RME MADIFace Pro User manual
User's Guide
MADIface Pro
24 Bit / 192 kHz 9
SteadyClock
Crafted with Passion and a lot of Channels
TotalMix
™
III SyncCheck
USB 2.0 Digital I/O System
4 / 4 Channels Analog I/O
64 Channel MADI Interface
24 Bit / 192 kHz Digital Audio
136 x 64 Matrix Router
MIDI I/O
MIDI over MADI
Stand-Alone Operation
Class Compliant Operation
™
™
General
1 Introduction ...............................................................6
2 Package Contents.....................................................6
3 System Requirements ..............................................6
4 Brief Description and Characteristics.....................6
5 First Usage - Quick Start
5.1 Connectors – Controls – Display ............................7
5.2 Quick Start ..............................................................9
5.3 Operation at the Unit ...............................................9
Installation and Operation - Windows
6 Hardware Installation..............................................12
7 Driver and Firmware
7.1 Driver Installation .....................................................12
7.2 De-installing the Drivers...........................................13
7.3 Firmware Update .....................................................13
8 Configuring the MADIface Pro
8.1 Settings Dialog – General ........................................14
8.2 WDM Configuration..................................................16
9 Operation and Usage
9.1 Playback...................................................................19
9.2 DVD Playback (AC-3 / DTS) ....................................20
9.3 Channel Count under WDM.....................................21
9.4 Multi-client Operation ...............................................21
9.5 Analog Recording.....................................................22
9.6 Digital Recording......................................................22
9.7 Clock Modes - Synchronization ...............................23
10 Operation under ASIO
10.1 General ................................................................24
10.2 Channel Count under ASIO .................................24
10.3 Known Problems ..................................................25
11 Using more than one MADIface Pro......................25
12 DIGICheck Windows ............................................... 26
13 Hotline – Troubleshooting......................................27
Installation and Operation - Mac OS X
14 Hardware Installation..............................................30
15 Driver and Firmware
15.1 Driver Installation .................................................30
15.2 De-installing the Drivers.......................................31
15.3 Firmware Update..................................................31
16 Configuring the MADIface Pro
16.1 Settings Dialog – General ....................................32
16.2 Clock Modes - Synchronization ...........................33
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17 Mac OS X FAQ
17.1 MIDI doesn't work ................................................ 34
17.2 Repairing Disk Permissions................................. 34
17.3 Supported Sample Rates..................................... 34
17.4 Channel Count under Core Audio ....................... 34
17.5 Various Information.............................................. 35
18 Using more than one MADIface Pro...................... 35
19 DIGICheck Mac........................................................ 36
20 Hotline – Troubleshooting ..................................... 37
TotalMix FX
21 TotalMix: Routing and Monitoring
21.1 Overview .............................................................. 40
21.2 The User Interface ............................................... 42
21.3 The Channels....................................................... 43
Settings.............................................................. 45
Equalizer ........................................................... 46
21.4 Section Control Room.......................................... 48
21.5 The Control Strip.................................................. 49
21.5.1 View Options................................................ 50
21.5.2 Snapshots - Groups..................................... 51
21.5.3 Channel Layout – Layout Presets................ 52
21.5.4 Scroll Location Markers ...............................53
21.6 Reverb and Echo ................................................. 54
21.7 Preferences.......................................................... 57
21.7.1 Store for Current User or all Users (Win) ....58
21.8 Settings ................................................................ 59
21.8.1 Mixer Page................................................... 59
21.8.2 MIDI Page .................................................... 60
21.8.3 OSC Page.................................................... 61
21.8.4 Aux Devices ................................................. 62
21.9 Hotkeys and Usage .............................................63
21.10 Menu Options....................................................... 64
21.11 Menu Window ...................................................... 65
22 The Matrix
22.1 Overview .............................................................. 65
22.2 Elements of the Matrix view ................................. 65
22.3 Operation .............................................................66
23 Tips and Tricks
23.1 ASIO Direct Monitoring (Windows) ...................... 66
23.2 Copy a Submix..................................................... 66
23.3 Doubling the Output Signal (Mirror) ..................... 66
23.4 Delete a Submix................................................... 66
23.5 Copy and Paste everywhere................................ 67
23.6 Recording a Submix - Loopback ......................... 67
23.7 MS Processing ..................................................... 68
24 MIDI Remote Control
24.1 Overview .............................................................. 69
24.2 Mapping ...............................................................69
24.3 Setup.................................................................... 70
24.4 Operation .............................................................70
24.5 MIDI Control ......................................................... 71
24.6 Loopback Detection ............................................. 72
24.7 OSC (Open Sound Control)................................. 72
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Technical Reference
25 Technical Specifications
25.1 Analog ..................................................................74
25.2 MIDI......................................................................75
25.3 Digital ...................................................................75
25.4 Digital Input ..........................................................75
25.5 Digital Output .......................................................75
25.6 General ................................................................76
26 Technical Background
26.1 Lock and SyncCheck ...........................................76
26.2 Latency and Monitoring........................................77
26.3 USB Audio............................................................78
26.4 DS – Double Speed .............................................79
26.5 QS – Quad Speed................................................79
26.6 Noise Level in DS / QS Mode .............................. 80
26.7 SteadyClock .........................................................80
26.8 MADI Bacis ..........................................................81
27 Diagrams
27.1 Block Diagram MADIface Pro ..............................82
27.2 Connector Pinouts................................................83
Stand-Alone and Class Compliant Modus
28 General.....................................................................86
29 System Requirements for iPad Operation............86
30 Class Compliant Operation....................................86
30.1 Useful Hints ..........................................................87
30.2 Class Compliant under Windows/Mac OS X .......88
31 Supported Inputs and Outputs
31.1 Class Compliant Mode .........................................89
31.2 Stand-Alone Mode ...............................................89
32 Operation at the Unit...............................................90
33 Application Examples Stand-Alone Mode............ 92
34 Useful Notes ............................................................92
Miscellaneous
35 Accessories.............................................................94
36 Warranty...................................................................94
37 Appendix.................................................................. 95
38 Declaration of Conformity......................................96
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User's Guide MADIface Pro © RME
User's Guide
MADIface Pro
General
User's Guide MADIface Pro © RME
5
1. Introduction
Thank you for choosing RME’s MADIface Pro. This unique portable desktop audio interface is
capable of transferring analog and digital audio data directly to Windows and Mac computers.
