synchronization with ADATs and Tascam tape decks, 24-bit recording, and much more.

See the AudioDesk manual included with your system for details.

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 ASIO MOTU PCI driver is only required if you are using Cubase or other audio software that depends on the ASIO driver to do multi-channel I/O with the PCI-424 system).

Digital Performer and AudioDesk do not use the ASIO MOTU PCI driver.

The ASIO MOTU PCI driver should be placed in the ASIO folder of Cubase or other ASIOcompliant software.

For details about using Cubase with the PCI-424 system, see chapter 9, “Cubase, Nuendo and other ASIO Software” (page 89).

Figure 4-3: AudioDesk.

INSTALLING THE PCI-424 MACINTOSH SOFTWARE

Figure 4-4: The ASIO MOTU PCI Driver.

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MOTU PCI SOUND MANAGER DRIVER

The MOTU PCI Sound Manager driver is placed by the software installer in the Extensions Folder of the System Folder on your Mac’s startup disk. This system extension allows the Apple Sound Manager to use the PCI-424 hardware for stereo input and output. In turn, any Sound Manager compatible software can also use the PCI-424 hardware for stereo input and output.

☛ Sound Manager only supports stereo input

and output. Therefore, Sound Manager applications can only record and play through two inputs and outputs at a time.

For details about Sound Manager, see chapter 10, “Sound Manager” (page 97).

Figure 4-5: The MOTU PCI Sound Manager Driver.

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 108.

INSTALLING THE PCI-424 MACINTOSH SOFTWARE

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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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

What is PCI mode?. . . . . . . . . . . . . . . . . . . . . . . . . 58

Analog metering vs. clock settings . . . . . . . . . . . 58

Clock status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

When the sample rate LEDs ﬂash . . . . . . . . . . . . 58

Analog metering . . . . . . . . . . . . . . . . . . . . . . . . . . .58

STAND-ALONE OPERATION

Stand-alone format conversion . . . . . . . . . . . . . . 60

The SELECT button . . . . . . . . . . . . . . . . . . . . . . . . 60

No clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Bounce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Analog metering . . . . . . . . . . . . . . . . . . . . . . . . . . .63

SYNC

LOCK and TACH . . . . . . . . . . . . . . . . . . . . . . . . . . 63

METERING

Digital activity LEDs . . . . . . . . . . . . . . . . . . . . . . . 63

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PCI MODE

The 2408mk3 goes into PCI mode as soon as you launch any program that uses the PCI-424 software driver. (The 2408mk3 must, of course, be connected to the PCI-424 card with an Audio Wire cable.) Here are some examples of how you can put the 2408mk3 into PCI mode:

■ Launch the MOTU PCI Console

■ Launch AudioDesk

■ Launch Digital Performer

■ Launch any other host audio program that uses a

PCI-424 driver

■ Choose a PCI-424 driver from within your host

audio program

■ Start up your Macintosh after installing the

MOTU PCI Sound Manager driver in your Extensions folder, which gets loaded as the machine boots up

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 66.

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 (Internal 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:

2408MK3 FRONT PANEL OPERATION

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PCI Mode,

Analog metering

display

PCI Mode,

Clock display

PCI Mode,

Clock display,

No 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 word clock

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

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■ Shut down the computer.

■ Quit AudioDesk, Digital Performer or any other

software that uses a PCI-424 driver.

☛ If you have installed the MOTU PCI Sound

Manager Driver Extension on your Macintosh, it will put the 2408mk3 I/O into PCI mode as soon as the computer starts up (as soon as the PCI Sound Manager Extension is loaded). So in this case, you’ll need to shut down the computer entirely.

■ 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.

and 48 kHz sample rate lights ﬂash to alert 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.

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 50.

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 58.

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

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.

2408MK3 FRONT PANEL OPERATION

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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.

☛ 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 Internal clock when you are using Analog as the source of the transfer. Press the SET button repeatedly to choose the desired sample rate.

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 Bank C. If you are 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.

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.

☛ 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.

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 press the SET b utto n repeated ly to m ake your bounce setting.

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.

2408MK3 FRONT PANEL OPERATION

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

Page 62

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 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.

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.

Source

The SOURCE setting determines the audio source for the transfer. Press the SELECT button repeatedly until the SOURCE LED is illuminated. Th en press the SET b utto n repeated ly to m ake your choice.

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.

Swapping is applied to all other track pairs as well.

2408MK3 FRONT PANEL OPERATION

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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 72).

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 5-8: 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.

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.

LOCK AND TACH

When the 2408mk3 is resolving to video or SMPTE time code (v ia its built-in sync features), the 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 41 and “Syncing to video” on page 42.

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.

2408MK3 FRONT PANEL OPERATION

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

2408MK3 FRONT PANEL OPERATION

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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 . . . .65

Quick Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . .66

PCI-424 Settings . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Sample rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Samples Per Buffer . . . . . . . . . . . . . . . . . . . . . . . . .69

Monitor Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . .69

Interface settings. . . . . . . . . . . . . . . . . . . . . . . . . . .70

Working with multiple interfaces . . . . . . . . . . . .70

Bank A / B / C (240mk3 interface) . . . . . . . . . . . .70

ADAT and TDIF banks at high sample rates. . .70

ADAT & TDIF always share the same output . .70

Disabling banks to conserve resources. . . . . . . .70

ACCESSING THE PCI AUDIO CONSOLE WINDOW

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

■ From the Mac OS desktop, run MOTU PCI

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

■ From within AudioDesk™ or Digital

Performer™, go to the Basics menu and choose

MOTU Audio System options>Conﬁgure Hardware Driver

Enable routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

PCI use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Interface options . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Analog output bank mirroring . . . . . . . . . . . . . .72

Word Out Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Saving and recalling routings . . . . . . . . . . . . . . . .75

The Refresh button . . . . . . . . . . . . . . . . . . . . . . . . .75

Choosing a Conﬁg before opening a ﬁle. . . . . . .75

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

Page 66

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 impact the function of the system 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 that do not suppor t 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

MOTU PCI AUDIO CONSOLE

Page 67

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 35. 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 AudioDesk, Digital Performer or other 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 AudioDesk, Digital Performer or other computer software.

