Neumann MIDI Adapter Set (MT 48) van 2 kabels 6.3mm TRS jack – MIDI 5-pin DIN Handleiding Neumann MT 48
MT 48
A brief introduction
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Contents
Preface: Mission Statement .................................................3
What‘s in the box? .........................................................4
System requirements.......................................................5
Overview .................................................................5
Inputs and Outputs....................................................6
Analog I/O ...........................................................6
Digital I/O ...........................................................7
GPIO/MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Powering ............................................................7
Register your product ......................................................8
Driver installation .........................................................8
Setup.....................................................................8
Connecting your gear.......................................................8
Adding I/O via ADAT / S/PDIF and AES67 .....................................9
Configuring the MT 48 to your needs ........................................10
USB I/O.............................................................10
Routing example: Using external outboard as hardware plug-ins in your DAW 13
DAW setup ...............................................................15
DAW buer size / latency settings ......................................15
Setting up inputs and outputs in your DAW ..............................17
Working with the MT 48 ...................................................18
Understanding the mixer structure .....................................18
Preamp .............................................................19
EQ .................................................................20
Dynamics ...........................................................20
Reverb..............................................................23
Snapshots...........................................................23
Monitor controller functions ...........................................24
MT 48 mixer details ..................................................24
Strips setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
MT 48 status bar.....................................................26
Remote controlling the MT 48 .........................................27
Web control .........................................................27
Advanced settings ........................................................30
Output levels ........................................................30
Speakers A/B latch mode..............................................30
Output routing.......................................................31
Output EQ...........................................................32
Output dynamics.....................................................32
Configuring the headphone outputs.....................................32
Talkback ............................................................34
Changing the sampling rate/clocking ...................................35
DAC filter ...........................................................36
Device snapshots .........................................................37
Appendix ................................................................38
Updating the firmware ................................................38
Using the MT 48 with the Neumann MA 1 Automatic Monitor Alignment .....38
FAQ ................................................................38
MT 48 signal flow ....................................................39
MT 48 | 2
Preface: Mission Statement
The MT 48 brings reference-class sound to your desktop. It is the first audio interface to unlock
the full potential of Neumann microphones, studio monitors, and headphones as well as high
class gear from other manufacturers. The MT 48 builds upon the knowledge and experience of
our friends, partners and now colleagues from Merging Technologies, famous among recording
professionals for state-of-the-art AD/DA converters and networked audio solutions. The MT 48
is the perfect marriage of Neumann sound quality and Swiss precision.
Analog-to-digital conversion in the MT 48 sets a new benchmark. With an enormous dynamic
range of 136 dB, the MT 48 has four times the resolution of competing devices. Analog circuitry is on the highest level, too. The microphone preamps oer up to 78 dB of clean gain for
capturing every detail from any microphone, be it high sensitivity condensers or low output
ribbons. The same philosophy applies to the built-in headphone amplifiers, which are
extremely powerful and ultra-low impedance to drive any headphones to their absolute best.
Just as important as sound quality is monitoring! Not only for the engineer but also for the artist. Musicians play better, singers sing better with inspiring sound in their headphones. That’s
why the MT 48 is also a fully-fledged mixing console with sophisticated EQ and dynamics in
every channel plus a nice sounding reverb processor. Despite this complexity, the MT 48
remains easy to use, thanks to an intuitive touchscreen user interface: Adjust levels and panning at the touch of a finger. No more shuttling between the audio interface and a controller
app on your computer: All parameters can be set on the device itself.
The MT 48 is thus the ideal companion for self-recording musicians. But it can handle large
setups just as well, as it oers two expansion options, ADAT and AES67. While ADAT has long
been a standard in project studios for adding up to eight I/O channels, AES67 is a modern open
standard for networked audio with enormous capabilities. From the proverbial bedroom studio
though location work and broadcast applications to professional recording, the MT 48 always
oers outstanding performance. Whatever you’re up to, the MT 48 is ready for it.
MT 48 | 3
What‘s in the box?
USB-C
USB-A
USB-C
power supply unit with
different country adapters
USB-C
USB-C
Quick guide
optional accessory:
TRS
USB-C
Safety guide
MIDI
The MT 48 comes with two USB-C to USB-C cables and one USB-C to USB-A cable as well as an
external power supply including adapters for dierent countries.
Please read the Quick Guide and Safety Guide before using the MT 48.
TRS to DIN5 MIDI adapters are available as an optional accessory.
MT 48 | 4
Multi touch display
TFT LCD
System requirements
Windows Mac
Windows 10 64-bit or Windows 11 64-bit macOS 10.15 to 13.x
(Catalina – Big Sur – Monterey – Ventura)
Software Requirement:
Intel and Apple Silicon platforms supported
MT 48 Toolkit must be installed.
Driverless:
Plug and Play supported on macOS.
Installation of MT 48 Toolkit required for
full functionality.
Overview
Mute Control
Configurable
Multi-function Rotary Control
Volume and gain control/
Settings
Home Button
Access to main menu
and settings
Built-in Microphone
Talkback
Talkback Control
Configurable
Speaker Set Selectors
Configurable
Headphone Selectors
Configurable
• TFT LCD: The MT 48 features a capacitive touch display.
• Home button with the Neumann diamond for navigation purposes.
• Multi-function Rotary Control for parameter value changes.
• Selector Buttons: Pressing the Speakers A, Speakers B, Headphone 1 and Headphone 2 but-
tons selects one of four separate Mixers for each output pair and assigns the large Rotary
Control to volume control for the selected stereo output.
• Mute Control: Pressing the mute button silences the selected stereo output, pressing the
mute button for more than 2 seconds mutes all outputs.