The latest Plug and Play technology guarantees a simple installation, even for the inexperienced user. Numerous unique features put the MADIface Pro at the very top of the range of
computer-based audio interfaces.
The package contains drivers for Windows Vista / 7 / 8 / 10 and Mac OS X x86 (Intel).
Our high-performance philosophy guarantees maximum system performance by executing as
many functions as possible not in the driver (i.e. the CPU), but within the audio hardware.
2. Package Contents
• MADIface Pro
• Cable USB 2.0 with right angle B plug, length 39” (1m)
• MIDI breakout cable
• Power supply
• Carrying box
• Manual
• RME Driver CD
3. System Requirements
• Windows Vista or up, Intel Mac OS X (10.6 or up)
• 1 USB 2.0 port or USB 3 port
• Computer with at least Pentium Core 2 Duo CPU
4. Brief Description and Characteristics
• Housing machined from a block of aluminium
• Intuitive and efficient user interface
• Mic stand thread on the bottom for free positioning
• All settings can be changed in real-time
• Buffer sizes/latencies from 32 up to 8192 samples selectable
• 64 channels via MADI optical
• Clock modes slave and master
• Automatic and intelligent master/slave clock control
• SteadyClock: Jitter-immune, super-stable digital clock
• DDS technology for free setting of the sample rate
• SyncAlign guarantees sample aligned and never swapping channels
• SyncCheck tests and reports the synchronization status of input signals
• TotalMix for latency-free submixes and perfect ASIO Direct Monitoring
• TotalMix: 9248 channel mixer with 46 bit internal resolution
• TotalMix FX: 3-band EQ, Low Cut, Reverb, Echo
• 1 x MIDI I/O, 16 channels high-speed MIDI
• 1 x virtual MIDI port over MADI
• 2 digitally controlled microphone inputs in reference quality
• 2 balanced line outputs, level +19 dBu
• 1 x headphone output with separate driver stages for high and low impedance phones
• DIGICheck DSP: Level meter in hardware, peak- and RMS calculation
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User's Guide MADIface Pro © RME
5. First Usage – Quick Start
5.1 Connectors – Controls – Display
The top of the MADIface Pro features a hi-precision rotary encoder, 6 buttons, 4 LED bands
and 6 status LEDs.
The four LED bands show the current gain, the input and output level, and the channel to be
set, all dependent on the current mode. The lowest LEDs signal phantom power (+48 V, orange) and DIM, the highest one overload (clip, red).
The rotary encoder is used to change various parameters directly at the unit. The 4 buttons IN,
A (SET), (MIX) B and OUT directly access the respective function.
IN gives access to Gain control and phantom power.
Press IN several times to step through the inputs 1/2,
3/4 and Optical (MADI). Press SELECT several times
to step through left, right or both channels, as
indicated by flashing LEDs. Then turn the wheel to
change the gain, or press SET to activate phantom
power (only in stand-alone mode). Phantom power is
signalled by two orange LEDs at the bottom of meters
1 and 2.
OUT gives access to the output volume control. Press
OUT several times to step through the outputs 1/2,
Phones and Optical (MADI). Then turn the wheel to
change the level. To change the output balance press
and hold SELECT before turning the wheel.
DIM activates Dim for the Main Out as defined in
TotalMix FX.
The input LED Opt also serves as synchronisation
indicator for the digital input. It stays yellow when the
input is selected but has no input signal (No Lock). It
flashes green when the signal has been detected but is
not fully synchronous (Lock). When in Sync, the color
changes to a constant green. See also chapter 9.7 /
16.2, Clock Modes - Synchronisation.
The button DIM is also used for Recall, to load a specific listening volume for the Main Out that
can be defined in TotalMix FX. Pushing the knob SET for 2 seconds when OUT is selected
stores the current setting. If the volume (output level) had been changed pressing DIM for two
seconds will restore the former value.
The right side of the MADIface Pro has two instrument/line inputs and two headphone outputs.
The analog inputs 3/4 are high impedance,
unbalanced multi-purpose inputs with TS jacks.
They include 9 dB fine digital gain control, and a
choice of +4 dBu or -10 dBV reference level,
controlled from the Tools menu of input channels 3
and 4 in TotalMix FX.
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The output channels 3/4 feed two Phones outputs via two independent driver circuits, optimized
for high (TRS 1/4”, 6.35mm) and low impedance (TRS 1/8”, 3.5mm) headphones. Their unbalanced output signal is – in terms of quality – identical to the ones at the XLR line outputs, but
lower in level.
In case the phones output is to be used as line output an adapter TRS plug to RCA phono
plugs, or TRS plug to two TS plugs is required. More on cable codes and pinouts can be found
in chapter 27.2.
The back of the unit has the XLR inputs and outputs of channels 1/2.
The short circuit protected, low impedance XLR line outputs do not operate servo balanced! When connecting unbalanced equipment, make sure pin 3 of the XLR output is not
connected. A connection to ground might cause a decreased THD (higher distortion) and
increased power consumption!
The MADIface Pro has two analog microphone inputs that can operate as line inputs with lev-
els up to +19 dBu, when set to 0 dB gain and PAD active. The electronic input stage uses a
servo balanced design which handles unbalanced and balanced signals correctly, automatically
adjusting the level reference.
When using unbalanced cables with the XLR inputs pin 3 of the XLR jack should be connected to ground. Otherwise noise may occur, caused by the unconnected negative input of
the balanced input.