PCI-424: SMPTE

Choose this setting to resolve the PCI-424 card (and all connected interfaces) directly to SMPTE time code (LTC) being received v ia an analog 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 119.

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 119.

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

Page 68

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 other AES/EBU dev ice 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.

MOTU PCI AUDIO CONSOLE

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For all practical purposes, this clock source setting produces the same results as the PCI-424: Internal setting explained on page 67.

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 ca n us e 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 13, “CueMix Console” (page 111).

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 quickly your audio s oft ware w ill respo nd whe n 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

AudioDesk, Digital Performer or other 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 12, “Reducing Monitoring Latency” (page 105).

Monitor Outputs

The Monitor Outputs option determines which outputs the MOTU PCI Sound Manager driver will use.

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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 two or more audio interfaces connected 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 66.

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 formats 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 Bank B, and SPDIF I/O on bank C. Or you could

☛ 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.

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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 AudioDesk, Digital Performer or other 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.

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.

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

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

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

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:

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 can eit her match it or oper ate at hal f the rate (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).

24I/O interface options

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

Figure 6-7: The 2408mk3 interface options.

Analog output bank mirroring

The B ank to mir ror on An alo g 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. By default, they mirror Bank A. To choose another bank, click the Interface Options button and choose the desired bank from the menu as shown above in Figure 6-7.

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

-10 dB setting.

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Wor d O u t R at e

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

If the current s ystem word rate is a h igh sample rate (88.2 or 96 kHz), then the word clock output can either match it or operate at half the rate (44.1 or 4 8 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.

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.

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

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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 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).

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

Uncheck 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.

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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 host 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 13-1 on page 111.

In Digital Performer or AudioDesk, you can clear the HD192 clip LEDs by choosing Audio menu>Clear All Clipping Indicators.

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 Conﬁg 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 Conﬁg 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 like AudioDesk, Digital Performer, or third party audio programs. 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, like AudioDesk and Digital Performer, 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, AudioDesk and Digital Performer display the inputs and outputs that were in effect when the ﬁle was last saved. Unavailable inputs/outputs are displayed in italics.

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Some third-party 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 75.

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CHAPTER

7 Digital Performer

OVERVIEW

Digital Performer Version 2.42 or higher is required for the PCI-424 system. Version 2.42 supports all of the advanced features of the PCI-424 system, including sample-accurate synchronization with ADATs and the Digital Timepiece.

Setting up your system . . . . . . . . . . . . . . . . . . . . . .77

The MOTU PCI Audio Console window . . . . . .77

Brief overview of PCI-424 settings . . . . . . . . . . .78

Enabling inputs and outputs. . . . . . . . . . . . . . . . .79

Be sure you have enough voices . . . . . . . . . . . . . .79

24-bit operation. . . . . . . . . . . . . . . . . . . . . . . . . . . .79

Input monitoring mode. . . . . . . . . . . . . . . . . . . . .80

Fine-tuning I/O timing . . . . . . . . . . . . . . . . . . . . .80

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . .80

MIDI Machine Control (MMC) . . . . . . . . . . . . . .81

Reducing delay when processing live inputs with

plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82

SETTING UP YOUR SYSTEM

In addition to FreeMIDI and the other required System elements supplied by the Digital Performer installer, the PCI-424 software installer updates the drivers in the MOTU Folder (in the Extensions Folder). As described in chapter 4, “Installing the PCI-424 Macintosh Software” (page 53), the Digital Performer and 2408mk3 software installers will properly install and update everything for you. For your convenience, here is a brief summary of what Digital Performer requires to run with the PCI-424:

■ The MOTU PCI Audio Driver must be in the

MOTU folder (as shown in Figure 4-1 on page 54).

■ The MOTU Audio System item in the MOTU

Folder (as shown in Figure 4-1 on page 54) must be the same version as that which gets installed by the 2408mk3 installer CD-ROM (or later).

■ FreeMIDI must be installed (from either the

Digital Performer or 2408mk3 installer CD).

Exchanging projects with AudioDesk. . . . . . . . .82

Monitoring system performance . . . . . . . . . . . . .82

Sound Manager and Digital Performer . . . . . . .82

■ If you are using a MIDI Timepiece AV or Digital

Timepiece for synchronization, be sure they are present in your FreeMIDI setup.

THE MOTU PCI AUDIO CONSOLE WINDOW

The MOTU PCI Audio Console window gives you direct access to all of the settings in your PCI-424 system hardware. To open it, choose MOTU Audio System options>Conﬁgure Hardware Driver from the Basics menu. If you don’t see the MOTU PCI Audio Console window as shown below in Figure 7-1, choose MOTU PCI Audio from the menu at the top of the Conﬁgure Hardware dialog.

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The PCI Audio Console window is central to the operation of your PCI-424 hardware with Digital Performer. For complete details about the important settings in this window, see chapter 6, “MOTU PCI Audio Console” (page 65).