• Talkback Control: A Talkback function is integrated. Pressing the Talkback button activates
the built-in Talkback Mic, which is below the pinhole* located between the Home and Speakers A buttons.
CAUTION
Damage to the product
Avoid touching the built-in microphone or applying pressure while engaged.
X
Do not insert any object or liquid into the hole, or use a vacuum over the mic hole as it
could permanently damage the microphone.
• Bottom Panel
3/8” thread for mounting the MT 48 on a mic stand
MT 48 | 5
Inputs and Outputs
MAIN OUT
2x XLR-3M outputs
Optical input and output
Kensington Lock
for optional accessories
Power Switch
for switching the
device on and off
POWER and DATA
USB-C sockets for power supply unit
and data connection
(use supplied USB cables only)
RJ-45 socket for digital audio (AoIP)
and optional Power over Ethernet (PoE) supply
ADAT
DATA
MIC / LINE IN
XLR and 6.3 mm TRS combo sockets for
microphone and line signals
LINE OUT
2x 6.3 mm TRS outputs
GPIO/MIDI
General purpose in and out
or MIDI in and out
INST/LINE
2x 6.3 mm TRS Hi-Z or Line inputs
Analog I/O
The MT 48 has four analog inputs and eight analog outputs. The latter are configured as stereo
pairs.
• Mic/Line Inputs 1+2 are located on the back of the unit as combo jacks. Use the XLR part for
microphones and use the TRS part for line sources.
• Instrument/Line Inputs 3+4 are located on the front of the unit as a matter of convenience,
when you plug in a guitar or bass. These inputs can also be used for line signals.
• Main Outs 1+2 with XLR connectors are located on the back. Usually, these will be connected
to your studio monitor loudspeakers.
• Line Outs 3+4 with TRS connectors are located on the back of the unit. These can be used for
a secondary pair of monitor loudspeakers or other purposes, such as sending a line signal to
an external headphone amplifier in the live room or vocal booth.
• Two stereo headphone outputs are located on the front. Headphone output 1 and 2 are inde-
pendent of each other and can be addressed separately.
MT 48 | 6
Digital I/O
In addition, the MT 48 may be expanded via ADAT / S/PDIF optical and AES67
• ADAT allows for adding up to eight input and output channels via dedicated converters.
ADAT channel count depends on the sampling rate used: 8 channels up to 48 kHz, 4 channels
up to 96 kHz and 2 channels up to 192 kHz. The optical connectors can also be used in S/
PDIF mode for stereo I/O up to 96 kHz.
• AES67 is an open standard in networked audio, which has been embraced by the broadcast
market and is now gaining traction in the world of recording as well. AES67 supports high
channel counts even at double and quad sampling rates. The AES67 port is bidirectional, so
input and output devices can be connected to the MT 48 at the same time using a standard
ethernet switch.
GPIO/MIDI
• These two TRS connectors can be used in GPIO mode for switching, e.g. connecting a footswitch or remote switching a recording light indicator. Or you can use them in MIDI mode as
MIDI in and out, using TRS to DIN5 adapter cables (sold separately).
Powering
• Please use the included power supply and connect it to the USB-C port labeled POWER using
one of the cables provided.
• Alternatively, the MT 48 also works via Power over Ethernet with switches that support the
PoE+ standard.
• Switch the device on/o using the power button.
OR
Power over Ethernet
OFF ON
MT 48 | 7
Register your product
To register your MT 48, please go to mt48.neumann.com
Driver installation
Although the MT 48 works on Mac systems without driver installation, you need to install the
MT 48 Toolkit for full access to all of its features. On Windows systems, installing the MT 48
driver is mandatory.
• Go to mt48.neumann.com and download the installer package to your computer.
• Double click the installer for your computer operating system and follow the on-screen
instructions.
• Important note for Mac users: macOS requires the drivers to be approved. During the installation, you will have a “System extension blocked” message, go in the Security preferences
to unlock the driver.
• After restart, you will notice the Neumann logo of the MT 48 AGENT in the taskbar/menu bar
of your computer.
• If your MT 48 requires a firmware update, see Appendix “Updating the firmware” on page
38
Setup
X
Place the MT 48 on a hard surface. Make sure it stands on its rubber feet to allow airflow to
the MT 48’s bottom plate.
X
Connect the power supply to the USB-C port labelled “Power”
X
Connect the MT 48’s USB-C port labelled “Data” to your computer using the supplied cables
(USB-C to USB-C or USB-C to USB-A).
The MT 48 uses the High Speed protocol supported by USB 2.0 or higher ports. Should the
MT 48 not work properly on a USB 3.0 (or higher) port, please use a USB 2.0 port. Some
non-Intel USB 3.x chipsets are not fully backward compatible for use with audio devices.
X
Press the Power button on the MT 48. Booting takes about 60 seconds.
After a few seconds, the Neumann symbol of the MT 48 Agent in the taskbar/menu bar of your
computer becomes solid to show that the MT 48 is connected and can be used.
Connecting your gear
The MT 48 includes a sophisticated mixer for each of its four output pairs, so you do not need
a monitor controller.
X
Connect your main speakers directly to the Main Outs (XLR, balanced).
X
If you have a secondary set of speakers, connect them to Line Outs 3+4 (TRS, balanced)
X
Connect your headphones to the headphone outs 1 and 2 on the front. Both outputs can be
addressed separately and have their own mixers.
X
Connect microphones or line devices to Mic/Line Inputs 1+2 (XLR/TRS combo, balanced) For
microphones, use XLR cables only. For line sources use the TRS input.
X
Connect your guitar or bass to Line/Instrument Inputs 3+4 (TRS) on the front. These inputs
have a very high impedance (1 MΩ unbalanced, 2 MΩ balanced) to capture the tone of magnetic pickups without losses. But they can also be used for low impedance sources such as
electronic keyboards, drum machines or line level studio gear.