The left side of the MADIface
Pro has a MADI optical input
and output, a power supply
connector, a USB socket and
a 6-pin MINI DIN connector
for the included MIDI
breakout cable.
MADI optical I/O: FDDI duplex SC connector as found in most MADI units. 64 channels input
and output at single speed.
USB 2.0: Standard USB socket for connection to the computer. Please make sure the MADI-
face Pro can have the full voltage/current delivered from the computer by using hi-quality USB
cables (like the one included), no USB extension cables and no USB hubs. When connected to
USB 3 only the USB 2 protocol will be used.
Socket for power connection. Unburdens the computer’s power supply, or ensures a stable
power supply, in case it proves to be insufficient when taken from the computer. This socket
supports locking type jacks as found on the optional RME DC power supply. After inserting the
connector carefully turn it by 90° so that it locks.
MIDI: MADIface Pro offers one MIDI I/O via two 5-pin DIN jacks. Using MIDI capable software,
these ports can be accessed under the name MF Pro Midi. The MIDI ports support multi-client
operation. A MIDI input signal can be received by several programs at the same time. Even the
MIDI output can be used by multiple programs simultaneously. However, due to the limited
bandwidth of MIDI, this kind of application will often show various problems.
MIDI over MADI: The MADIface also has a virtual MIDI port. MADI Pro Midi in and out receive
and transmit MIDI data over MADI. This allows for a direct communication with other RME
MADI devices. Additionally MIDI data can be transmitted from/to other RME devices with MADI
ports, and both can be MIDI remote controlled without any additional line or cabling between
computer (MADIface) and unit.
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User's Guide MADIface Pro © RME
5.2 Quick Start
After the driver installation (chapter 7 / 15), connect the inputs to the analog signal source.
The analog input sensitivity can be changed at the unit (IN, SELECT) or in TotalMix FX (Tools,
Gain). To achieve the best signal to noise ratio, adjust your analog source to its highest output
level and then decrease the input gain in TotalMix or at the MADIface itself to make sure that
the loudest signal reaches about -3dBFS.
The XLR line inputs of the MADIface Pro can be used with +4 dBu and -10 dBV line signals.
The electronic input stage can handle balanced (XLR, TRS jacks) and unbalanced (TS jacks)
input signals correctly.
On the analog playback side (the DA side), an adjustment of the analog output level is available
by the rotary encoder (select desired output via OUT), or in TotalMix FX.
The output signal of channels 3/4, Phones, can be set freely using the rotary encoder. These
outputs are optimized for headphones, but can also be used as line outputs.
The MADIface Pro’s digital input and output supports MADI in 64 channel and 56 channel
mode, as well as 48K and 96K Frame mode.
TotalMix FX remembers all settings, and loads these automatically when the MADIface Pro
drivers are loaded.
5.3. Operation at the Unit
Operation at the unit in online mode (drivers installed under Windows and Mac OS X, PC mode
chosen at the unit) covers the most useful actions and situations in daily operation. Clearly labelled buttons together with an intuitive operation scheme give direct access to volume, monitoring and setup.
Input Gains
The gains of all four analog inputs can be controlled directly by the big encoder knob. Use IN to
select input 1/2 or 3/4, then push SELECT several times to step through left channel, right
channel or both. The selected channel and amount of gain is shown by a single LED flashing in
the left INPUT level meters. Turn the wheel to increase or decrease the gain. The three INPUT
LEDs also show overload. Too hot levels will not be missed even if the level meter currently
shows a quieter channel.
Output Volume
Select one of the three outputs via OUT, then turn the wheel. The current fader position of TotalMix FX (which moves in sync) is displayed via flashing single LEDs in the output level meter.
The three output LEDs also show overload. Too hot levels will not be missed even if the level
meter currently shows a quieter channel.
0 dB position: reduce the gain so that the yellow LED just turns off.
OUT can also be reassigned to perform Speaker B switching in the Options/Key Commands
dialog in TotalMix FX.
Output Balance
Select one of the three outputs via OUT, then hold down SELECT. The right level meters show
two bars, lit up until the yellow LEDs. Turn the wheel to move the stereo image more to the left
or right. This setting equals an adjustment of the PAN knob in a stereo hardware output of TotalMix FX, and indeed the knob in the software will move in sync.
User's Guide MADIface Pro © RME
9
DIM
Works on the hardware output defined as Main Output in TotalMix FX. Therefore the DIM LEDs
will not be lit when stepping through the other two outputs. The applied attenuation is the one
defined in TotalMix FX. DIM can also be used as hotkey for many other actions, among the
switching to Speaker B or Talkback. Use the Options/Key Commands dialog in TotalMix FX to
assign one of them to DIM.
Recall
Pushing DIM for two seconds sets the Main output volume to the value formerly saved for Recall. The Recall value can also be set directly at the unit by holding SET down for two seconds.
Monitoring – MIX
Additionally to the extensive routing and mixing options in TotalMix FX, which provide perfect
monitoring solutions, the monitoring level of all three input sources to all three output destinations can be controlled directly at the unit. No need to grab the mouse and bring TM FX into the
foreground! Operation is easy and logical:
¾ Use OUT to select the output for the monitoring, i.e. where the signal will be routed to
¾ Use IN to select the input with the signal that should be monitored
¾ Push MIX. The input level LEDs start to flash
¾ Use SELECT to choose between left, right or both channels
¾ Turn the encoder to set the actual monitoring level
While the setup is simplified (no panorama available) it is still very efficient and will address
most needs. Note that direct control covers only channels 1/2 from MADI.
TotalMix FX in Submix view (default) will highlight the currently selected submix and move the
corresponding input fader in sync with the MADIface Pro, so that the ongoing process can be
controlled and followed easily at the screen. This helps in setup and understanding of the monitoring function.
Switch digital output format (64 <> 56 channels)
Use OUT to select the optical output (Opt.). Push SET. The level meter will signal 64 or 56
channel mode by two LED bars. Use SELECT to switch between them. If a valid MADI signal is
present at the input, the input level meters will show the incoming channel format in the same
way. This setting is also available in the driver’s Settings dialog.