BRIEF OVERVIEW OF PCI-424 SETTINGS

Before you begin using your PCI-424 hardware with Digital Performer, review the settings in the PCI Audio Console window (shown on the previous page in Figure 7-1). The following sections provide a brief explanation of each setting from the perspective of Digital Performer. For a more complete overview of the settings in the MOTU PCI Audio Console window, see chapter 6, “MOTU PCI Audio Console” (page 65).

Sample rate

Choose the desired overall sample rate for the PCI-424 system and Digital Performer. Newly recorded audio in Digital Performer will have this sample rate. Imported audio or soundbites in existing ﬁles that do not match this sample rate w ill be displayed in the Soundbites window with a red ‘X’ on its move handle to indicate that it cannot be played.

Clock Source

This setting is very important because it determines which audio clock the PCI-424 system will follow.

Figure 7-1: The ‘Conﬁgure Hardware Driver’ menu items opens the PCI Audio Console window shown above. This window provides all of the settings for your PCI-424 hardware.

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

If you are slaving the PCI-424 system to the ADAT sync Input connector on the PCI-424 card, choose PCI-424: ADAT.

If you have multiple digital audio devices connected, or if you are not sure about the clock source of your setup, be sure to read “Make sync connections” on page 35 and “Clock Source” on page 66.

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Monitor Outputs

The Monitor Outputs option determines which outputs the MOTU PCI Sound Manager driver will use.

Samples Per Buffer

The Samples Per Buffer setting can be used to reduce the delay — or latency — that you hear when live audio is patched through plug-ins in Digital Performer. 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 Digital Performer. 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 ca n us e Samples Per Buffer setting to reduce this monitoring delay—and even make it completely inaudible.

Smaller settings reduce latency, but they also put more demand on your computer’ processor (as shown in the Performance Monitor window). For best results, try 256 samples or lower, which reduces latency enough to be inaudible for most audio material. Keep an eye on the Processor meter in the Performance monitor when making this adjustment. Be sure to try playing some audio, too, as the processor meter can jump up signiﬁcantly during playback at lower settings. Also, use CueMix Console; it’s message center feature helps you ﬁnd the optimum Samples Per Buffer setting for your system.

For further information about CueMix Console and reducing latency, see chapter 12, “Reducing Monitoring Latency” (page 105).

Figure 7-2: When adjusting the ‘Samples Per Buffer’ to reduce patch thru latency, watch the ‘processor’ meter in the Performance Monitor. From the Windows menu, choose Performance Monitor. If you hear distortion, or if the Performance meter is peaking, open CueMix Console and look at its message center for hints as to what’s going on.

ENABLING INPUTS AND OUTPUTS

The middle portion of the PCI Audio Console window determines which inputs and outputs you’ll see in all of Digital Performer’s audio input and output menus. To make an input or output available in Digital Performer, check its box. For further information about making these settings, see “Interface settings” on page 70.

BE SURE YOU HAVE ENOUGH VOICES

Once you’ve enabled the desired audio inputs and outputs on your audio interface(s), go to the Basics menu and choose MOTU Audio System Options>Conﬁgure Studio Size. Then check to ma ke sure you have en oug h mono and st ereo aud io voices for the work you need to do. Consult the MOTU Audio System chapter in your Digital Performer manual for further information about the settings in this dialog.

24-BIT OPERATION

Your PCI-424 hardware fully supports Digital Performer’s 24-bit recording capabilities, including both analog and digital 24-bit recording. If you would like to record and play back 24-bit audio ﬁles, go to the Basics menu, choose Conﬁgure Audio System>Conﬁgure Sample Format, and choose 24-bit recording as the sample format. This setting is saved with the Digital Performer project.

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INPUT MONITORING MODE

To determine how Digital Performer will monitor input from the PCI-424 system, go to the Basics menu and choose Conﬁgure Audio System>Input Monitoring Mode. For complete details, see your Digital Performer manual.

FINE-TUNING I/O TIMING

The PCI-424 system has the ability to be sample accurate. This means that when you transfer audio between Digital Performer and an ADAT or other ADAT Sync-compatible recorder, you can record the audio back and forth as many times as you want between them and it will remain exactly at its original sample location (unless you move it in Digital Performer, of course).

Under normal operating conditions, Digital Performer’s timing will be sample-accurate with ADAT Sync-compatible recorders. It will also be sample-accurate with Tascam sync-compatible recorders if you are synchronizing them to a 2408mk3 interface with a Digital Timepiece.

Occasionally, you may encounter a situation in which you observe a slight offset of one sample — or maybe a few — caused by inherent latencies in the devices you are using with the 2408mk3. Usually, these offsets will be consistent, and you can compensate for them in Digital Performer. To do so, choose Conﬁgure Audio System>Fine-tune Audio I/O Timing from the Basics menu as shown in Figure 7-3.

SYNCHRONIZATION

Digital Performer can run under its own transport control or slave to an external sync source, such as SMPTE time code or ADAT sync (sample address).

Running DP under its own transport control

If you do not need to synchronize Digital Performer with time code or another recording device, such as a tape deck, just leave the Slave to External Sync command in the Basics menu unchecked.

However, even though Digital Performer is not slaving to external sync, 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 46 and “Make sync connections” on page 35. If you don’t have any digital audio devices connected, digital audio phase-lock does not apply to you.

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

If you need to slave Digital Performer and the PC I-4 24 syst em t o video and /or SMP TE t ime cod e, you can do so with or without a dedicated synchronizer.

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

To resolve your Digital Performer/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 41 or “Syncing to video” on page 42.

Figure 7-3: Fine-tuning the timing of audio playback and recording.