X
GPIO/MIDI: Per default these ports are set to MIDI mode. Connect Synths, drum machines
and other MIDI gear using TRS to DIN5 adapters (sold separately). Alternatively, you can use
these ports for various switching functions, e.g. to connect a footswitch for activating talkback.
MT 48 | 8
Adding I/O via ADAT / S/PDIF and AES67
The MT 48 oers two ways for adding more I/O channels:
ADAT
• ADAT is an established standard used predominantly in project studios. ADAT allows for up
to 8 channels via optical connectors at sampling rates up to 48 kHz. At higher sampling rates
the channel count reduces to 4 channels at double sampling rates up to 96 kHz and 2 channels at quad rates up to 192 kHz.
• Alternatively, the optical I/O can be used in S/PDIF mode, allowing for 2 channels at all
sampling rates up to 96 kHz.
AES67
• AES67 is an open standard for audio-over-IP networks which ensures interoperability
between various audio network protocols such as DANTE, RAVENNA. AES67 was developed
by the Audio Engineering Society (AES) and has been embraced by the broadcast market
but is gaining more traction in recording environments as well. AES67 uses ethernet connections and can handle high channel counts even at high sampling rates. The AES67 port
on the MT 48 is bidirectional, it can send and receive audio data simultaneously. Using a
standard ethernet switch you could connect a Neumann AES67 loudspeaker and Merging
converters at the same time. Note: The MT 48 supports the RAVENNA protocol, which is fully
compliant with AES67 and SMPTE ST 2110.
• Peering is a particularly convenient form of AES67/RAVENNA. Currently this only works with
devices by Merging Technologies (who are now part of Neumann), such as Hapi, Horus, and
Anubis. These high-end converters can be seamlessly integrated via Peering for I/O expansion and remote controlling their preamps and other functions from the MT 48.
MT 48 | 9
Configuring the MT 48 to your needs
USB I/O
The MT 48 driver supports up to 32 input and 16 output channels at sampling rates up to 48
kHz.
At higher sampling rates up to 96 kHz, the channel count reduces to 16 input and 16 output
channels
At highest rates up to 192 kHz, the MT 48 driver can handle up to 8 input and 16 output channels.
Under SETTINGS → USB I/O you can select which channels are sent to and received and from
the computer via USB. Channel numbers are assigned dynamically.
This menu has three sections:
Section 1: Inputs Routed to Computer
• Analog In: these are the two Mic/Line Inputs and the two Line/Instrument Inputs.
• Optical: the ADAT or S/PDIF input. Activate this only if you have ADAT or S/PDIF devices and
want to record their output. If you use optical devices only for monitoring (e.g. a CD player
for reference tracks), there’s no need to activate it as a recording input.
• Peered: This only applies if you use AES67/RAVENNA gear that is Peering enabled, e.g. Hapi,
Horus, or Anubis converters from Merging Technologies.
Analog, Optical and Peered Inputs can also be recorded Post FX, i.e. including the EQ and
Dynamics processing in their respective channels:
• Analog In Post FX
• Optical Post FX
• Peered Post FX
MT 48 | 10
Having this option on separate driver channels allows you to record the same source with and
without processing at the same time, if you wish. That way you can use the on-board processing for creative sound shaping and record a raw backup on a separate track, in case you decide
otherwise.
If you don’t intend to record sources with processing included, you can simply uncheck the
Post-FX entries. Conversely, if you like to record processed signals only, you can uncheck the
unprocessed inputs and only select their Post FX counterparts.
• Built-in Mic – activate this only if you intend to record the Talkback Mic in your session.
Deactivating this entry does not deactivate the Talkback function as such. Please note: Input
4 is shared with the Built-in Talkback. Connecting an instrument or line source to Input 4
will deactivate the built-in Talkback (channel 5).
• Bus Return Mix 1/2/3/4 – This allows you to record the output of one (or more) of the inter-
nal mixers, including signal processing in the input channels and even the reverb eect. A
typical use case would be streaming. For instance, you could plug in a vocal microphone
and a guitar for a musical performance, apply EQ, Dynamics and Reverb and plug in another
microphone for the show host, without Reverb. Routing Bus Return Mix 1/2/3/4 to your
streaming application, your listeners will hear the entire mix, including eects.
Please note: It is a good idea to uncheck any channels you are not going to use. This
gives you a cleaner workflow in your recording software.
Section 2: Software playback
Software playback to MT 48 mixer
DAW1, DAW2, DAW3 and DAW4 are stereo channels from your computer software to the MT 48.
Per default, DAW1 and DAW2 are activated. These channels appear as stereo channel strips in
your MT 48 Mixer. This allows you to create monitoring mixes with the live inputs balanced
against the DAW signal. DAW1 is also where you receive system sounds and the audio output
from consumer software such as media players.
Having more than one DAW channel in your mixer is handy for many applications:
X
Put a click track on a separate DAW channel
MT 48 | 11
X
Use DAW1 for system sounds and consumer software only and use DAW2 for pro audio applications
X
Create stems on up to four DAW channels for the artist to create his/her own mix from melodic
instruments/vocals/bass/drums
X
Mix reference: Compare your DAW Mix with tracks played out from streaming/media player
software.
Section 3: Software Playback - Direct Routing
Channels activated in this section bypass the MT 48 Mixer. Usually, that’s NOT what you want.
But it is a useful option in some scenarios, for instance:
• If you want to manage your monitoring in the DAW instead of the MT 48. Direct Routing
allows you to address Headphones and speakers without going through the MT 48 mixer.
Keep in mind, though, that the MT 48 Mixer oers much lower latency compared to DAW
monitoring.