Hotkeys A (SET) and B (MIX)
In online mode SET and MIX have only one function each (setting the Recall volume and starting the direct monitoring control). Both functions are also available in TotalMix FX at the computer, but both buttons can be reconfigured (like DIM) to perform many other functions, like
Talkback, global mute, Mono, External Input, changing Snapshots and Channel Layouts and
more. Just select the function that suits your personal workflow best.
LED Brightness
Default brightness is 25%. The LEDs can be changed to 50% and 100% brightness, where
100% obviously will cause a higher power consumption. This might be useful in daylight conditions. The difference between 25% and 100% is 0.5 Watts or 100 mA higher load at 5V bus
power with all LEDs lit. To step through the three brightness states hold down SELECT and
push IN several times.
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User's Guide MADIface Pro © RME
User's Guide
MADIface Pro
Installation and Operation – Windows
User's Guide MADIface Pro © RME
11
6. Hardware Installation
To simplify installation it is recommended to first install the drivers before the unit is connected
to the computer. But it will also work the other way round.
In case the level meters of the MADIface Pro show CC during power-on: the unit is in Class
Compliance mode and will not work under Windows. Remove the USB cable, hold SELECT
and DIM button down, plug-in the USB cable or the power supply. This procedure changes be-
tween CC and normal mode. When the LED Level meters change to PC the normal mode is
active.
When using a power supply (stand-alone mode), holding down SELECT and DIM for more than
two seconds repeatedly changes between PC and CC. Note that changing the operating mode
is not supported during normal USB operation, so any USB connection has to be removed.
Chapter 26.3 explains how to find the ideal USB port.
7. Driver and Firmware
7.1 Driver Installation
RME is constantly improving their drivers - the included Driver CD is most probably already
outdated when unpacking the product. Please download the latest drivers from the RME web-
site at http://rme.to/usbe
staller.exe.
If internet access is not available insert the RME Driver CD into your CD-ROM drive. The driver
installer is located in the directory \MADIface Pro. Start rmeinstaller.exe and follow the instruc-
tions of the installer. After installation connect computer and MADIface Pro. Windows detects
the new hardware as MADIface Pro and installs the drivers automatically.
After a reboot, the icons of TotalMix FX and Settings dialog appear in
the notification area. Windows might hide them behind the triangle,
click on it to access them and to configure their appearance.
Driver Updates do not require to remove the existing drivers. Simply install the new driver over
the existing one.
Possible reasons why a MADIface Pro is not found automatically:
• The MADIface Pro is in Class Compliant mode. See above.
• The USB port is not active in the system (check the Device Manager)
• The USB cable is not, or not correctly inserted into the socket
• The MADIface Pro does not receive any or not enough power. Remove current-consuming
hard drives from nearby ports. Avoid USB extension cables and USB hubs. Use an external
power supply, any standard one delivering 9 - 14 V DC with at least 1 A will work. The connector needs to have – outside, + inside.
. Unzip the downloaded file and start the driver installation with rmein-
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User's Guide MADIface Pro © RME
7.2 De-installing the Drivers
A de-installation of the driver files is not necessary. Thanks to full Plug & Play support, the
driver files will not be loaded after the hardware has been removed.
Unfortunately Windows Plug & Play methods do not cover the additional autorun entries of TotalMix, the Settings dialog, and the registration of the ASIO driver. These entries can be removed from the registry by a software de-installation request. This request can be found (like all
de-installation entries) in Control Panel, Programs and Features. Click on the entry 'RME MADI-
face', then Uninstall.
7.3 Firmware Update
The Flash Update Tool updates the firmware of the MADIface Pro to the latest version. It requires an already installed driver.
Start the program fut_mfusb.exe. The
Flash Update Tool displays the current
revision of the MADIface Pro's firmware,
and whether it needs an update or not. If
so, then simply press the 'Update' button.
A progress bar will indicate when the flash
process is finished (Verify Ok).
After the update the MADIface Pro needs
to be reset. This is done by powering down
the MADIface Pro for 5 seconds.
Attention
switched off for less than 5 seconds,
because Windows completely unloads the
driver, which takes some time to finish.
A reboot of the computer is not necessary.
When the update unexpectedly fails (status: failure), the unit's Safety BIOS will be used from
the next boot on, the unit stays fully functional. The flash process should then be tried again.
: the MADIface Pro should not be
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8. Configuring the MADIface Pro
8.1 Settings Dialog - General
Configuration of the MADIface Pro is done via its own settings dialog. The panel 'Settings' can
be opened:
• by clicking on the fire symbol in the Task Bar's notification area
The mixer of the MADIface Pro (TotalMix FX) can be opened:
• by clicking on the FX symbol in the Task Bar's notification area
The hardware of the MADIface Pro offers a number of helpful, well thought-out practical functions and options which affect how the card operates - it can be configured to suit many different requirements.
The following is available in the
Settings dialog:
• Latency
• Operation of the DSP
• Configuration of the digital I/O
• Current sample rate
• Synchronization behaviour
• State of input and output
Any changes made in the Settings
dialog are applied immediately confirmation (e.g. by clicking on OK
or exiting the dialog) is not required.
However, settings should not be
changed during playback or record
if it can be avoided, as this can
cause unwanted noises.
Also, please note that even in 'Stop'
mode, several programs keep the
recording and playback devices
active, which means that any new
settings might not be applied
immediately.
The tab About includes information about the current driver and firmware version plus two more
options:
Lock Registry
Default: off. Checking this option brings up a dialog to enter a password. Changes in the Settings dialog are no longer written to the registry. As the settings are always loaded from the
registry when starting the computer, this method provides an easy way to define an initial state
for the MADIface Pro.