☛ Direct video sync requires a 2408mk3

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

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Choose Receive Sync from the Basics menu and choose the Sample accurate option. Then make sure that the Slave to External Sync command in the Basic menu is checked. Make sure the Clock Source setting in the MOTU PCI Audio Console window is set to PCI-424: SMPTE or PCI-424: Video. Als o, make sure that you’ve speciﬁed the SMPTE time code input (if necessary) in the MOTU SMPTE Console applet, as shown in Figure 3-23 on page 41 or Figure 3-24 on page 42.

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

To resolve your Digital Performer/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 43.

Choose Receive Sync from the Basics menu and choose the MTC (MIDI Time Code) option. Then ma ke su re that t he Slave to External Sync command in the Basic menu is checked. To ensure that your audio tracks don’t drift 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 shown in Figure 3-25 on page 43. A digital audio synchronizer is required for drift-free SMPTE/MIDI time code sync. Make sure the Clock Source 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 3-25 on page 43, word clock is being used to resolve a 2408mk3, 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

Together, Digital Performer and the PCI-424 system provide you with sample-accurate transfers with ADATs, Alesis recorders, or any other devices that support standard ADAT sample address (ADAT Sync).

Similarly, with the help of a MOTU Digital Timepiece, Digital Performer and a 2408mk3 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 set up sample-accurate sync, see “Sample-accurate sync” on page 37. Be sure to choose the Sample Accurate Sync option in Digital Performer’s Receive Sync dialog (Basics menu), and ma ke su re that t he Slave to External Sync command is checked in the Basic menu, too.

To control the transports of everything together from Digital Performer, see the next section.

MIDI MACHINE CONTROL (MMC)

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

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

See the MIDI Machine Control chapter in your MIDI Timepiece AV or Digital Timepiece manual for details on how to set this up.

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REDUCING DELAY WHEN PROCESSING LIVE INPUTS WITH PLUG-INS

If you patch a live input (such as MIDI synthesizer) through a plug-in effect in Digital Performer, you might hear a slight delay. There are several ways to reduce this delay. For details, see chapter 12, “Reducing Monitoring Latency” (page 105).

EXCHANGING PROJECTS WITH AUDIODESK

Digital Performer (Version 2.6 or later) can exchange ﬁles with AudioDesk 1.0. For example, you can transfer a ﬁle from Digital Performer to AudioDesk, and back again. Just use Save As in Digital Performer’s File menu and choose the Aud ioD esk ﬁle format. To open AudioDesk ﬁles in Digital Performer, just use the Open command. (No conversion is required beforehand in Aud ioD esk. )

If you have an earlier version of Digital Performer (2.5 or earlier), you can open your Digital Performer ﬁles in AudioDesk (with the Open command in the File menu), but Digital Performer

2.5 or earlier cannot open AudioDesk ﬁles.

MONITORING SYSTEM PERFORMANCE

Because it has so many inputs and outputs, a PCI-424 system pushes the limits of your computer’s processing power. Keep the Audio

Performance window open (from the Audio menu) to keep tabs 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.

Figure 7-4: Keep the Audio Performance window open to keep tabs on your computer’s processing power and hard disk performance.

SOUND MANAGER AND DIGITAL PERFORMER

Digital Performer includes a MOTU Audio System plug-in called AudioTap that allows you to route any Sound Manager audio into Digital Performer’s mixing environment. From there, you can route it to your 2408mk3 interface via any of Digital Performer’s extensive audio routing features. For details, consult your Digital Performer documentation.

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CHAPTER

8 AudioDesk

OVERVIEW

This chapter provides a brief overview of AudioDesk’s basic I/O and synchronization operation with the PCI-424 system. For complete information about all of AudioDesk’s powerful workstation features, see the AudioDesk manual included with your PCI-424 system.

Setting up your system . . . . . . . . . . . . . . . . . . . . . .83

The MOTU PCI Audio Console window . . . . . .83

Brief overview of PCI-424 settings . . . . . . . . . . .84

Enabling inputs and outputs. . . . . . . . . . . . . . . . .85

Be sure you have enough voices . . . . . . . . . . . . . .85

24-bit operation. . . . . . . . . . . . . . . . . . . . . . . . . . . .85

Input monitoring mode. . . . . . . . . . . . . . . . . . . . .85

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . .85

MIDI Machine Control (MMC) . . . . . . . . . . . . . .87

Reducing delay when processing live inputs with

plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

Exchanging projects with Digital performer. . .87

Monitoring system performance . . . . . . . . . . . . .87

AudioDesk and MIDI sequencing . . . . . . . . . . . .87

SETTING UP YOUR SYSTEM

As described in chapter 4, “Installing the PCI-424 Macintosh Software” (page 53), the AudioDesk and PCI-424 software installer will properly install and update all of the necessary software components in your Macintosh system. For your convenience, here is a brief summary of what AudioDesk requires:

■ The MOTU PCI Audio Driver must be in the

MOTU folder (as shown in Figure 4-1 on page 54).

■ The MOTU Audio System item in the MOTU

Folder (as shown in Figure 4-1 on page 54) must be the same version as that which gets installed by the PCI-424 installer CD-ROM (or later).

■ If you will be using AudioDesk’s MIDI Machine

Control (MMC) or MIDI Time Co de sy nc fe atures, FreeMIDI must be installed. (You can do this from the PCI-424 installer CD.)

■ If you are using a MIDI Timepiece AV or Digital

Timepiece for synchronization, be sure they are present in your FreeMIDI setup.