• If you want to use external outboard as hardware plug-ins in your DAW. In this case, bypassing the MT 48 mixer via Direct Routing makes a lot of sense.
MT 48 | 12
Routing example: Using external outboard as hardware plug-ins in your DAW
Let’s say you have an ADAT AD/DA converter that you want to use to integrate analog outboard
into your workflow as” hardware plug-ins” in your DAW. (You could do the same with analog
inputs/outputs 3+4 or Peered inputs/outputs).
1. Connect the outputs and inputs of your ADAT converter to the inputs and outputs of your
outboard gear.
2. Go to SETTINGS → USB I/O → INPUTS ROUTED TO COMPUTER and activate OPTICAL. Your
ADAT Inputs can now be addressed via the channel numbers displayed.
3. Go to SETTINGS → USB I/O → SOFTWARE PLAYBACK – Direct Routing and activate OPTICAL.
The ADAT Outs can now be addressed directly in your DAW via the channel numbers displayed.
MT 48 | 13
4. In the MT 48 Mixer, remove the ADAT Input channels. Go to MENU → STRIPS SETUP and
disable all ADAT channels and clear the ADAT Group.
Now you can address outboard gear connected to your ADAT converter via driver I/O channels.
MT 48 | 14
DAW setup
When you start your recording software or DAW, as it is usually called (DAW = Digital Audio
Workstation), it will usually detect your new audio interface and ask which driver to use.
Depending on your computer system and recording software, there may be more than one
choice. Select the MT 48 driver. On Windows systems, most DAWs rely on the ASIO protocol.
ASIO was developed by Steinberg specifically for audio processing with low latency – which
is crucial for using virtual instruments such as softsynths and realtime audio processing (e.g.
amp modeling). ASIO oers much better performance than Windows system drivers, so almost
all manufacturers have adopted Steinberg’s ASIO driver protocol.
On the Macintosh, system drivers (CoreAudio) oer excellent low latency performance. Some
manufacturers, however, still use ASIO. In practice, this makes little dierence. Depending on
your DAW software, you may have two driver options: “MT 48” and “MT 48 High Precision”.
Either one should work fine. The High Precision driver works with 32 Bit resolution, which isn’t
necessary since the normal driver’s 24 Bit resolution covers a dynamic range of up to 144 dB
– enough for the MT 48.
DAW buer size / latency settings
To adjust the Latency settings in your DAW, go to Preferences or Studio Setup – please refer to
your DAW manual. There will be button to open the Control Panel for the MT 48 that allows you
to specify the Buer Size.
Selecting a small buer size will give you lower latency, but it will also increase the CPU load.
Selecting a larger buer size will reduce the CPU load but results in higher latency. A good
starting point is usually 64 samples. This gives you low enough latency for a direct response
when you play softsynths while maintaining good CPU performance.
Keep in mind that low latency is only needed for realtime processing, e.g. playing virtual
instruments. There is input latency and output latency. Output latency is the delay between
hitting a key and the resulting sound. Input latency is irrelevant when you play virtual instru-
MT 48 | 15
ments as the input is MIDI data. Input latency only comes into play when you process an audio
input signal in real time. For instance, when you plug a guitar into the MT 48’s instrument
input and process its audio signal with amp modeling software.
Please note that the latency/buer size settings only relate to your DAW. The monitor
mixers inside the MT 48 always work with ultra-low latency, regardless of the DAW settings. So, you do not need a small buer size for audio recording or mixing. You only
need low latency in when playing virtual instruments or realtime processing an input
signal with plug-ins in your DAW.
MT 48 | 16
Setting up inputs and outputs in your DAW
In most DAWs inputs and outputs must be activated before you can use them. This is usually
done in Preferences or I/O Setup or Audio Connections – please refer to your DAW manual.
Usually, it is best to setup inputs as stereo pairs as you can use stereo inputs to record mono
tracks (by specifying the left or right channel), but you cannot use mono inputs to record stereo tracks.
Create stereo inputs for all hardware inputs you previously activated in MT 48 USB I/O SETUP.
Channel naming is not transmitted to your computer. To avoid confusion, it’s a good idea to
name the channels in your DAW accordingly. This is what it looks like in Steinberg Cubase/
Nuendo 12; other DAWs work similarly:
Do the same for the Output channels:
Now the correct names will be displayed whenever you select an input or output in your DAW.
MT 48 | 17
Working with the MT 48
Understanding the mixer structure
The MT 48 has a separate mixer for each of its four output pairs:
• Mix1 → Speakers A
• Mix2 → Speakers B
• Mix3 → Headphone 1
• Mix4 → Headphone 2
Pressing the hardware button for SPEAKERS A, SPEAKERS B, HEADPHONE 1, or HEADPHONE 2
will automatically display the respective Mix on the touchscreen and assign the Rotary control
to the output level (volume) of the selected output.
If you do not want or need separate mixes for each output pair, you can assign MIX2, MIX3
and/or MIX4 to follow MIX1.
X
Go to MENU → SETTINGS → MONITORING and scroll down to the bottom of the page:
Set like this, SPEAKERS B and HEADPHONE 1 get the same mix as SPEAKERS A while HEADPHONE 2 can have a separate monitoring mix for a musician or singer.
Mixes following MIX1 still have their own output level setting. So when you press the
hardware buttons for SPEAKERS A, SPEAKERS B, HEADPHONES 1, or HEADPHONES 2 you
can adjust their output volume individually (including MUTE).
Pressing the Home Button opens the alternate mixer view.
Each input channel has inserts for EQ and Dynamics processing. EQ and DYN in color indicate
that processing is activated. The Analog Inputs as well as Peered Inputs also have a PREAMP
page.
Please note:
• PREAMP, EQ, and DYN are set for all channels at the same time.