Enable MMCSS for ASIO activates support with higher priority for the ASIO driver. Note: At this
time, activating this option seems to be useful only with the latest Cubase/Nuendo at higher
load. With other software this option can decrease performance. The change becomes active
after an ASIO reset. Therefore it is easy to quickly check which setting works better.
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User's Guide MADIface Pro © RME
Buffer Size
The setting Buffer Size determines the latency between incoming and outgoing ASIO and WDM
data, as well as affecting system stability (see chapter 9.1 / 10).
USB Diagnosis shows specific USB transmission errors (CRC5, usually 0) and general errors.
If the unit detects a record or playback error the number shown will no longer be 0. An audio
reset is performed automatically. The counter is reset on start of playback/record. More information can be found in chapter 26.3.
Output Format
Defines the format of the MADI output signal. MADI can be a 56 or 64 channel signal. Sample
rates in Double Speed range (64/88.2/96 kHz) can be transmitted by the normal 48K Frame, or
using a native 96K Frame.
Options
DSP – EQ for Record
Switches the 3-band EQ and Low Cut of all input channels into the recording path. In case
Loopback has been activated the EQ and Low Cut of the Output channel is also placed into the
recording path. See also chapter 23.6.
Optical In
TMS activates the transmission of Channel Status data and Track Marker information from the
MADI input signal. DIGICheck allows to read out those information from the MADI stream.
MADI I/O
The optical MADI transceiver can be switched off when not used. This saves around 1 Watt of
power or 200 mA of current, which is a significant difference in compatibility to older USB ports
as well as when running on battery. The driver will also automatically remove all MADI channels
which helps in maintaining overview.
WDM Devices
Allows to freely set which I/Os are available as WDM devices, if these are stereo or multichannel devices (up to 8 channels), and if one or multiple of the currently active WDM devices
should have the Speaker property. Reduce the number of WDM devices to the ones really
needed to improve performance of the operating system. More details are found in chapter 8.2.
Clock Mode
Sample Rate
Sets the currently used sample rate. Offers a central and comfortable way of configuring the
sample rate of all WDM devices to the same value, as since Vista the audio software is no
longer allowed to set the sample rate. However, an ASIO program can still set the sample rate
by itself.
During record/playback the selection is greyed out, so no change is possible.
Clock Source
The unit can be configured to use its own clock (Internal = Master) or the digital input signal
(Optical = Slave). If the external source isn't available (Input Status No Lock), the unit will
change to the internal clock. The current clock source is displayed as Current.
Input Status
Indicates presence of a valid signal at the optical input (Lock, No Lock) and whether the signal
is synchronous (Sync). The third column shows the sample frequency detected by the hardware
(coarse recognition, 32 kHz, 44.1 kHz, 48 kHz etc.). In Clock Mode the clock reference is
shown. See also chapter 26.1.
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15
8.2 WDM Configuration
Some background first.
In the older manuals one will find this explanation why it makes sense to get rid of some WDM
devices:
WDM Devices
Not before Vista the OS had been capable of handling more than 32 WDM stereo devices.
Therefore under W2k/XP it often makes sense to intentionally limit their number. Otherwise
some channels or MIDI ports might vanish from the system.
Today Microsoft gives us even more reasons to deactivate WDM devices that are unused. One
particular issue is that on any device change, but also on simple device queries (like during the
start of Cubase/Nuendo) the audioendpoint builder is started, visible as svchost.exe in the task
manager, blocking a whole CPU core for some time. On older computers with Dual Core CPU a
simple change from 44 to 48 kHz will cause one core to be fully blocked, equalling 50% CPU
load, for more than a minute. The start of Cubase is blocked at the MIDI screen for more than 3
minutes with a MADIface Pro.
The duration of this CPU load increases with the number of WDM devices (no matter if 2 or 8
channel ones). The less the quicker your CPU is back to normal – and with 0 WDM devices you
won’t even notice anything.
On a more modern i7 3770 computer with Z77 chipset and Windows 7/64 the CPU load is only
around 12% (8 cores, still Cubendo wait and wait…), and under Windows 8.1 Microsoft reduced
the load duration by 50%. Better, but not good enough!
In real-world operation you will also sometimes find the svchost.exe process hanging forever –
only a reboot will fix this completely.
On a more positive note: server based computers (x chipset) do not seem to suffer from this
effect. But this kind of computer is expensive and not widely used as DAW system.
Therefore a flexible WDM configuration is required that can minimize these effects. All current
RME drivers now support deactivating unused WDM devices. If you just need one for listening
to whatever Media player then simply disable all other devices, reducing the svchost illness
easily. If you don’t need WDM, because ASIO is all that you use, then deactivate them all. ASIO
and MIDI will still work.
The Speaker property of a WDM device changes its name to: Speaker. Many years ago, soft-
ware relying on Windows’ own sound system used the speaker configuration in the Sound control panel to decide whether it can playback surround or not. One had to set the device to 5.1
mode or similar before it would work. These days this scheme seems to be no longer necessary, the software just checks whether the device is only stereo or a multi-channel one, no matter if its called speaker or not. The Speaker property became a renaming feature for home entertainment users.
So while most users can disregard this function, some will use software that needs the property.
We are even aware of custom software that needs more than one ‘Speaker’ to work correctly.
RME’s driver gives the user the freedom to configure whatever is needed to work properly.
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Option WDM Devices
The WDM Devices configuration has one
button to enter the edit dialog, a status
display showing the number of currently
enabled WDM devices, and a listbox to
select between Stereo or Multi-Channel
devices.
The number represents both record and
playback devices, so ‘1’ means one input
and one output device.
The screenshot to the right shows the
stereo WDM devices available with the
MADIface Pro, and that only Analog 1/2
has been activated. Any number can be
activated. Also only higher numbered
devices might be active. For example
using the MADI output for system based
audio does not require to activate the 4
analog stereo devices. Only MADI 1/2
will show up in the Windows Sound
control panel.
The checkbox All to the right allows for a
quick check/uncheck of all devices.