THE MOTU PCI AUDIO CONSOLE WINDOW

The MOTU PCI Audio Console window gives you direct access to all of the settings in your PCI-424 system hardware. To open it, choose MOTU Audio System options>Conﬁgure Hardware Driver from the Basics menu and choose MOTU PCI Audio from the menu at the top of the Conﬁgure Hardware dialog.

The PCI Audio Console window is central to the operation of your PCI-424 hardware with AudioDesk. For complete details about the important settings in this window, see chapter 6, “MOTU PCI Audio Console” (page 65).

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Clock Source

This setting is very important because it determines which audio clock the PCI-424 system will follow.

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

If you are slaving the PCI-424 system to the ADAT sync Input connector on the PCI-424 card, choose PCI-424: ADAT.

Figure 8-1: The ‘Conﬁgure Hardware Driver’ menu items opens the PCI Audio Console window shown above. This window provides all of the settings for your PCI-424 hardware.

BRIEF OVERVIEW OF PCI-424 SETTINGS

Before you begin using your PCI-424 hardware with AudioDesk, review the settings in the PCI Audio Console window (shown in Figure 8-1). The following sections provide a brief explanation of each setting from the perspective of AudioDesk. For a more complete overv iew of the settings in the MOTU PCI Audio Console window, see chapter 6, “MOTU PCI Audio Console” (page 65).

Sample rate

Choose the desired overall sample rate for the PCI-424 system and AudioDesk. Newly recorded audio in AudioDesk will have this sample rate. Imported audio or soundbites in existing ﬁles that do not match this sample rate will be displayed in the Soundbites window with a red ‘X’ on its move handle to indicate that it cannot be played.

Samples Per Buffer

The Samples Per Buffer setting can be used to reduce the delay — or latency — that you hear when live audio is patched through plug-ins in AudioDesk. 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 AudioDesk. 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 ca n us e Samples Per Buffer setting to reduce this monitoring delay—and even make it completely inaudible.

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in the Performance monitor when making this adjustment. Be sure to try playing some audio, too, as the processor meter can jump up signiﬁcantly during playback at lower settings. Also, use CueMix Console; it’s message center feature helps you ﬁnd the optimum Samples Per Buffer setting for your system.

For further information about CueMix console and reducing latency, see chapter 12, “Reducing Monitoring Latency” (page 105).

Figure 8-2: When adjusting the ‘Samples Per Buffer’ to reduce patch thru latency, watch the ‘processor’ meter in the Performance Monitor. From the Basics menu, choose ‘MOTU Audio System options>Performance Monitor’. If you hear distortion, or if the Performance meter is peaking, open CueMix Console and look at its message center for hints as to what’s going on.

you need to do. Consult the MOTU Audio System chapter in your AudioDesk manual for further information about the settings in this dialog.

24-BIT OPERATION

Your PCI-424 hardware fully supports AudioDesk’s 24-bit recording capabilities, including both analog and digital 24-bit recording. If you would like to record and play back 24-bit audio ﬁles, go to the Basics menu, choose MOTU Audio System options>Conﬁgure Sample Format, and choose 24-bit recording as the sample format. This setting is saved with the AudioDesk project.

INPUT MONITORING MODE

To determine how AudioDesk will monitor input from the PCI-424 system, go to the Basics menu and choose MOTU Audio System options>Input Monitoring Mode. For complete details, see your AudioDesk manual.

Monitor Outputs

This setting determines where you’ll hear things like soundbite auditioning, audio scrubbing, and real-time previewing of Adobe Premiere audio plug-ins.

ENABLING INPUTS AND OUTPUTS

The middle portion of the PCI Audio Console window determines which inputs and outputs you’ll seen in all of AudioDesk’s audio input and output menus. To make an input or output available in AudioDesk, check its box. For further information about making these settings, see “Interface settings” on page 70.

BE SURE YOU HAVE ENOUGH VOICES

Once you’ve enabled the desired PCI-424 audio inputs and outputs, go to the Basics menu and choose MOTU Audio System Options>Conﬁgure Studio Size. Then check to make sure you have enough mono and stereo audio voices for the work

SYNCHRONIZATION

AudioDesk can run under its own transport control or slave to an external sync source, such as SMPTE time code or ADAT sync (sample address).

Running AudioDesk under its own transport control

If you do not need to synchronize AudioDesk with time code or another recording device, such as a tape deck, just leave the Slave to External Sync command in the Basics menu unchecked.

However, even though AudioDesk is not slaving to external sync, 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 46 and “Make sync connections” on page 35.

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If you don’t have any digital audio devices connected, digital audio phase-lock does not apply to you.

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

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

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

To resolve your AudioDesk/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 41 or “Syncing to video” on page 42.

☛ Direct video sync requires a 2408mk3

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

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

To resolve your AudioDesk/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 43.

Choose Receive Sync from the Basics menu and choose the MTC (MIDI Time Code) option. Then ma ke su re that t he Slave to External Sync command in the Basic menu is checked. To ensure that your

audio tracks don’t drift 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 shown in Figure 3-25 on page 43. A digital audio synchronizer is required for drift-free SMPTE/MIDI time code sync. Make sure the Clock Source 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 3-25 on page 43, word clock is being used to resolve a 2408mk3, 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

Together, AudioDesk and the 2408mk3 system provide you with sample-accurate transfers with ADATs, Alesis recorders or any other devices that support standard ADAT sample address (ADAT Sync).

Similarly, with the help of a MOTU Digital Timepiece, AudioDesk and a 2408mk3 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 set up sample-accurate sync, see “Sample-accurate sync” on page 37. Be sure to choose the Sample Accurate Sync via PCI-424 option in AudioDesk’s Receive Sync dialog (Basics menu), and make sure that the Slave to External Sync command is checked in the Basic menu, too.