• The same goes for the REV SEND level, as there is only one reverb processor for all four mixers. However, you can adjust the overall reverb level in each mixer using the REV CHANNEL
FADER.
• FADER LEVELS and PAN positions can be adjusted individually for each Mixer
MT 48 | 18
Preamp
Pressing the PREAMP button in the alternate mixer view opens the PREAMP page.
Alternatively, the preamp (as well as many other functions) can be accessed by pressing on the
channel name. This opens a menu; select PREAMP.
Each preamp has a gain knob as well as several additional functions.
• MIC/LINE (Inputs 1+2) switches between Microphone and Line mode. INST/LINE (Inputs
3+4) switches between Instrument and Line mode.
• PAD (Mic mode only) allows to attenuate the input signal by 12 or 24 dB to accommodate
high input levels.
• CUT mutes the input.
• Ø reverses the polarity of the input signal (often called “phase reverse”)
• LOW CUT activates a filter to combat rumble. The cut-o frequency is selectable: 40/60/80
Hz. Please note that the low cut filter always aects the recorded signal, even on the Pre-FX
driver channels.
• 48V (Mic mode only) activates 48 Volts phantom power for condenser microphones (and
other microphones with active electronics)
• GAIN is adjusted by selecting the gain knob and then turning the Rotary Controller. It’s good
practice to leave at least 10 dB headroom. The Meter in the middle has a peak hold function,
which can be reset by tapping the Meter section.
For stereo operation, two channels can be linked by pressing on the chain symbol above the
level display. Any oset in the gain setting is maintained, which allows you to compensate differences in sensitivity.
Settings can be locked by clicking on the lock symbol next to the gain knob.
Tip: You can go to the neighboring channels’ preamp page by swiping to the left or right.
MT 48 | 19
EQ
The MT 48 mixer features a sophisticated 4-band equalizer on every channel. This EQ is based
on the acclaimed EQ-X of Merging’s award winning Pyramix digital audio workstation. Like
EQ-X, the MT 48 equalizer works without audible artifacts.
Each of its four bands can has four controls:
• TYPE: low cut, low shelf, peak, high shelf, high cut
• FREQUENCY: 20 Hz … 20 kHz
• GAIN: ±24 dB
• Q: 1 (wide) …100 (very narrow)
Adjust values by selecting a parameter on the touchscreen and turning the Rotary Control.
The resulting curve is shown in the display.
Dynamics
The MT 48 mixer features complex Dynamics processor on every channel. It has three sections:
Gate, Compressor, and Limiter, each with their own bypass switch. So you can use one or two
or even all three sections at the same time. In addition, there is a global bypass switch for the
entire Dynamics processor.
Each band can be bypassed individually. A global EQ bypass is to the right of the frequency
display.
Gate
A gate is useful to suppress unwanted noise in (short) pauses of the wanted signal.
Gate has the following parameters:
MT 48 | 20
THRESHOLD adjusts the level when the gate opens
ATTACK 0.1 … 200 ms adjusts how fast the gate opens
RELEASE 12 ms … 2 s adjusts how fast the gate closes
MAKEUP GAIN to compensate for gain loss (usually not needed for gate),
can be switched to auto gain for automatic gain compensation
Compressor
A compressor is often used to make levels more even. Loud signal become softer, soft signals
become louder (via makeup gain).
The compressor section has the following parameters:
THRESHOLD adjusts the level when compression sets in
RATIO 1:1 (no compression) …
32:1 (hard compression)
ATTACK 0.1 … 200 ms adjusts how fast gain reduction sets in after the signal
RELEASE 12 ms … 2 s adjusts how fast gain reduction fades after the signal falls
MAKEUP GAIN to compensate for gain loss
adjusts the compression ratio, i.e. the factor by which a
gain increase is reduced
exceeds the threshold
below the threshold
This can be switched to AUTO GAIN for automatic gain
compensation
MT 48 | 21
Limiter
A limiter is basically the same as a compressor but with a very high compression ratio. Limiters are used to make sure a signal does not exceed a certain level, e.g. as overload protection.
The limiter section has the following parameters:
THRESHOLD adjusts level when limiting sets in
ATTACK 0.1 … 200 ms adjusts how fast gain reduction sets in after the signal
exceeds the threshold
RELEASE 12 ms … 2 s adjusts how fast gain reduction fades after the signal is
below the threshold
MAKEUP GAIN to compensate for gain loss
This can be switched to AUTO GAIN for automatic gain
compensation.
Sidechain
Instead of reacting to the input signal, the Dynamics processor can also be triggered by an
external signal. You can use any channel that has Dynamics processing activated(!).
A typical application would be “ducking”. This is a technique you have often heard applied on
the radio: Music plays, and as soon as the announcer speaks, the music is attenuated so the
voice can be clearly heard without interrupting the music completely. This is done by feeding
the music signal through a compressor and sending the voice signal to its sidechain input. The
compressor thus does not react to the music, gain (volume) is controlled by the voice signal.
As soon as the announcer speaks, the voice signal “ducks” the music.
Please note: Sidechaining aects all three sections of the Dynamics processor.
MT 48 | 22
Reverb
Every channel has a send to the built-in reverb. Please note that there is only one reverb processor for all four mixers. So, the send level in the individual channels is the same in all four
mixers. However, the Reverb has its own output fader. Using the REV fader, the total amount of
reverb can be adjusted in each mixer individually.
Please note that reverb is for monitoring purposes only, i.e. to give singers and musicians
a more inspiring sound in their headphones. Reverb is not recorded, not even in the PostFX
driver channels.