The screenshot to the left shows the
multi-channel WDM devices available
with the MADIface Pro after selecting
‘Multi-Channel’ in the WDM Devices
listbox and hitting WDM Configure. In this
example the devices MADI 1 to 8 and
MADI 9 to 16 are active.
Using a multi-channel WDM device
allows for the use of multi-channel
playback with specialized software as
well as Surround sound from DVD or BluRay player software.
Please note that configuring the WDM
device to a specific surround mode in the
control panel Sound requires the device
to have the Speaker property. See next
page.
Again the checkbox All to the right allows
for a quick check/uncheck of all devices.
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17
Changing to the tab Speaker presents a
list of all currently activated WDM devices. Any of these can now get the
Speaker property.
Please note that defining more than one
device as Speaker usually makes no
sense, and the speakers also don’t get
numbered or renamed in Windows, so it
is impossible to find out which one is
which.
After leaving the dialog with OK the WDM
devices are reloaded so Windows sees
their new properties. You can now assign
any playback mode, from stereo to 7.1, in
the Windows Sound control panel by
selecting the playback device and clicking
the Configure button.
An up to 8-channel playback using the
Windows Media Player requires the
speaker setup 7.1 Surround.
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9. Operation and Usage
9.1 Playback
In the audio application being used, MADIface Pro must be selected as output device. It can
often be found in the Options, Preferences or Settings menus, as Playback Device, Audio De-
vices, Audio etc.
We recommend switching all system sounds off (via >Control Panel /Sound<). Also MADIface
Pro should not be the Preferred Device for playback, as this could cause loss of synchronization
and unwanted noises. If you feel you cannot do without system sounds, you should consider
using the on-board sound device or buying a cheap Blaster clone and select this as Default in
>Control Panel /Sound /Playback<.
The screenshot shows a typical configuration dialog. After selecting a device, audio data is sent
to an analog or digital port, depending on which has been selected as playback device.
Increasing the number and/or size of audio buffers may prevent the audio signal from breaking
up, but also increases latency i.e. output is delayed. For synchronized playback of audio and
MIDI (or similar), be sure to activate the checkbox ‘Get position from audio driver’.
Note
: Since Vista the audio application can no longer control the sample rate under WDM.
Therefore the driver of the MADIface Pro includes a way to set the sample rate globally for all
WDM devices, found within the Settings dialog. See chapter 8.1.
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9.2 DVD-Playback (AC-3/DTS)
AC-3 / DTS
When using popular DVD software players like WinDVD and PowerDVD, their audio data
stream can be sent to any AC-3/DTS capable receiver via the MADIface Pro. For this to work,
an output device has to be selected in >Control Panel/ Sound/Playback< and be set as Default.
The DVD software's audio properties now show the options 'SPDIF Out' or similar. When selecting it, the software will transfer the non-decoded digital multichannel data stream to the MADI
output. Naturally a successful decoding also requires a MADI to AES converter like the RME
ADI-642, converting the playback signals to stereo AES3 or SPDIF.
: This 'SPDIF' signal sounds like chopped noise at highest level. Try to avoid mixing and
Note
routing the signal to your loudspeakers, as they might get damaged.
Multichannel
PowerDVD and WinDVD can also operate as software decoder, sending a DVD's multichannel
data stream directly to the analog or digital outputs of the MADIface Pro. For this to work select
the WDM playback device ’Loudspeaker’ of the MADIface Pro in >Control Panel/ Sound/ Play-
back < as ‘Standard’. Additionally the loudspeaker setup, found under >Configuration<, has to
be changed from Stereo to 5.1 Surround.
PowerDVD's and WinDVD's audio properties now list several multichannel modes. If one of
these is selected, the software sends the decoded analog multichannel data to the MADIface
Pro. TotalMix can then be used to play back via any desired output channels.
The typical channel assignment for surround playback is:
1 - Left
2 - Right
3 - Center
4 - LFE (Low Frequency Effects)
5 - SL (Surround Left)
6 - SR (Surround Right)
Note 1
ommendations, as professional interfaces should not be disturbed by system events. Make sure
to re-assign the selection after usage or to disable any system sounds (tab Sounds, scheme
'No audio').
Note 2
using AutoSync and/or word clock, the playback speed and pitch follows the incoming clock
signal.
: Selecting the MADIface Pro to be used as system playback device is against our rec-
: The DVD player will be synced backwards from the MADIface Pro. This means when
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User's Guide MADIface Pro © RME
9.3 Channel Count under WDM
The MADIface Pro MADI optical interface offers sample rates of up to 192 kHz. For this to work
single-channel data is spread to two or four MADI channels using the Sample Multiplexing
technique. Therefore the number of channels is reduced to 32 or 16 respectively.
Whenever the MADIface Pro changes into Double Speed (88.2/96 kHz) or Quad Speed mode
(176.4/192 kHz) all devices no longer available vanish automatically.
WDM Stereo device Double Speed Quad Speed
MADIface Pro Analog (1+2) MADIface Pro Analog (1+2) MADIface Pro Analog (1+2)
MADIface Pro Analog (3+4) MADIface Pro Analog (3+4) MADIface Pro Analog (3+4)
MADIface MADI (1-16) MADIface MADI (1-16) MADIface MADI (1-16)
MADIface MADI (17-32) MADIface MADI (17-32) MADIface MADI (17-32)
MADIface MADI (33-64) MADIface MADI (33-64) MADIface MADI (33-64)
9.4 Multi-client Operation
RME audio interfaces support multi-client operation. Several programs can be used at the same
time. The formats ASIO and WDM can even be used on the same playback channels simultaneously. As WDM uses a real-time sample rate conversion (ASIO does not), all active ASIO
software has to use the same sample rate.
However, a better overview is maintained by using the channels exclusively. This is no limitation
at all, because TotalMix allows for any output routing, and therefore a playback of multiple software on the same hardware outputs.
Inputs can be used from an unlimited number of WDM and ASIO software at the same time, as
the driver simply sends the data to all applications simultaneously.