To control the transports of everything together from AudioDesk, see the next section.

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MIDI MACHINE CONTROL (MMC)

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

Similarly, if you have Tascam recorders and a MOTU Digital Timepiece (or other MMC-compatible Tascam synchronizer), can control all of your Tascam decks (in ABS time) in a similar fashion from AudioDesk.

See the MIDI Machine Control chapter in your MIDI Timepiece AV or Digital Timepiece manual for details on how to set this up.

REDUCING DELAY WHEN PROCESSING LIVE INPUTS WITH PLUG-INS

If you patch a live input (such as MIDI synthesizer) through a plug-in effect in AudioDesk, you might hear a slight delay. There are several ways to reduce this delay. For details, see “Samples Per Buffer” on page 84.

EXCHANGING PROJECTS WITH DIGITAL PERFORMER

AudioDesk 1.0 can exchange ﬁles with Digital Performer (Version 2.6 or later). For example, you can transfer a ﬁle from Digital Performer to AudioDesk, and back again. Just use Save As in Digital Performer’s File menu and choose the Aud ioD esk ﬁle format. To open AudioDesk ﬁles in Digital Performer, just use the Open command. (No conversion is required beforehand in Aud ioD esk. )

MONITORING SYSTEM PERFORMANCE

Because it has so many inputs and outputs, a PCI-424 system pushes the limits of your computer’s processing power. Keep the Audio Performance window open (from the Audio menu) to keep tabs 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.

Figure 8-3: Keep the Audio Performance window open to keep tabs on your computer’s processing power and hard disk performance.

AUDIODESK AND MIDI SEQUENCING

AudioDesk can play audio as a background application, allowing you to run a sequencer at the same time in the foreground. However, there is no way to continuously synchronize — or resolve — a sequencer with AudioDesk, so the two programs wil l eventua lly drif t out of sync, even if you m anage to start them at the same time. If you’d like to do integrated MIDI sequencing, your best bet is Digital Performer, which offers all of the same features as AudioDesk (and a whole lot more), along with powerful, state-of-the-art MIDI sequencing. Talk to your authorized MOTU dealer for details about upgrading from AudioDesk to Digital Performer.

If you have an earlier version of Digital Performer (2.5 or earlier), you can open your Digital Performer ﬁles in AudioDesk (with the Open command in the File menu), but Digital Performer

2.5 or earlier cannot open AudioDesk ﬁles.

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AUDIODESK

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CHAPTER

9 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 and Nuendo.

☛ Note to Nuendo Macintosh users: the

examples in this chapter show screen shots of Nuendo for Windows, but they are very similar to the Mac version.

Preparation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

Run MOTU PCI Audio Console before Cubase 90

Choosing the PCI-424 driver in Cubase. . . . . . .90

Number of channels . . . . . . . . . . . . . . . . . . . . . . . .91

The Launch button . . . . . . . . . . . . . . . . . . . . . . . . .91

Reducing delay when processing live inputs with

plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

Audio clock source . . . . . . . . . . . . . . . . . . . . . . . . .91

PREPARATION

Before you run Cubase with your PCI-424 system, launch AudioDesk and play back the demo project to make sure that the PCI-424 hardware software drivers are set up properly. The AudioDesk demo project is located on the PCI-424 Installer CD. Drag it to your hard drive before opening it in AudioDesk, as your CD drive will be too slow to play the audio.

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 3, “Installing the PCI-424 Hardware”

(page 25).

■ chapter 4, “Installing the PCI-424 Macintosh

Software” (page 53)

■ chapter 8, “AudioDesk” (page 83)

Other System dialog settings . . . . . . . . . . . . . . . .91

Activating PCI-424 inputs. . . . . . . . . . . . . . . . . . .91

Assigning inputs . . . . . . . . . . . . . . . . . . . . . . . . . . .92

Assigning outputs . . . . . . . . . . . . . . . . . . . . . . . . . .93

Changing PCI-424 settings . . . . . . . . . . . . . . . . . .93

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . .94

24-bit operation. . . . . . . . . . . . . . . . . . . . . . . . . . . .96

Monitoring system performance . . . . . . . . . . . . .96

Figure 9-1: The PCI-424 installer puts the PCI-424 ASIO driver in the Cubase ASIO Drivers folder.

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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 65).

device menu. Make the other settings in the dialog as need for your system and synchronization scenario.

Nuendo

To activate the PCI-424 driver in Nuendo or , 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.

Cubase VST

Figure 9-2: 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.

☛ 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 75.

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 Setup>System from the Options menu, and then choose MOTU PCI from the ASIO

Nuendo

Figure 9-3: Activating the PCI-424 driver in Nuendo and Cubase.

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NUMBER OF CHANNELS

In Cubase VST, be sure to choose enough channels in the System dialog (as shown above in Figure 9-3) to cover the number of inputs and outputs provided by your PCI-424 system.

THE LAUNCH BUTTON

The Mac version of Cubase does not allow the MOTU PCI Audio Console to run at the same time as Cubase. Therefore, the Launch button in the System dialog as shown in Figure 9-3 will not launch the MOTU PCI Audio Console. Perhaps this will be addressed in a future update of Cubase. In the meantime, you can access the MOTU PCI Audio Console in one of two ways:

■ Quit Cubase, and then run the MOTU PCI

Audio Console from the Finder, OR

■ Temporaril y sw itch to a d iffe rent ASIO Dev ice i n

the System dialog, and then run the MOTU PCI Audio Console from the Finder

In either case, any changes you make to the MOTU PCI Audio Console window will be reﬂected in Cubase when you reactivate the MOTU PCI-424 ASIO driver in Cubase.