The Reverb parameters can be edited. Press on the REV channel name and select Edit REV:
The controls are similar to what you would find in a plug-in or hardware unit:
LOW CUT 10 Hz … 20 kHz
ROOM SIZE small … large
HIGH CUT 10 Hz … 20 kHz
PREDELAY 0 … 300 ms
DECAY 0 … 100%
DIFFUSION 0 … 100%
Snapshots
EQ, Dynamics, and Reverb each have their own snapshots (presets), which, of course, is particularly useful for the Reverb:
MT 48 | 23
Monitor controller functions
Just like a professional mixing console, the MT 48 includes monitor controller functions.
• DIM reduces the level of the selected output. The default attenuation is 20 dB, but the
amount can be adjusted in SETTINGS → MONITORING
• MONO sums both stereo channels to mono output. Checking mono compatibility is still good
practice as many Bluetooth boxes, smartphones, and kitchen radios eectively produce
mono sound.
• CLEAR SOLO is useful to disengage the solo function on all channels at once.
• Every channel has a SOLO button. The ones on the DAW channels are particularly helpful so
you can listen to your DAW mix without the live inputs.
• SOLO PFL and SOLO EXCLUSIVE options are available under the SETTINGS → MONITORING
MT 48 mixer details
Basic operation of the MT 48 mixer is pretty much self-explanatory, but there are some useful
functions that may not be obvious.
Pressing on the channel name opens a menu:
The entries PREAMP, EQ, and DYNAMICS allow you to access the respective pages without
switching to the Alternate Mix View.
• MUTE is handy for silencing individual channels.
• NAME lets you rename the channel.
• COLOR lets you choose a color for the channel name lettering and an indicator strip below
the channel name.
• LINK WITH RIGHT/LEFT allows you to link two neighboring channels for stereo operation.
• GROUP allows you to assign the selected channel to one of eight groups. This group then has
a common fader for all its channels. As default, this is the case with the ADAT input channels.
MT 48 | 24
Pressing on a Group channel name opens a dierent menu:
• MUTE silences the entire group with all contained channels.
• EXPAND/COLLAPSE displays or hides all channels contained in this group.
• NAME lets you rename the group.
• CLEAR GROUP dissolves the group. This does not remove the channels contained in the
group, they will be displayed as individual channels in the mixer.
Strips setup
STRIPS SETUP allows you to configure the MT 48 mixer to your needs. Please note that changes
to the Strips Setup apply to all four mixers.
X
Go to MENU → STRIPS SETUP
Here you can disable channel strips or enable channel strips that are currently hidden (disabled). If you enable more strips than the screen can display (eight), you can reach the additional channels by swiping.
You can also re-arrange channel strips in a new order. When you press on a strip, arrows
appear that allow you to move the respective strip to the left or right.
MT 48 | 25
There are three buttons on the right-hand side:
• RESET DISPLAY restores the default order (but does not enable or disable strips).
• ENABLE ALL enables all channel strips.
• SHOW ALL STRIPS displays all strips, including those which are currently hidden (disabled).
MT 48 status bar
The Status Bar gives an overview over the current state of the MT 48:
48V indicates if phantom power is active on one or more channels.
OV indicates overload in the MT 48 mixer.
CUT numbers + TB (Talkback) in red indicate inputs that are cut
(muted).
DIN5 symbol indicates MIDI activity.
Fine precision for value changes enabled/disabled.
Network port with flash indicates Power over Ethernet.
Letter symbol lights up when a message or error has been received.
Clock status: A green M indicates the MT 48 is Master; a green S indicates the MT 48 is slave. Yellow color indicates locking is in progress,
red color indicates improper synchronization (check your setup!).
Optical Input as Clock source: If the optical input is Master, the icon
appears green. Yellow color indicates locking is in progress, red color
indicates improper synchronization (check your setup!). If the optical
input is not used as Clock source, the icon is colorless.
44.1/48/88.2/96/176.4/192 kHz is the current sampling rate.
MT 48 | 26
Remote controlling the MT 48
The MT 48 can be remote controlled from the connected computer using the MT 48 Remote
Control App.
On your computer, go to the taskbar (Windows) or menu bar (Mac) and click on the Neumann
logo of the MT 48 AGENT. Select LAUNCH REMOTE CONTROL APP. The Remote Control App
looks and behaves just like the MT 48 screen and includes software counterparts for the MT
48’s hardware buttons.
Web control
In a similar fashion, the MT 48 can also be controlled via a web interface in your browser. Click
on the Neumann logo in your computer’s taskbar/menu bar and select OPEN WEB CONTROL.
Per default, the Web Control browser page looks similar to the Remote Control App. However,
the Web Control surface is optimized for touchscreen, i.e. for use with a tablet computer (see
below), and it can be configured in various ways. The Web Control browser window has no size
constraints so it can display more than eight channel strips.
MT 48 | 27
Pressing the MENU button in the upper left-hand corner, you can choose to display the preamp
controls in all preamp-equipped input channels and/or the Eects knobs (EQ and DYN buttons
and REV level). The latter will also give you edit panels in the left-hand side, if you click on an
EQ or DYN button or open REV edit.
The Preamps section has additional functions not found on the hardware unit or the Remote
Control app. These additional functions are especially useful in larger setups with many preamp channels. Instead of the PREAMP LINK feature, the Web Control features up to eight PREAMP LINK GROUPS (PLG) which the preamp channels can be assigned to. This allows you to
control gain, polarity, low cut and cut (mute) on two or more channels simultaneously.
MT 48 | 28
Please note that when you press on a rotary control (e.g. preamp gain or REV level) to change
its value, a panel opens with a slider. This is to facilitate using the Web Control from a touchscreen device, e.g. a tablet computer.
Controlling the MT 48 from your tablet
The Web Control can be used to remote control the MT 48 from another computer. However,
this requires the MT 48 to be part of your home network.
A typical use case would be to remote control mixes from one or more tablet computers so the
artist(s) can adjust their own monitor mix.
To accomplish this, connect the MT 48’s AES67 port to your WiFi router via a CAT5 or CAT6
ethernet cable. If that’s not possible, you can also connect the MT 48 to a WiFi extender that
has an ethernet port.
To find out the web address of your MT 48, go to the MT 48 AGENT, i.e. the Neumann logo in
the menu bar/taskbar of your computer and select OPEN WEB CONTROL. Please note that you
must deactivate WiFi on your computer as you are already connected to your home network
via the MT 48. The web address in your browser window will work on any web device within
your network.
MT 48 | 29
Advanced settings
Output levels
The analog outputs can be switched between high and low level with +24 dBu or +18 dBu @ 0
dBFS. The signal level can be switched for output pairs 1+2 and 3+4 individually.
X
Go to MENU → SETTINGS → AUDIO OUTPUTS:
+24 dBu results in slightly better signal-to-noise but may be too hot for some equipment. When
directly connecting your (active) studio loudspeakers, the lower signal level +18 dBu may be
useful to prevent ear blasting SPLs. If needed, you can dial in additional signal attenuation.
Speakers A/B latch mode
When using two sets of speakers, you may want to avoid both speaker pairs playing at the
same.
X
Go to MENU → SETTINGS → MONITORING and scroll down to the bottom of the page:
X
Activate “MIX 1-2 IN A/B MODE”.
Now you can easily toggle between both speaker pairs. Pressing the SPEAKERS A button
automatically mutes SPEAKERS B and vice versa.
MT 48 | 30
Output routing
Per default, the MT 48’s four mixes are routed to Speakers A, Speakers B, Headphones 1 and
Headphones 2. If needed, the mixes can be re-routed to dierent outputs. If, for instance you
have monitor speakers with an S/PDIF input (such as the Neumann KH 150) you could re-route
Mix 1 or Mix 2 to the optical output in S/PDIF mode (for the KH 150 you’d need an S/PDIF optical to coaxial converter).
X
Go to MENU → BUS ROUTING
X
Now scroll down to see the S/PDIF output and route Mix 1 (or whatever Mix you prefer) to
the S/PDIF output (stereo).
MT 48 | 31
Output EQ
A 4-band parametric equalizer is available for each mixer output. This allows for basic room
adjustment on the loudspeaker outputs. For Neumann DSP loudspeakers, we of course recommend MA 1, which is a much more sophisticated room alignment solution. But if you are using
other speakers, the Bus EQ can be of great help to compensate for resonances in your listening
environment or nonlinearities in the loudspeakers themselves. Bus EQ can also be useful on
the headphones outputs, if you have to work with less than linear headphones or headphones
you are not accustomed to.
X
Go to MIX 1/2/3/4 (on the upper right-hand side) → BUS EQ
Output dynamics
Similarly, mixer outputs can also be processed with Dynamics, if needed. The functions are the
same as in the input channels Dynamics module: Gate, Compressor and Limiter.
Configuring the headphone outputs
A huge number of dierent headphones are oered today. Two key parameters vary greatly:
sensitivity and impedance. Low sensitivity and/or high impedance headphones need a very
powerful headphone amplifier to produce high enough volume. Low impedance headphones
require a headphone amplifier with super low output impedance for fast transient response
and an optimal sound balance.
The MT 48 features excellent headphone amplifiers oering both high power and ultra-low
output impedance (0.035 Ω!). So it can drive any headphones to their absolute best.
MT 48 | 32
High/Low output setting
The maximum output level of the headphone amplifiers can be switched between +8 dBu or
+16 dBu. The +16 dBu setting provides loud output for high impedance/low sensitivity headphones. For low impedance/high sensitivity headphones, the +8 dBu setting is advisable to
avoid ear blasting levels. The output level setting can be set for both headphone outputs individually.
X
Go to SETTINGS → AUDIO OUTPUTS and scroll down to OUTPUT MAX LEVEL under HEADPHONE
1 and HEADPHONE 2.
You can even reverse the signal polarity for each ear cup on each headphone output. Reversing
one earcup (temporarily) can be useful to check for wiring mistakes. Reversing both cups is a
useful option for some older headphones that came with reversed polarity. Correct polarity is
crucial for singers in front of a microphone, so the electric path is in phase with acoustic path
(air, skull bones).
Crossfeed
When listening on headphones, the signal on the left channel will only reach the left ear, and
the signal on the right channel will only reach the right ear. With loudspeakers this is not the
case: The signal on the left speaker will also reach the right ear and the signal on the right
speaker will also reach the left ear.
This can be simulated via crossfeed: Part of the left channel is also fed to the right ear cup,
and part of the right channel is fed to the left earcup. Listening on headphones thus becomes
more like listening on loudspeakers. The amount of crossfeed can be adjusted from 0% (no
crossfeed) to 100% The default setting is 0%.
X
Go to SETTINGS → MONITORING and scroll down to HEADPHONES CROSSFEED.
Please note: The Crossfeed setting aects both headphone outputs.
MT 48 | 33
Talkback
The MT 48 has a built-in talkback mic, which is located below the pinhole between the HOME
and SPEAKERS A buttons.
To configure Talkback, go to MENU → SETTINGS → MONITORING and scroll down:
With TALK LATCH activated, the talkback mic is only open as long as you press the talkback
button.
You can select which mixers Talkback talks to: Mix 1 (Speakers A), Mix 2 (Speakers B), Mix 3
(Headphones 1 ) and Mix 4 (Headphones 2).
To adjust the built-in mic gain, go to MENU → TALK PREAMP
MT 48 | 34
Changing the sampling rate/clocking
To set the sampling rate for the MT 48, go to MENU → GENERAL → SAMPLING RATE
With AUTO setting activated, the MT 48 follows the sampling rate setting in your recording
software. Or if the MT 48 is in slave mode, it will automatically follow the master clock.