RME's sophisticated tool DIGICheck operates like an ASIO host, using a special technique to
access playback channels directly. Therefore DIGICheck is able to analyse and display playback data from any software, no matter which format it uses.
User's Guide MADIface Pro © RME
21
9.5 Analog Recording
For recordings via the analog inputs the corresponding record device has to be chosen (MADIface Pro Analog (x+x)).
Channels 1 and 2 of the MADIface Pro have digitally controlled
microphone preamps of the highest quality. The digital control offers a
gain setting in steps of 1 dB within a range of 0 dB to +65 dB. The
configuration is done either directly at the unit via the rotary encoder, or
via the Settings panel of the input channels 1 and 2 in TotalMix, with the
knob Gain. The current gain is displayed in dB beside the knob.
Additionally a PAD can attenuate the input signal by 11 dB, to prevent
overloads by hard driven microphones or high level line signals. This
useful feature extends the gain range and increases the maximum input
level from +8 dBu up to +19 dBu at the XLR input.
Above the knob Gain the inputs can be set separately to provide 48V
phantom power at the XLR sockets. Phantom power is required for
condenser microphones.
Input channels 3 and 4 are found as TS jacks on the right side of the MADIface Pro. These Hi-Z
universal inputs have an input impedance of 1 MOhm. The input gain is controlled and performed digitally and limited to 9 dB. An additional hardware-based reference level optimizes the
signal to noise ratio. Choices are +4 dBu and -10 dBV.
It often makes sense to monitor the input signal or send it directly to the output. This can be
done at zero latency using TotalMix FX (see chapter 21).
An automated control of real-time monitoring can be achieved by Steinberg’s ASIO protocol
with RME’s ASIO drivers and any ASIO 2.0 compatible program. When 'ASIO Direct Monitoring'
has been switched on, the input signal is routed in real-time to the output whenever a recording
is started (punch-in).
9.6 Digital Recording
Unlike analog soundcards which produce empty wave files (or noise) when no input signal is
present, digital interfaces always need a valid input signal to start recording.
Taking this into account, RME added a comprehensive I/O signal status display to the MADIface Pro, showing sample frequency, lock and sync status in the Settings dialog, and a Sync
LED directly at the unit.
The sample frequency shown in the
Settings dialog is useful as a quick
display of the current configuration
of the unit and the connected
external equipment. If no sample
frequency is recognized, it will read
‘No Lock’.
This way, configuring any suitable audio application for digital recording is simple. After connection the MADIface Pro displays the current and external sample frequency. This parameter can
then be changed in the application’s audio attributes (or similar) dialog.
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9.7 Clock Modes - Synchronization
In the digital world, all devices must be either Master (clock source) or Slave (clock receiver).
Whenever several devices are linked within a system, there must always be a single master
clock.
A digital system can only have one master! If the MADIface Pro’s clock mode is set to 'Internal', all other devices must be set to ‘Slave’.
The MADIface Pro utilizes a very user-friendly, intelligent clock control, called AutoSync. Selecting Optical as Clock Source, the system constantly scans the digital input for a valid signal.
If any valid signal is found, the MADIface Pro switches from the internal quartz (Clock Mode –
Current Internal) to a clock extracted from the input signal (Clock Mode – Current MADI). The
difference to a usual slave mode is that whenever the clock reference fails, the system will
automatically use its internal clock and operate in clock mode Master.
To cope with some situations which may arise in studio practice, defining a sync reference is
essential. RME’s exclusive SyncCheck technology (first implemented in the Hammerfall) enables an easy to use check and display of the current clock status. Input Status indicates
whether there is a valid signal (Lock, No Lock) for the optical input, or if there is a valid and
synchronous signal (Sync). In the field Clock Mode the clock reference is shown. See chapter
26.1.
Under WDM the MADIface
Pro will (has to) set the
sample rate. Therefore the
error shown to the right can
occur. A stable signal with a
sample rate of 48 kHz is
detected at the MADI input
(Sync), but Windows audio
had been set to 44100 Hz
before. The red color of the
text label signals the error condition, and prompts the user to set 48000 Hz manually as sample
rate. Under ASIO the audio software sets the sample rate, so that such an error can not
happen. If the input sample rate is different then there will be no Sync indication.
With RME’s AutoSync and SyncCheck, finally anyone can master this common source of error,
previously one of the most complex issues in the digital studio world.
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23
10. Operation under ASIO
10.1 General
Start the ASIO software and select ASIO MADIface USB as the audio I/O device or the audio
driver.
The MADIface Pro supports ASIO Direct Monitoring (ADM).
The MADIface Pro MIDI I/O can be used with both MME MIDI and DirectMusic MIDI.
10.2 Channel Count under ASIO
The MADIface allows the use of sample rates up to 192 kHz via the MADI interface. For this to
work single-channel data is spread to two or four channels using the Sample Multiplexing tech-
nique. Therefore the number of channels is reduced to 32 or 16 respectively.
: When changing the sample rate range between Single, Double and Quad Speed the
Note
number of channels presented from the ASIO driver will change too. This may require a reset of
the I/O list in the audio software.
Single Speed Double Speed Quad Speed
MF USB Analog (1-4) MF USB Analog (1-4) USB Analog (1-4)
MF USB MADI (1-16) MF USB MADI (1-16) MF USB MADI (1-16)
MF USB MADI (17-32) MF USB MADI (17-32) MADIface MADI (17-32)
MF USB MADI (33-64) MADIface MADI (33-64) MADIface MADI (33-64)
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User's Guide MADIface Pro © RME
10.3 Known Problems
If a computer does not provide sufficient CPU-power and/or sufficient USB-bus transfer rates,
then drop outs, crackling and noise will appear. Such effects can be avoided by using a higher
buffer setting/latency in the Settings dialog of the MADIface Pro. Furthermore PlugIns should be
deactivated temporarily to make sure they do not cause these problems.
More information can be found in chapter 26.3.