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 66.

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 9-2 on page 90.

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 12, “Reducing Monitoring Latency” (page 105).

ASIO DIRECT MONITORING

The ASIO Direct Monitoring option (Figure 9-3) 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 110.

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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 9-4: Activating PCI-424 inputs in Cubase VST.

Figure 9-6: To assign a PCI-424 input to a Cubase VST audio channel: command-click the input button at the top of the channel strip. For Nuendo or , consult your documentation.

Figure 9-5: Activating PCI-424 inputs in Nuendo.

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ASSIGNING OUTPUTS

As shown earlier in Figure 9-2 on page 90, 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, run the MOTU PCI Audio Console. See “The Launch button” on page 91 for details. In Nuendo, go to the Device Setup window and click the ASIO Control

Panel button, as shown in Figure 9-3 on page 90. assignments for the master fader and busses, as shown below in Figure 9-7.In Nuendo, 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, access the PCI-424 outputs via the busses in the VST Outputs window.

Figure 9-7: Working with PCI-424 outputs in Nuendo or Cubase.

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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 3, “Installing the PCI-424 Hardware” (page 25) 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 46 and “Make sync connections” on page 35. 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 41 or “Syncing to video” on page 42.

☛ Direct video sync requires a 2408mk3

interface. SMPTE time code sync 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 95. 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 necessar y) in the MOTU SMPTE Console applet, as shown in Figure 3-23 on page 41 or Figure 3-24 on page 42.

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 43.

Follow the instructions in your Cubase or Nuendo manual for slaving them to MIDI Time Code (MTC). To ensure that your audio tracks don’t drift 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 “Syncing to video and/or SMPTE time code using a synchronizer” on page 43. A digital audio synchronizer is required for drift-free SMPTE/ MIDI time code sync. Make sure the Clock Source

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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 3-25 on page 43, word clock is being used 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 37. Then, set up Cubase as follows:

2 Go to Cubase or Nuendo’s Synchronization

window, as shown below:

Cubase VST

Nuendo

Figure 9-8: 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 9-8 that

applies to you. In this scenario, transport control is

handled by the ADAT (or other sample-accurate

sync source).

☛ Before you begin, in Cubase’s MIDI System

Setup window, set OMS compatibility to No OMS. Cubase does not appear to be able to achieve sample-accurate sync when running under OMS.

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, this setting is in the Device Setup window (Options menu).

CUBASE, NUENDO AND OTHER ASIO SOFTWARE

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 MIDI Machine

Control option. In addition, choose the appropriate

MIDI port for the MMC synchronizer from VST’s

Output menu or Nuendo’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

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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.

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

Figure 9-9: 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.

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.)

enable 24-bit operation in Cubase or Nuendo, it simply uses all 24-bits supplied by the PCI-424 hardware.

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 indow ope n to keep tab s on th e lo ad 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.

Cubase VST

Nuendo

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 95 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

Figure 9-10: 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

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CHAPTER

10 Sound Manager

OVERVIEW

The Apple Sound Manager is a standard Mac OS 9 System Extension that provides stereo sound capabilities on your Power Macintosh.

The PCI-424 system ships with a Sound Manager driver for the PCI-424 audio card. This driver allows your Power Macintosh to use any pair of inputs and outputs (analog or digital) on your PCI-424 system.

Figure 10-1: The Sound Manager driver System Extension for the PCI-424.

Using 3rd party audio software . . . . . . . . . . . . . .97

Sound Manager is stereo only. . . . . . . . . . . . . . . .97

Installing the PCI Sound Manager driver . . . . .97

Sound Control Panel is Required. . . . . . . . . . . . .98

Installation summary. . . . . . . . . . . . . . . . . . . . . . .98

Enabling inputs and outputs. . . . . . . . . . . . . . . . .98

USING 3RD PARTY AUDIO SOFTWARE

Just about every dedicated audio application for

Macintosh supports Sound Manager, along with

many other applications, like video editing

software, that handle audio in one form or another.

Once you’ve installed and conﬁgured the MOTU

PCI Sound Manager driver as described in this

chapter, you’ll be able to use any pair of 2408mk3

inputs and outputs (analog or digital) to record

and play back audio from any Sound Manager

compatible program.

SOUND MANAGER IS STEREO ONLY

Sound Manager currently only supports stereo

input and output. Therefore, Sound Manager

compatible programs can only record two channels

at a time with your PCI-424 hardware. Similarly,

they can play back audio through one stereo output

pair on a PCI-424 audio interface, although most

multi-track audio applications can internally mix

more than two tracks to stereo. Consult your

software’s documentation for details.

Conﬁguring the Sound Control Panel . . . . . . . .99

Changing the output. . . . . . . . . . . . . . . . . . . . . . .100

Sound Manager and 2408mk3 stand-alone

operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

Monitoring live inputs . . . . . . . . . . . . . . . . . . . . .100

Deactivating the driver . . . . . . . . . . . . . . . . . . . .100

AudioTap and Digital Performer . . . . . . . . . . . .100

44.1 AND 48 KHZ ONLY

Sound Manager supports sample rates up to

48 kHz, but nothing higher, so be sure to set the

PCI-424 system sample rate to 44.1 or 48 kHz.

INSTALLING THE PCI SOUND MANAGER

DRIVER

The MOTU PCI Sound Manager Driver is a

standard Macintosh System Extension. When

properly installed, it resides in the Extensions

Folder of the System Folder on your computer’s

startup disk.