FRAME MODE | LATENCY sets the buer size in a AES67/RAVENNA setup. Ignore this point if
you’re not using any AES67 devices with your MT 48.
Per default, the MT 48’s sync source is its internal clock (INTERNAL). To change the clock settings, go to MENU → GENERAL and scroll down to CLOCK.
When set to RAVENNA/AES67 the MT 48 follows an external PTP Master.
Note: The Precision Time Protocol (PTP) is a protocol used to synchronize clocks throughout a
computer network. Also known as IEEE 1588 or IEC 61588, it is a protocol designed to synchronize real-time clocks in the nodes of a distributed system. PTP Clocks allow for time resolution
to the nanosecond.
When set to OPTICAL, the MT 48 follows the clock embedded in an ADAT or S/PDIF input signal.
Color indicators
BLUE indicates a sync source is available; WHITE means this source is unavailable.
GREEN indicates Sync is working; RED means Sync is impossible.
ASIO CLOCK is deactivated by default – this is not a mistake! This setting is only relevant to
AES67 setups, where the PTP master has to generate its clock according to the ASIO clock. In
setups without AES67 network devices, leave ASIO CLOCK deactivated.
MT 48 | 35
DAC filter
The DA converters oer four output filter modes:
X
Go to MENU → SETTINGS → AUDIO OUTPUTS → ROLL OFF FILTER:
Sharp (default setting): Oers a flat frequency response with an attenuation of 3 dB at 0.484 x
FS (23.2 kHz @48k), which has the tradeo of 35 samples latency.
Slow: Oers the lowest latency of 9 samples, with the tradeo of a gentle frequency response
attenuation reaching -3dB at 0.45 x FS (21.6 kHz @48k).
Apodizing: Fast roll-o, linear phase filter. Avoids pre-ringing for super accurate transient
response. Latency of 35 samples.
MT 48 | 36
Brickwall: Ensures rejection of more than -100dB at Nyquist (0.50 x FS, 24 kHz @48k). Latency
of 35 samples
Tip: For a super-direct feel use SLOW mode during recording; this is especially great
for singers. For mixing and mastering, use one of the other three options, depending on
your preferences.
Device snapshots
All settings can be stored and recalled using device snapshots.
X
Go to MENU → SNAPSHOTS
Once you’ve configured the MT 48 to your needs, it’s a good idea to store your settings in a
device snapshot. You can also use snapshots to switch between several configurations for various tasks, e.g. recording, mixing, and mastering.
The STORE dialog allows you to type in a name (and a comment if you like) using a virtual
keyboard and choose a color.
Recalling Snapshots is just as easy. The RECALL dialog even lets you select and deselect various functions that you may want to include or exclude from the Snapshot you’re about to recall.
Or simply press TOTAL RECALL for taking over all settings from the Snapshot you are recalling.
MT 48 | 37
Appendix
Updating the firmware
To find out if your MT 48 is on the newest firmware, go to MENU → SETTINGS → INFO
Updating requires the MT 48 driver/agent to be installed on your computer system.
The firmware update procedure is easy:
1. Download the newest MT 48 toolkit software, unzip and locate the firmware file.
2. With the MT 48 connected to your computer, go to the Neumann logo in the menu bar
(Mac)/taskbar(Windows) to open the drop-down menu.
3. In the menu, select OPEN MAINTENANCE PAGE
4. A browser window opens. Click SELECT FILE and locate the firmware file you downloaded.
5. Click UPDATE and wait for the procedure to end. Make sure your computer does not enter
sleep mode during the update process. The updating procedure takes about 10 minutes.
Don’t panic if the process appears to get stuck. Do not abort, just wait.
6. Once the update is completed, the message REBOOT DEVICE appears. Confirm.
7. After rebooting the device, your MT 48 is on the latest firmware.
Using the MT 48 with the Neumann MA 1 Automatic Monitor Alignment
MA 1 is a hardware/software solution that allows easy and precise alignment for Neumann DSP
speakers. Acoustic data of your room is gathered using the included measurement microphone
in several spots around your listening position. The resulting correction curve is then stored
inside the DSP speakers.
This process requires the speakers’ network ports to be connected to your computer for data
transfer while audio signals are sent to the speakers via the analog or digital outputs of your
audio interface, in this case the MT 48.
The MT 48 contains a converter that translates between USB and AES67/Ravenna. It is important to know that a computer should not be part of two networks at the same time. Therefore,
the network connection to your speakers should not be made from your computer’s network
port but via the MT 48’s AES67 network port (regardless of whether your Neumann speak-
ers are AES67 variants or the standard version). This avoids address conflicts. Connect your
loudspeakers using a standard IPv6 capable ethernet switch. Please note that the MT 48 has
a gigabit port that is not directly compatible with Non-AES67 Neumann speakers’ 100Mbit
ports. So a gigabit network switch is required to translate between the two, even if you only
connect one Non-AES67 Neumann loudspeaker such as the KH 750 DSP subwoofer.
FAQ
The MT 48 runs rather warm. Is my device defective?
X
Don’t worry, that’s normal. The MT 48 contains a high performance DSP, and the aluminum
enclosure serves as a heat sink.
The fan makes noise when I set Fan Mode to Mid or High. What can I do?
X
Just set FAN MODE to Low, which is the default. In this setting the fan is inaudible except
in very hot environments. The fan is merely a safety measure to keep the electronics from
overheating, if the room temperature is unusually high.
Can the MT 48 be used with Merging Anubis Missions?
X
Not a launch, but additional missions may be oered at a later point.
MT 48 | 38
MT 48 signal flow
MT 48 | 39
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