Another common source of trouble is incorrect synchronization. ASIO does not support asynchronous operation, which means that the input and output signals not only have to use the
same sample frequency, but also have to be in sync. All devices connected to the MADIface
Pro must be properly configured for Full Duplex operation. As long as SyncCheck (in the Set-
tings dialog) only displays Lock instead of Sync, the devices have not been set up properly!
The same applies when using more than one MADIface Pro - they all have to be in sync. Else a
periodically repeated noise will be heard.
The MADIface Pro supports ASIO Direct Monitoring (ADM). Please note that not all programs
support ADM completely or error-free. The most often reported problem is the wrong behaviour
of panorama in a stereo channel. Also try to avoid setting the TotalMix FX hardware outputs
(third row) to mono mode. This will most likely break ADM compatibility.
In case of a drift between audio and MIDI, or in case of a fixed deviation (MIDI notes placed
close before or behind the correct position), the settings in Cubase/Nuendo have to be
changed. At the time of print the option 'Use System Timestamp' should be activated. The
MADIface Pro supports both MME MIDI and DirectMusic MIDI. It depends on the used application which one will work better.
11. Using more than one MADIface Pro
The current driver supports up to three RME USB devices. All units have to be in sync, i.e. have
to receive valid digital sync information.
• If one of the units is set to clock mode Master, all others have to be set to clock mode
Slave, and have to be synced from the master by feeding MADI. The clock modes of all
units have to be set up correctly in their Settings dialog.
• If all units are fed with a synchronous clock, i.e. all units show Sync in their Settings dialog,
all channels can be used at once. This is especially easy to use under ASIO, as the ASIO
driver presents all units as one.
Note
: TotalMix FX is part of the hardware of each RME unit. Up to three mixers are available, but
these are separated and can't interchange data. Therefore a global mixer for all units is not
possible.
In real-world an operation of more than one MADIface Pro seems not very useful. The second
unit must be synchronized using the optical input. The result is an extension by only 4 analog
record and 4 analog playback channels. It makes much more sense to directly connect a 64channel converter to the MADI I/O of one MADIface Pro, adding full 64 analog channels of record and playback.
On the other hand the second unit can even be used stand-alone, without any USB connection,
and might serve as an emergency replacement in case the main unit fails.
Using more than one MADIface Pro the USB bus might get overloaded. To prevent this connect
all units to different USB busses. See chapter 26.3 for details.
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25
12. DIGICheck Windows
The DIGICheck software is a unique utility developed for testing, measuring and analysing digital audio streams. Although this Windows software is fairly self-explanatory, it still includes a
comprehensive online help. DIGICheck 5.81 operates as multi-client ASIO host, therefore can
be used in parallel to any software, with both inputs and outputs (!). The following is a short
summary of the currently available functions:
• Level Meter. High precision 24-bit resolution, 2/8/68 channels. Application examples: Peak
level measurement, RMS level measurement, over-detection, phase correlation measurement, dynamic range and signal-to-noise ratios, RMS to peak difference (loudness), long
term peak measurement, input check. Oversampling mode for levels higher than 0 dBFS.
Supports visualization according to the K-System.
• Hardware Level Meter for Input, Playback and Output. Reference Level Meter freely con-
figurable, causing near zero CPU load, because calculated from the MADIface Pro hardware.
• Spectral Analyser. World wide unique 10-, 20- or 30-band display in analog bandpass filter
technology. 192 kHz-capable!
• Vector Audio Scope. World wide unique Goniometer showing the typical afterglow of a
oscilloscope-tube. Includes Correlation meter and level meter.
• Totalyser. Spectral Analyser, Level Meter and Vector Audio Scope in a single window.
• Surround Audio Scope. Professional Surround Level Meter with extended correlation
analysis, ITU weighting and ITU summing meter.
• ITU1770/EBU R128 Meter. For standardized loudness measurements.
• Bit Statistics & Noise. Shows the true resolution of audio signals as well as errors and DC
offset. Includes Signal to Noise measurement in dB and dBA, plus DC measurement.
• Channel Status Display. Detailed analysis and display of SPDIF and AES/EBU Channel
Status data.
• Global Record. Long-term recording of all channels at lowest system load.
• Completely multi-client. Open as many measurement windows as you like, on any chan-
nels and inputs or outputs!
To install DIGICheck, go to the \DIGICheck directory on the RME Driver CD and run setup.exe.
Follow the instructions prompted on the screen.
DIGICheck is constantly updated. The latest version is always available on our website
www.rme-audio.com, section Downloads / DIGICheck.
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13. Hotline – Troubleshooting
The input signal cannot be monitored in real-time
• ASIO Direct Monitoring has not been enabled within the DAW, and/or monitoring has been
disabled globally (TotalMix Options).
The 64 MADI channels don’t seem to work
• The MADI I/O has been switched off in the Settings dialog.
Playback works, but record doesn’t
• Check that there is a valid signal at the input. If so, the current sample frequency is displayed in the Settings dialog.
• Check whether the MADIface Pro has been selected as recording device in the audio application.
• Check whether the sample frequency set in the audio application (‘Recording properties’ or
similar) matches the input signal.
• Check that cables/devices have not been connected in a closed loop. If so, set the system’s
clock mode to Master.
Crackle during record or playback
• Increase the number and size of buffers in the ‘Settings’ dialog or in the application.
• Try different cables (optical) to rule out any defects here.
• Check that cables/devices have not been connected in a closed loop. If so, set the system’s
clock mode to ‘Master’.
• Check the Settings dialog for displayed Errors.
Driver installation and Settings dialog/TotalMix work, but a playback or record is not possible
• While recognition and control of the device are low bandwidth applications, playback/record
needs the full USB transmission performance. Therefore, defective USB cables with limited
transmission bandwidth can cause such errors.
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User's Guide MADIface Pro © RME
User's Guide
MADIface Pro
Installation and Operation – Mac OS X
User's Guide MADIface Pro © RME
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