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To install the PCI-424 Sound Manager driver:

1 Insert the PCI-424 installer CD into your Macintosh.

2 Run the PCI-424 software installer.

3 Enable (check) the MOTU PCI Sound Manager

Driver option, along with any other packages you would like to install at this time.

4 Click Install.

5 Complete the installation as instructed by the

installer. Because the MOTU PCI Sound Manager driver is a System Extension, the installer will ask you to restart the computer.

■ As part of the standard PCI-424 software

installation, a copy of the MOTU PCI Audio Console application is now on your hard drive.

If all these things are true, you are ready to activate the PCI-424 hardware as your Sound Manager input source and output destination.

ENABLING INPUTS AND OUTPUTS

Before you set up Sound Manager, you need to run the MOTU PCI Audio Console and enable the input pair and output pair you would like to use for Sound Manager.

1 Launch the MOTU PCI Audio Console.

2 Choose the desired sample rate.

SOUND CONTROL PANEL IS REQUIRED

The Sound Control Panel allows you choose your PCI-424 audio interface as an output for Sound Manager.

Locating the Sound Control Panel

If the Sound Control Panel is not present in your Control Panels folder, use Sherlock (command-F) in the Finder to locate it.

If the Sound Control Panel can’t be found, insert the Mac OS Installer CD-ROM that shipped with your computer and try again, searching on the CD-ROM. It will probably be there.

Once you’ve located the Sound Control Panel, you can place it anywhere you like on your hard drive, as it operates like a standard application. Just double-click it to launch it.

INSTALLATION SUMMARY

Here is what you should have by now:

3 From the Monitor Outputs menu, choose the desired output pair for Sound Manager as shown below in Figure 10-2. If the pair you want is not available in the menu, click the Enable Routing check box and then click the Enable Output check box for the desired output pair.

The ‘Monitor Outputs’ setting determines which output pair Sound Manager will use. If the pair you want is not available in the menu, click the Enable Routing check box and then click the Enable Output check box for the desired output pair.

■ The MOTU PCI Sound Manager driver is

installed as a System Extension.

■ The Sound Control panel is somewhere on your

hard drive.

Check the output pair you want to use for Sound Manager.

Figure 10-2: In this example, analog outputs 1-2 on a 2408mk3 interface will be used for Sound Manager output.

SOUND MANAGER

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4 As shown in Figure 10-2, check the box next to the input pair you would like to use for Sound Manager.

5 Quit the MOTU PCI Audio Console.

CONFIGURING THE SOUND CONTROL PANEL

Once you’ve made the preparations discussed in the previous section in the MOTU PCI Audio Console, you are ready to make your ﬁnal settings in the Sound Control Panel as follows:

1 Open the Sound Control Panel.

2 Choose Alert Sounds from the menu.

Figure 10-3: Lower the alert sound volume to avoid getting blasted by it through your PCI-424 hardware.

3 Lower the Alert Volume. This prevents the Macintosh alert sound from blurting out of your 2408mk3 system.

Figure 10-4: Choosing the desired input for Sound Manager. Any

input pairs that are currently checked in the MOTU PCI Audio Console

will appear in this list.

5 Click the Output tab and choose the PCI-424. To

learn how to specify the output pair, see the next

section, “Changing the output”.

4 Click the Input tab and choose the desired 2408mk3 input pair.

SOUND MANAGER

6 Make sure that the Main Volume setting is not

muted. If your audio software has its own volume

control for Sound Manager output, raise this

volume slider to full volume. You can attenuate it as

needed in your audio software.

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That’s it. You can now run any Sound Manager compatible audio software, and play back audio through the PCI-424 outputs you’ve chosen in the MOTU PCI Audio Console Monitor Outputs menu.

CHANGING THE OUTPUT

To change the PCI-424 output being used by Sound Manager, run the MOTU PCI Audio Console, and choose the desired output pair from the Monitor Outputs menu as shown in Figure 10-2 on page 98.

SOUND MANAGER AND 2408MK3 STANDALONE OPERATION

As discussed earlier in chapter 5, “2408mk3 Front Panel Operation” (page 57), the 2408mk3 has two modes: PCI mode and stand-alone mode. It goes into PCI mode as soon as any 2408mk3-related software is launched on the Macintosh. It remains in PCI mode until all 2408mk3-related software quits. Only then can it operate in stand-alone mode.

If you’ve installed the Sound Manager driver as described in this chapter, your 2408mk3 hardware will go into PCI mode as soon as you start up your Macintosh (since the MOTU PCI Sound Manager driver loads at startup, like the rest of the System Extensions). The 2408mk3 hardware will stay in PCI mode until you shut down your computer.

Therefore, if you would like to use the 2408mk3 in stand-alone mode, either shut down your computer, or simply restart it with the MOTU PCI Sound Manager Driver extension disabled. See the next section for how to do so.

MONITORING LIVE INPUTS

If you would like to listen to live inputs as you are recording them into your Sound Manager application, you need to use the PCI-424’s CueMix feature. For details, see “Using CueMix with Sound Manager” on page 109 and chapter 13, “CueMix Console” (page 111).

DEACTIVATING THE DRIVER

You can deactivate the MOTU PCI Sound Manager driver at any time by choosing the Extensions Manager Control Panel and unchecking it in the list.

AUDIOTAP AND DIGITAL PERFORMER

Digital Performer includes a MOTU Audio System plug-in called AudioTap that allows you to route any Sound Manager audio into Digital Performer’s mixing environment. From there, you can route it to your PCI-424 interface via any of Digital Performer’s extensive audio routing features. For details, consult your Digital Performer documentation.

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SOUND MANAGER

MOTU PCI-424 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual