Owner’s Manual E-MU PCIe Digital Audio Systems 1
E-MU 1616m / 1212m PCIe Digital Audio System Owner’s Manual © 2009 E-MU Systems All Rights Reserved Software Version: 2.20 E-MU World Headquarters E-MU Systems 1500 Green Hills Road Scotts Valley, CA 95066 USA Europe E-MU Japan Creative Labs Creative Media K K Ballycoolin Business Park Kanda Eight Bldg.
Table of Contents 1- Introduction ................................................................. 9 Welcome! ............................................................................................................... 9 Both Systems Include: ....................................................................................... 11 E-MU 1212m System ......................................................................................... 11 E-MU 1616m System ............................................
The MicroDock ..................................................................................................... 21 Front Panel Connections ................................................................................... 22 Preamp Section ............................................................................................. 22 S/PDIF Digital Audio Input & Output .............................................................. 22 ADAT Optical Digital Input & Output ................................
Input ............................................................................................................. 52 Output .......................................................................................................... 52 Auxiliary Effects & Returns ................................................................................. 53 Sidechain Diagram ........................................................................................ 53 Sync/Sample Rate Indicators .........................
Reshaper .......................................................................................................... 84 Applications ................................................................................................... 84 Multimode EQ .................................................................................................. 87 Applications ................................................................................................... 87 Parameters ...................................
1/8” Mini-phone to 1/4” Adapters ................................................................ 116 Cinch (RCA) to 1/4” Adapters ....................................................................... 116 Digital Cables .................................................................................................. 116 AES/EBU to S/PDIF Cable Adapter ................................................................... 116 Grounding .........................................................................
Creative Professional
1- Introduction Welcome! 1- Introduction Welcome! Thank you for purchasing the E-MU 1616m PCIe or 1212m PCIe Digital Audio System. Your computer is about to be transformed into a powerful audio processing workstation. We’ve designed your E-MU digital audio system to be logical, intuitive and above all, to provide you with pristine sound quality.
1- Introduction Welcome! 1212m PCIe System Components E-MU 1212m • E-MU 1010 PCIe Card • E-MU 0202 I/O Daughter Card • 0202 I/O Card Cable • (2) MIDI Adapter Cables • Digital Audio System Software/Driver Installation CD-ROM • Production Tools Software Bundle CD-ROM • Quick Start Guide Inputs & Outputs (8) Channel ADAT Digital Optical Input (8) Channel ADAT Digital Optical Output (2) Channel S/PDIF Digital Input (2) Channel S/PDIF Digital Output (1) MIDI Input & Output (allows 16 MIDI channels) (2) 24-bit
1- Introduction Welcome! Both Systems Include: The E-MU 1010 PCIe Card is the heart of all three systems. Its powerful hardware DSP processor allows you to use over 16 simultaneous hardware-based effects, which place minimal load on your computer’s CPU. The E-MU 1010 PCIe Card also provides eightchannels of ADAT® optical digital input and output, as well as a S/PDIF stereo digital input and output. The PatchMix DSP mixer application is included in all the systems.
1- Introduction Welcome! PatchMIx DSP PatchMix DSP offers unmatched flexibility in routing your audio between physical inputs/outputs, virtual (ASIO/WAVE) inputs/outputs, internal hardware effects and buses. No external mixer is needed. You can add digital effects, EQs, meters, level controls and ASIO/WAVE sends anywhere you like in the signal chain. Because the effects and mixing are hardware-based, you can record using effects with near zero-latency.
2 - Installation Setting Up the Digital Audio System 2 - Installation Setting Up the Digital Audio System There are six basic steps to installing your E-MU system: 1. Remove any other sound cards you have in your computer. (Once you are sure that the E-MU card works properly, your old sound card can be reinstalled if desired.) 2. Install the E-MU 1010 PCIe x1 card in your computer. Go there. 3. Install the 0202 Daughter Card (if applicable). Go there. 4. Connect the MicroDock (if applicable). 5.
2 - Installation Setting Up the Digital Audio System Please read the following sections as they apply to your system as you install the E-MU 1010 PCIe, paying special attention to the various warnings they include. Prior to installing the hardware, take a few moments to write down the 18-digit serial number, which is located on the back of the box and on the 1010 PCIe Card.
2 - Installation Installing the E-MU 1010 PCIe Card Installing the E-MU 1010 PCIe Card This installation is very simple but if you are not familiar with the installation of computer peripherals and add-in boards, please contact your authorized E-MU Systems dealer or an approved computer service center to arrange for the installation. IMPORTANT: Remove any other audio cards and uninstall the audio card or motherboard audio software from your PC before installing this card.
2 - Installation 1212m Owners - Install the 0202 Daughter Card 1212m Owners - Install the 0202 Daughter Card 1. Unwrap the 0202 Daughter Card and get ready to install it. Figure 3 2. Connect the provided ribbon cable between the E-MU 1010 PCIe card and the 0202 Daughter card as shown in figure 3. The cable is keyed so it cannot be incorrectly inserted. Seat the connectors firmly in the sockets and arrange the cable neatly. 3.
2 - Installation Connecting the MicroDock ý Warning: The MicroDock has been designed to use readily available and inexpensive standard computer system cables. This makes it easy for you to find replacement cables if your original cable becomes damaged or lost. However, because these standard cables types are used for other purposes, you must use caution to avoid connecting the cables incorrectly. DO NOT connect the supplied EDI cable to the Ethernet or network connector on your computer.
2 - Installation Software Installation Software Installation Installing the E-MU 1010 PatchMix Software and Drivers The first time you restart your PC after installing the E-MU 1010 PCIe card, you will need to install the PatchMix DSP software and E-MU 1010 PCIe card drivers. Windows XP, Windows XP x64, Windows Vista, Windows Vista x64 The software is not compatible with other versions of Windows. 1. After you have installed your Digital Audio System, turn on your computer.
3 - PCIe Card & Interfaces The E-MU 1010 PCIe Card 3 - PCIe Card & Interfaces The E-MU 1010 PCIe Card The E-MU 1010 PCIe card is the heart of the system and contains E-MU’s powerful E-DSP chip. The powerful hardware DSP on this card leaves more power free on your CPU for additional software plug-ins and other tasks. Important When the MicroDock is connected to the 1010 PCIe card, the digital I/O on the PCIe card is disabled. Use the digital I/O on the MicroDock.
3 - PCIe Card & Interfaces The 0202 Daughter Card At the 96kHz or 192kHz sample rates, the industry standard S/MUX interleaving scheme is used for ADAT input and output. S/MUX uses additional ADAT channels to achieve the required bandwidth. See the chart below or go here for additional information. Sample Rate Number of Audio Channels 44kHz/48kHz 8 channels of 24-bit audio 88.2kHz/96kHz 4 channels of 24-bit audio, using S/MUX standard 176.
3 - PCIe Card & Interfaces The MicroDock The MicroDock The MicroDock connects to the E-MU 1010 PCIe card via the EDI cable.
3 - PCIe Card & Interfaces The MicroDock Front Panel Connections Preamp Section The front panel mono Mic/Line inputs A & B can be used as balanced microphone inputs, hi-Z guitar pickup inputs, or line level inputs. The Neutrik combination jack accepts microphones using a standard XLR connector or line level/hi-Z inputs (such as an electric guitar) using a standard 1/4 inch TRS/TS connector.
3 - PCIe Card & Interfaces The MicroDock ADAT Optical Digital Input & Output The ADAT optical connectors transmit and receive 8 channels of 24-bit audio using the ADAT type 1 & 2 formats. The word clock contained in the input data stream can be used as a word clock source. See “System Settings”. Optical connections have certain advantages such as immunity to electrical interference and ground loops. Make sure to use high quality glass fiber light pipes for connections longer than 1.5 meters. At the 88.
3 - PCIe Card & Interfaces The MicroDock Front Panel Analog Connections Mic Use the 3-pin XLR jack for Low Impedance microphones. A Line B Line Mic Clip SL Mic Clip -3 -6 -12 -20 SL S/PDIF 48V -3 -6 -12 -20 Out In Line Mic - +50 +65 -15 0 -15 0 +50 +65 On/Off O & Phone Volume Use the center Phone Jack for High Impedance instruments such as electric guitar or bass.
3 - PCIe Card & Interfaces The MicroDock Rear Panel Connections 4 Balanced Line Level Inputs Turntable Inputs (configured as 2 stereo pairs) (tied to line input 2) 1L 1R 2L 2R 2L Phono 2R Turntable Ground MIDI Port Connector 48 Volt DC Power Input MIDI Cable Gnd 48VDC + - In Out 1 2 3 EDI Out 1L 1R 2L 2R 3L 6 Balanced Line Level Outputs (configured as 3 stereo pairs) 3R Alternate Outputs (same as outputs 1-3) Connect to E-MU 1010 PCIe Card Line Level Analog Inputs 4 balanced 24-
3 - PCIe Card & Interfaces The MicroDock Computer Speaker Analog Outputs These stereo mini-phone (3.5mm) jacks duplicate line level outputs 1-3 with a lower output level to accommodate consumer speakers. These line level outputs are designed to interface easily with powered speakers.
3 - PCIe Card & Interfaces The MicroDock 5.1 Surround Speaker Connections Center Left Front 1L 1R 2L 2R 2L Phono 2R MIDI Cable Gnd 48VDC + - In Right Front Out 1 2 3 EDI Out 1L 1R 2L 2R 3L 3R Left Rear Right Rear Front Rear Ctr/Sub Sub-Woofer (with built-in power amps) The 1/8” stereo jacks make it easy to connect to powered surround sound speakers. Only three stereo cables are necessary with many speaker systems (see above). The 1/8” jacks duplicate the 1/4” outputs.
3 - PCIe Card & Interfaces 1212m System Connections 1212m System Connections The 1212M System uses line level inputs and outputs. Microphones and unpowered instruments require a preamp since they generate signals much lower than line level. The diagram below shows how to connect to a mixer. If you don’t own a mixer, you can connect powered speakers directly to the L/R Outputs and use PatchMix as your mixer.
4 - The PatchMix DSP Mixer PatchMix DSP 4 - The PatchMix DSP Mixer PatchMix DSP The PatchMix DSP Mixer is a virtual console which performs all of the functions of a typical hardware mixer and a multi-point patch bay. With PatchMix, you may not even need a hardware mixer.
4 - The PatchMix DSP Mixer Overview of the Mixer Mixer Window The Mixer consists of four main sections. Application Toolbar Lets you manage sessions and show/hide the various views. Main Section Controls all the main levels, aux buses, and their inserts. This section also has a “TV” which shows parameters for the currently selected effect and the input/output patching. It also shows the session’s current sample rate and whether it’s set to internal or external clock.
4 - The PatchMix DSP Mixer E-MU Icon in the Windows Taskbar E-MU Icon in the Windows Taskbar Right-clicking on the E-MU icon in the Windows taskbar calls the following window. Right-Click Here Opens the PatchMix DSP Mixer. Calls the PatchMix DSP help system. Disables the splash screen that appears at boot-up. When unchecked, FX are not loaded until needed, resulting in faster computer boot. Restores the default PatchMix DSP and driver settings.
4 - The PatchMix DSP Mixer The Session The Session The current state of the PatchMix DSP mixer (fader settings, effects routings…everything!) can be saved as a Session. Whenever you create or modify a mixer setup, all you have to do is Save it to be able to recall it at a later time. Before you begin using PatchMix DSP, you need to set it up to be compatible with the other software applications you may be running. The most important consideration is your system sample rate.
4 - The PatchMix DSP Mixer The Session You can now select one of the factory template sessions. The factory templates are preprogrammed with specific setups such as audio recording or mixing. The selector tabs categorize Template Sessions into three groups based on sample rate, 44.1k/48k, 88k/ 96k, or 176k/192k. You can create your own templates by simply copying or saving sessions into the “Session Templates” folder (Program Files\Creative Professional\E-MU PatchMix DSP\Session Templates).
4 - The PatchMix DSP Mixer The Session The System Settings include the following: • Internal/External Clock Selects between internal or external word clock source as the master clock source for the system • Sample Rate Selects the sample rate when using internal clock. Your choices are: 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz. • External Clock Source (ext. clock only) Select from: ADAT, or S/PDIF as an external sample clock source.
4 - The PatchMix DSP Mixer The Session Input Level Settings Optical Input Select Mic Soft Limiting On/Off Output Level Settings Optical Output Select S/PDIF Output Format • Inputs +4 or -10 Selects between Consumer level (-10dBV) or Professional level (+4dBu) inputs. (Use the -10dBV setting if your input is too weak.) • Outputs +4 or -10 Selects between Consumer level (-10dBV) or Professional level (+4dBu) outputs. (The +4 dBu setting outputs a hotter level.
4 - The PatchMix DSP Mixer Input Mixer Strips Input Mixer Strips PatchMix DSP Input Mixer Strips are stereo except for the MicroDock Mic/Line inputs. Each input mixer strip can be divided into four basic sections. • Insert Section Effects, EQ, External/Host Sends & Returns can be inserted into the signal path. • Pan Controls These controls position the signal in the stereo sound field. • Aux Sends Used to send the signal to sidechain effects or to create separate mixes.
4 - The PatchMix DSP Mixer Mixer Strip Creation Mixer Strip Creation PatchMix DSP is a dynamically configurable mixer. Each mixer session can contain an arbitrary number of strips up to a limit set by the number of available input sources and available DSP resources. You must create a strip for each mono or stereo audio input, and for each ASIO stream you wish to use in your software application.
4 - The PatchMix DSP Mixer Mixer Strip Creation 3. Select Pre-Fader Aux Sends or leave the box unchecked for Post-Fader Aux Sends. 4. Click OK to create a new strip or Cancel to cancel the operation. See “Pre or Post Fader Aux Sends” on page 48. To Delete a Mixer Strip: 1. Click the top of the mixer strip you wish to delete. A red border appears around the strip, indicating that it is selected. 2.
4 - The PatchMix DSP Mixer Mixer Strip Creation Insert Section The Insert Section is next in line. PatchMix DSP effects can be selected from the Effects Palette and dropped into the insert locations. See “The Effects Palette”. Any number of effects can be inserted in series. The signal flows through the inserts from top to bottom. If a Send is below a DSP effect, the effect will be applied to that Send. If the Send is placed above the DSP effect, the Send will be Dry (without effects).
4 - The PatchMix DSP Mixer Mixer Strip Creation The Insert Menu Right-Clicking over the insert section brings up a pop-up selection box containing various insert options to help you control and manage your inserts. From MIc/Line A To Recording Application To connect an input to your recording software: Add a Host ASIO Insert. To Add a Send Insert: This type of insert send splits the signal at the insert point and sends it out to the selected destination.
4 - The PatchMix DSP Mixer Mixer Strip Creation Input To Physical Output From Physical Input Insert Send/Return Panning Fader If the source or destination you want to use is not available in the list, they are probably already being used elsewhere. Check the input Strips, Inserts and Output Assignments. Aux 1 Bus Aux 2 Bus Main Output Bus 3. Choose one of the Send Outputs. Click on a destination to select it. 4. Choose one of the Return Inputs. Click on a source to select it. 5.
4 - The PatchMix DSP Mixer Mixer Strip Creation To Add an ASIO Direct Monitor Send/Return: 1. Right-Click over the Insert section. A pop-up dialog box appears. 2. Select Insert ASIO Direct Monitor from the list of options. The following dialog box appears. 3. Choose one of the Send Outputs. Click on a destination to select it. 4. Choose one of the Return Inputs. Click on a source to select it. 5. Click OK to select the Send and Return, or Cancel to cancel the operation.
4 - The PatchMix DSP Mixer Mixer Strip Creation The insert meters are also useful to monitor incoming digital signals such as ADAT, ASIO or S/PDIF to make sure the mixer is receiving a proper signal level. They’re also great for troubleshooting, since you can place them virtually anywhere in the mixer. To Insert a Meter 1. Right-Click on an Insert location of the mixer strip. A pop-up dialog box appears. 2. Select Insert Peak Meter. A stereo peak meter appears in the insert location. 3.
4 - The PatchMix DSP Mixer Mixer Strip Creation may have to go back and adjust the I/O Settings. Choose “-10” if the input signal is too weak and “+4” if the signal is too strong. Digital audio has NO headroom past 0dBFS (FS = Full Scale) and will “hard clip” if the signal exceeds 0dBFS. Hard clipping sounds bad and will ruin your recording. Hard clipping occurs because at 0dBFS, all 24 bits are turned on and the A-D cannot measure any higher level.
4 - The PatchMix DSP Mixer Mixer Strip Creation To Add a Trim Pot Insert 1. Right-Click over any of the Insert sections. A pop-up dialog box appears. 2. Select Insert Trim Control from the list of options. A Trim Pot insert appears in the insert location. 3. Click on the Trim Pot insert to view and adjust the controls in the TV screen. 4. To move the Trim Pot to another location, simply drag and drop it into the desired position.
4 - The PatchMix DSP Mixer Mixer Strip Creation Managing Your Inserts To Delete an Insert: 1. Right-Click over the Insert you wish to delete. A yellow line around the insert location indicates that it is selected. A pop-up dialog box appears. 2. Select Delete Insert to remove the selected insert or select Delete All Inserts to remove all inserts. Tip: Select the Insert and press the Delete key to delete the plug-in from the strip. 3. The insert(s) are deleted from the insert chain.
4 - The PatchMix DSP Mixer Mixer Strip Creation Aux Section The Auxiliary Sends tap the signal from the channel strips and sum them together before sending the mix to the Auxiliary Effects section. In a traditional mixing console, aux sends are used to send part of the signal to outboard effect devices, then return the effected signal back into the mix using the effect returns.
4 - The PatchMix DSP Mixer Mixer Strip Creation Pre or Post Fader Aux Sends When you create a New Mixer Strip you have the option to place both Aux Sends after the channel volume fader and mute control or you can place them before the fader and mute. Post-Fader turns down the send level as you lower the volume of the strip. With Pre-Fader selected, you may still hear the effected signal returning from one of the Aux Buses with the volume fader turned down.
4 - The PatchMix DSP Mixer Mixer Strip Creation Level, Pan, Solo & Mute Controls Pan Controls Aux Send Amount Controls The Pan control comes before the Level Control and Aux Sends in the signal flow. On stereo strips we use an unconventional pan section with two pan pots – one for the left part of the signal and one for the right part of the signal. This feature allows you to independently position both sides of the stereo signal.
4 - The PatchMix DSP Mixer Main Section Main Section Physical/Host Select Buttons View Selection Buttons “TV” Screen Aux Insert Section Master Aux Send Amounts Main Insert Section Master Aux Return Amounts Sync & Sample Rate Indicators Monitor Controls Output Fader & Meters Session Name The main section contains all controls for controlling the main mix elements as well as a “TV screen” for viewing the input/output routing or parameters of the selected insert.
4 - The PatchMix DSP Mixer Main Section TV Screen & Selectors The “TV screen” at the top of the main section is a multi-function display and control center for the input and output routings and effect controls. The three buttons at the top of the display select the current function of the display—Effect, Inputs or Outputs. Effect Select the Effect display view in the main section, then click on an Effect Insert to display the effect parameters.
4 - The PatchMix DSP Mixer Main Section Input Selecting the Input display view shows a graphic representation of the PatchMix DSP Mixer inputs. This screen is only a display, unlike the Effects and Outputs screens, which allow you to make routing changes. Input routing changes are made by adding mixer strips. See “Mixer Strip Creation”. The input routings are divided into two categories: Physical Inputs and Host Inputs. Select either category by clicking on the Physical or Host button.
4 - The PatchMix DSP Mixer Main Section Auxiliary Effects & Returns The section immediately below the TV Screen is where you assign the Auxiliary Effects. In a traditional mixing console, auxiliary effects sends are used to send part of the signal to outboard effect devices, then return the effected signal back into the mix using the effect returns. This is called a sidechain routing because the aux signal takes a detour through the effects before being summed back into the main mix.
4 - The PatchMix DSP Mixer Main Section Output Section Clip Indicators Main Output Level Fader Sync/Sample Rate Indicators Main Insert Section Monitor Mute Monitor Balance Output Level Meters Monitor Volume Main Inserts The main inserts allow you to apply effects to the main stereo signal coming out of the mixer (both mains and monitor). You might want to apply EQ or a compressor here.
5 - Effects Overview 5 - Effects Overview PatchMix DSP comes complete with a host of great core DSP effects including Compressors, Delays, Choruses, Flangers and Reverb. Each 32-bit effect has various parameters for editing, as well as factory presets. You can also create and save as many of your own effect presets as you wish. Since the effects are implemented in hardware, they don’t place any load on your host computer.
5 - Effects The Effects Palette To Select an Effect 1. Click the FX button to bring up the Effects Palette. The effect palette contains numerous folders containing effects presets. Click on any folder to open it. 2. Select the effect you wish to use by clicking on it with the left mouse button and while continuing to hold the mouse button, drag the effect into the desired location on the PatchMix DSP mixer screen and release the mouse button.
5 - Effects The Effects Palette The Order of Effects PatchMix DSP allows you to record your tracks without effects (dry) and monitor with effects enabled (wet). It works like this: If the effect is inserted BEFORE the ASIO send in the signal path, it will get recorded; if the effect is inserted AFTER the ASIO send, it will not be recorded. Recording dry allows you to hear your performance with effect (to get the proper feel), but gives you the flexibility to add or modify effects later during mixdown.
5 - Effects The Effects Palette Importing and Exporting Core FX Presets and FX Insert Chains These utilities make it easy to import or export your FX Presets and FX Insert Chains. You can share presets with your friends or download new presets from the Internet. To Import Core FX Presets This option imports complete folders of Core FX presets into the E-MU PatchMix DSP folder (normally located here: “C:\Program Files\Creative Professional\E-MU PatchMix DSP\Core Effects”).
5 - Effects FX Edit Screen FX Edit Screen Click on an FX Insert to display the parameters for that effect. If an insert effect is not selected, the FX display will read “No Insert.” Most effects have a wet/dry mix parameter to control the ratio of effect-to-plain signal. The wet/dry setting is stored with the FX preset. The effect parameters vary with the type of effect.
5 - Effects FX Edit Screen Method #2 1. Right-click over the Insert Effect you want to Solo (in the Insert section). A pop-up menu appears. 2. Select “Solo Insert” from the list of options. The other Insert Effect names in the strip will “gray-out” to indicate that they are bypassed. To Bypass ALL All the inserts in a strip can be bypassed with a single command. 1. Right-click over any Effect in the Insert section. A pop-up menu appears. 2. Select “Bypass All Inserts” from the list of options.
5 - Effects FX Edit Screen To Delete a User Preset 1. Select the user preset you wish to delete from the user preset menu. 2. Click on the Edit button. A pop-up menu appears. 3. Select Delete. A pop-up dialog box appears asking you to confirm your action. 4. Click OK to delete the preset or No or Cancel to cancel the operation. To Rename a User Preset 1. Select the user preset you wish to rename from the user preset menu. 2. Click on the Edit button. A pop-up menu appears. 3. Select Rename.
5 - Effects List of Core Effects List of Core Effects Stereo Reverb Rotary Mono Delay 250 Lite Reverb Phase Shifter Mono Delay 500 RFX Compressor Frequency Shifter Mono Delay 750 Compressor Auto-Wah Mono Delay 1500 Reshaper Vocal Morpher Mono Delay 3000 Gate 1-Band Para EQ Stereo Delay 100 Leveling Amp 1-Band Shelf EQ Stereo Delay 250 Chorus 3-Band EQ Stereo Delay 500 Flanger 4-Band EQ Stereo Delay 750 Distortion Multimode EQ Stereo Delay 1500 Speaker Sim Mono Delay 100 DSP
5 - Effects Core Effects Descriptions Core Effects Descriptions 1-Band Para EQ This single band parametric equalizer is useful when you just want to boost or cut a single range of frequencies. For example, if you just want to brighten up the lead vocal a bit, you might choose this EQ. This EQ offers up to ±15dB cut or boost. +15dB Boost Width Gain + Cut -15dB Center Frequency Parameter Description Gain Sets the amount of cut (-) or boost (+) of the selected frequency band.
5 - Effects Core Effects Descriptions 3-Band EQ This versatile equalizer provides two shelving filters at the high and low ends of the frequency range and a fully parametric band in the center. Up to ±24 dB of boost or cut is provided for each band. Low Shelf Corner Freq. Boost + Cut +24dB Gain Mid Band - High Shelf Corner Freq. Note: The Wet/Dry Mix control on an equalizer should normally be set to 100% wet or unpredictable results may occur.
5 - Effects Core Effects Descriptions 4-Band EQ This 4-band equalizer provides two shelving filters at the high and low ends of the frequency range and two fully parametric bands in the center. Up to ±24 dB of boost or cut is provided for each band. Note: The Wet/Dry Mix control on an equalizer should normally be set to 100% wet or unpredictable results may occur. For more information about setting up a parametric EQ, see page 64.
5 - Effects Core Effects Descriptions Auto-Wah This effect creates the sound of a guitar wah-wah pedal. The “Wah” filter sweep is automatically triggered from the amplitude envelope of the input sound. Auto-wah works well with percussive sounds such as guitar or bass. The Auto-Wah is a bandpass filter whose frequency can be swept up or down by an envelope follower, which extracts the volume contour of the input signal.
5 - Effects Core Effects Descriptions Chorus An audio delay in the range of 15-20 milliseconds is too short to be an echo, but is perceived by the ear as a distinctly separate sound. If we now vary the delay time in this range, an effect called chorus is created, which gives the illusion of multiple sound sources. A slight amount of feedback serves to increase the effect. A very slow LFO rate is usually best for a realistic effect, but a faster LFO rate can also be useful with minimal LFO depth (.2).
5 - Effects Core Effects Descriptions Compressor In its simplest form, an audio compressor is just an automatic gain control. When the volume gets too loud, the compressor automatically turns it down. Compressors are useful in musical applications because they allow you to record a “hotter” signal without overloading the recording device. Since the compressor turns down the gain of the signal, you might wonder how can it make the signal level stronger.
5 - Effects Core Effects Descriptions again. An attack setting of about 10 milliseconds will delay the onset of compression long enough to preserve the attack transients in guitar, bass or drums while allowing the sustain portion of the sound to be compressed. Longer release times are generally used to reduce the so called “pumping” effect as the compressor turns on and off. Don’t make the release time too long, however, or the compressor won’t have time to recover for the next pluck or hit.
5 - Effects Core Effects Descriptions Distortion Most audio processors aim to provide low distortion, but not this one! The sole purpose of this effect is to add distortion, and lots of it. This effect provides “fuzz box” style, clipping distortion which is particularly effective on guitar, bass, organs, electric pianos or whatever. The input signal first passes through a lowpass filter.
5 - Effects Core Effects Descriptions Flanger A flanger is a very short delay line whose output is mixed back together with the original sound. Mixing the original and delayed signals results in multiple frequency cancellations known as a comb filter. Since the flanger is a type of filter, it works best with harmonically rich sounds. A low frequency oscillator is included to slowly change the delay time. This creates a rich, sweeping effect as the notches move up and down across the frequency range.
5 - Effects Core Effects Descriptions Freq Shifter This unusual effect is sometimes called “spectrum shifting” or “single sideband modulation.” Frequency shifting shifts every frequency in the signal by a fixed number of Hz which causes the harmonics to lose their normal relationship. The more common pitch shifter, in contrast, preserves the harmonic relationships of the signal and so is better suited to creating “musical” harmonies. This isn’t to say that the frequency shifter can’t be used musically.
5 - Effects Core Effects Descriptions Leveling Amp The first compressors developed in the 1950’s were based on a slow-acting optical gain cells which were able to control the signal level in a very subtle and musical way. This effect is a digital recreation of the leveling amps of yesteryear. The leveling amp uses a large amount of “lookahead delay” to apply gentle gain reduction. Because of this delay, the leveling amp is not suitable for applications which require realtime monitoring of the signal.
5 - Effects Core Effects Descriptions Lite Reverb Reverberation is a simulation of a natural space such as a room or hall. The Lite Reverb algorithm is designed to simulate various rooms and reverberation plates while using fewer DSP resources than the Stereo Reverb. Up to five Lite Reverbs can be used at once. Decay time defines the time it takes for the reflected sound from the room to decay or die away. The diagram below shows a generalized reverberation envelope.
5 - Effects Core Effects Descriptions Mono Delays - 100, 250, 500, 750, 1500, 3000 A delay line makes a copy of the incoming audio, holds it in memory, then plays it back after a predetermined time. The delay number refers to the maximum delay time that can be produced by the delay line. The six lengths, from 100 ms to 3 seconds, allow you to make the most efficient use of the effect memory resource. Long delays produce echoes, short delays can be used for doubling or slapback effects.
5 - Effects Core Effects Descriptions Phase Shifter A phase shifter produces a fixed number of peaks and notches in the audio spectrum which can be swept up and down in frequency with a low frequency oscillator (LFO). This creates a swirly, ethereal sound with harmonically rich sound sources of a type of pitch shift with simpler sounds. The phase shifter was invented in the 1970’s and the characteristic sound of this device evokes emotions of that musical era.
5 - Effects Core Effects Descriptions Speaker Simulator The Speaker Simulator provides realistic guitar speaker responses and is designed for use with guitar, bass or synthesizer. Twelve popular guitar amp speaker cabinets are modeled. There is only one parameter on this effect. Just select the speaker you want and listen. Normally this effect should be used with the Mix control set to 100%. Speaker Type Description British Stack 1 & 2 Modeled from a British 8-speaker high power amplifier stack.
5 - Effects Core Effects Descriptions Stereo Delays - 100, 250, 500, 750, 1500 The Stereo Delays are true stereo delay lines in that the left and right channels are kept entirely separate from each other. The delay number refers to the maximum delay time that can be produced by the delay lines. The five different lengths, from 100 ms to 1.5 seconds, allow you to make the most efficient use of the effect memory resource.
5 - Effects Core Effects Descriptions Stereo Reverb Reverberation is a simulation of a natural space such as a room or hall. The stereo reverb algorithm is designed to simulate various halls, rooms and reverberation plates. Decay time defines the time it takes for the reflected sound from the room to decay or die away. The diagram below shows a generalized reverberation envelope. Early Reflections Late Reverb Time After a short pre-delay period, the echoes from the closest walls or ceiling are heard.
5 - Effects Core Effects Descriptions Vocal Morpher This unique effect allows you to select two vocal phonemes and morph between them using an LFO. Phonemes are the consonants and vowels we use in articulating speech sounds and these sounds are very distinctive and evocative. 30 different phonemes are available and these can be shifted up or down in pitch for even more effects. To use the Vocal Morpher, you just select Phoneme A and Phoneme B from the list of thirty.
5 - Effects Core Effects Descriptions Gate This stereo noise gate is useful both for background noise reduction applications and also for special effects. The gate uses an envelope follower and threshold detector to turn on its output when the input signal is above the turn-on threshold, and shut down its output when the signal falls below the shut-off threshold.
5 - Effects Core Effects Descriptions Parameters Threshold When the input signal rises above the level set by the Threshold parameter, the Gate is triggered to turn on and go from its maximum gain reduction level up to 0dB gain. The turn-on threshold is adjustable anywhere between -70dB and 0dB (below the PatchMix nominal operating point of -12dBFS.
5 - Effects Core Effects Descriptions Level Meter This meter represents the input signal level in dB, and is in fact the output of the Gate's envelope follower. Since the envelope follower is driven by the greater of the left or right channel, this monophonic meter represents the greater of the two input signals. Gain Reduction Meter This meter shows the value in dB of the gate control signal which is used to boost or attenuate the input signal.
5 - Effects Core Effects Descriptions Reshaper The Reshaper effect is a special purpose dynamics modification program, designed to “resculpt” the amplitude envelope of an audio signal. The effect uses an envelope follower and threshold detector to drive an ADSR-type gain stage, which can impose new attack, decay, sustain and release profiles on the signal's original envelope.
5 - Effects Core Effects Descriptions Attack, Decay and Release times are all adjustable, and the shape of each of these segments is selectable between exponential, linear, or logarithmic. An additional Hold Time can be used to extend the Sustain phase past the point where the signal has passed the Release Threshold.
5 - Effects Core Effects Descriptions Parameter Description Attack Lookahead/ Delay This parameter is adjustable in milliseconds to allow the Reshaper to either “look ahead” and advance (negative values) or “delay” (positive values) the response of the envelope detector relative to the dynamics of the input signal. For example, negative lookahead values can cause the envelope detector to start the ADSR's Attack phase before the actual attack of the signal so as not to miss any audible transients.
5 - Effects Core Effects Descriptions Multimode EQ The Multimode EQ is a flexible stereo filter that is capable of implementing a range of powerful filter topologies. It is useful both for utility EQ applications and also for special effects.
5 - Effects Core Effects Descriptions Parameters While the Multimode EQ has many parameters applicable to the various possible configurations of channels and filters, it selectively enables or hides parameters depending on their applicability to the current configuration. As a result, not all of the parameters listed below appear on-screen at the same time.
5 - Effects Core Effects Descriptions Highpass -> Lowpass In this mode, the Lowpass and Highpass filters are connected in series and both sets of Lowpass and Highpass parameters are exposed and independently editable to create the overall filter response. The maximum rolloff slope of each filter is limited to 24dB/ octave in this mode. In Highpass -> Lowpass mode, the effect does not place any limitations on the Frequency parameters of one filter relative to the other.
5 - Effects Core Effects Descriptions However, when the Highpass Freq parameter is lower than the Lowpass Freq parameter, the combined filter response is basically flat, since the passbands of each filter combine to admit the entire spectrum. An exception occurs when there is resonance added to the filters - you'll hear the resonant peaks as increased gain above the otherwise flat spectral response.
5 - Effects Core Effects Descriptions RFX Compressor The RFX Compressor is a full-featured stereo compressor effect which features the standard parameters available on most compressors as well as a collection of additional advanced parameters that are useful for more sophisticated applications and special effects: • Threshold, Ratio, Attack and Release w/gain metering • Auto-makeup gain • Adjustable soft knee • Adjustable lookahead/delay • Noise gate (downward expander) • Compressor “tail” expansion • Prog
5 - Effects Core Effects Descriptions parameter to operate over an exceptionally large range of 0-60dB so that it can be “steered” to the appropriate range of the input signal. The output Gain parameter also operates - either manually or automatically - over the unusually large range of -60dB to +60dB in order to renormalize the compressor's output for the next stage of the signal path.
5 - Effects Core Effects Descriptions When the Auto-release parameter is in its signal-dependent settings, the Release time shown represents the shortest possible release time. In Auto-release modes the displayed Release time will be automatically extended depending on the dynamics of the input signal. Gain Sets the compressor's output gain in dB, from +60dB boost to-60dB cut.
5 - Effects Core Effects Descriptions Soft Knee (Varying the Soft Knee Threshold) 0dB Threshold: -20dB Ratio = 4:1 -20dB Knee Threshold -10dB Threshold -20dB Threshold -30dB -80dB This diagram shows the effect of varying the Soft Knee Threshold. Compression is 1:1 (no compression) at the Knee Threshold and smoothly transforms into the selected compression ratio at the Compression Threshold. The upward arrow shows the additional gain added to signals below the Threshold.
5 - Effects Core Effects Descriptions Gate This parameter enables automatic gain reduction on signals that fall from 1 to 120dB below the Threshold point (or Soft Knee threshold, if enabled.) This can act effectively as a “noise gate” on low-level signals that have been boosted by the action of the Gain or Soft Knee parameters. The gating action follows a somewhat soft-kneed contour of its own so that turn-on and turn-off at the gate threshold is not too abrupt.
5 - Effects Core Effects Descriptions “punch” and “bite” of signal attacks while subsequently compressing the sustained portions of the sound. In general, both positive and negative values of this parameter are useful for applications where the normal envelope of a signal is being creatively manipulated to achieve special effects. Auto-Release This parameter causes the effective Release time to be extended automatically based on the dynamics of the input signal.
5 - Effects Core Effects Descriptions Max Compression This parameter is used to limit the amount of gain reduction that the compressor can apply. The limit is set as a maximum number of dB of gain reduction, from 3dB to UNLIMITED. Max. Compression 0dB Max. Comp. = 6dB Max. Comp. = 15dB -30dB Max. Comp. = 24dB Threshold: -30dB Ratio = 4:1 -80dB This feature emulates the phenomenon of the compression “tail” found in the gain curves of some classic analog compressor/limiters.
5 - Effects Core Effects Descriptions The diagram above shows the gain curves using a Threshold at -30dB and a range of negative compression ratios. At just past 1:INFINITE, the setting of 1:-100 causes input signals approaching 0dB to be only slightly decreased below -30dB. In contrast, the compression ratio of 1:-1 causes a 2dB gain reduction for each 1dB of additional input signal level, resulting in an output signal level that is folded down over the Threshold.
5 - Effects Core Effects Descriptions Example Settings Here we have provided a few examples to show the varied uses of this useful tool. Bear in mind that these examples are simply starting points and that you will undoubtedly need to fine tune the parameters to fit the program material and to suit your own taste. Increase Drum Punch: Adjust the Threshold control to control the amount of compression. • Threshold: Adjust so that all hits are being compressed.
5 - Effects Core Effects Descriptions Vocal Compression/Spoken Word: This setup compresses the entire dynamic range of the vocal. Whenever there is a signal present, there is some compression taking place. • Threshold: Adjust so that the first bar of the meter comes on even on soft passages. • Ratio: 2:1 • Attack: 0.1 msec • Release: 100 msec • Gain: Set to compensate for lost gain. • Soft Knee: Off • Gate: Off • Comp. Lookahead: 0 msec • Auto-release: Off • Max.
5 - Effects Core Effects Descriptions Creating a De-esser: A de-esser reduces the sibilance or “sss” sound in a vocal part. The sidechain feature of the RFX Compressor makes it possible to create a effective de-esser using the compressor andthe Multimode EQ. The Wet/Dry mix on each effect should be set to 100%. Creating a De-esser Multimode EQ Compressor Flat Response Gain Cell L Mono Strip In L Out R Sidechain R Hi Pass Multimode EQ Settings The left channel is set flat (no EQ).
5 - Effects E-MU PowerFX E-MU PowerFX The hardware-accelerated effects of the E-MU Digital Audio System can also be used as VST inserts in Cubase. E-MU PowerFX allow you to use PatchMix DSP effects from within Cubase with minimal load on your CPU. Note: PowerFX is not supported in Vista. While many users are able to use E-MU PowerFX with Vista with little to no problems, we are unable to offer support for using PowerFX with Vista. E-MU PowerFX are not available at 88.2kHz, 96kHz, 176.
5 - Effects E-MU PowerFX Parameter Description Preferences The Preferences menu allows you to: • Toggle the Tooltips On or Off • Extra Buffers - Check this box if excessive stuttering occurs when using E-MU PowerFX in your VST Host application. This box should be checked when using Fruity Loops. • Render Mode - Induces realtime rendering in applications which do not support realtime rendering (WaveLab, SoundForge). To Setup & Use E-MU PowerFX: Setup Cubase or Cubasis 1. Launch Cubase or Cubasis. 2.
5 - Effects E-MU PowerFX Automating E-MU PowerFX E-MU PowerFX can be automated in Cubase LE (or other recording host) just like any other VST effect. When “Write Automation” is activated in Cubase, control changes made in the PowerFX window during playback will be recorded on a special “Automation Subtrack.” When “Automation Read” is activated, the recorded control changes will be played back. Steinberg Cubasis does not have the control automation feature.
5 - Effects E-MU PowerFX E-MU PowerFX Compatibility Chart Application Name Compatible? Note Render Extra Buffers Steinberg Cubase VST 5.
5 - Effects Rendering Audio with E-MU PowerFX Rendering Audio with E-MU PowerFX Rendering (sometimes called Export) is a mixdown process performed by the host application, which creates a new digital audio file from a multitrack song. Rendering allows a virtually unlimited number of VST effects to be used because the audio processing is performed out of realtime. E-MU PowerFX and the PatchMix DSP effects are strictly realtime processes.
5 - Effects E-MU VST E-Wire E-MU VST E-Wire E-Wire is a special VST/ASIO Bridge which allows you to route digital audio via ASIO to PatchMix and back again. E-Wire VST incorporates smart time alignment technology that automatically compensates for system latencies and ensures proper synchronization of audio throughout the VST chain. In addition, E-Wire also allows you to insert outboard audio gear into the VST environment.
5 - Effects E-MU VST E-Wire To Setup and use E-Wire: Setup PatchMix DSP 1. Open PatchMix DSP application. 2. Insert an ASIO Input mixer strip into PatchMix DSP. (Alternately, you can select “New Session”, select “E-Wire Example” and skip to step 6.) 3. Mute the strip or turn the Fader all the way down. 4. Insert an ASIO Send plug-in into one of the inserts on your ASIO strip. 5. Name your ASIO strip as an E-Wire strip. 6. Insert the desired PatchMix DSP effects into slots above the ASIO Send. 7.
5 - Effects E-MU VST E-Wire Currently automatic delay compensation is supported by the Steinberg 2.0 family (Nuendo 2.x, Cubase SX 2.0), Magix Samplitude 7.x, and Sonar (using the Cakewalk VST adapter 4.4.1), but not, unfortunately, by Steinberg Cubase VST 5.1, Cubase LE and Cubasis. The E-Delay Compensator utility plug-in is used to manually compensate for the transfer delay for hosts that DO NOT support plug-in delay compensation.
5 - Effects E-MU VST E-Wire E-Delay Units Parameter The Units value in the E-Delay dialog box should be set for the number of times you send ASIO down to the PatchMix DSP mixer and back in a single track. A single PowerFX insert chain with any number of effects only requires one delay unit because there was only one trip to the hardware and back. If you use two Cubase inserts in series on a track both using PowerFX or E-Wire, you would set the number parameter to 2 on all other audio tracks.
6 - Appendix Using High Sample Rates 6 - Appendix Using High Sample Rates Overview When operating at 176.4k or 192k sample rates, the mixer functionality and number of I/O channels are slightly reduced. The number of ADAT channels also decreases at the 88k/96k and 176/192k sample rates (due to the bandwidth limitations of the optical components). When using 88.2kHz, 96kHz, 176.4kHz or 196kHz sample rates: • Effect processors are disabled. (Output sends & returns are still available.
6 - Appendix Using High Sample Rates & or... & or... & At the 192kHz sample rate, you may choose one of these three options: 1. Keep all Analog I/O, but lose S/PDIF 3. Keep S/PDIF & ADAT, but lose 2. Keep all Analog I/O, but lose ADAT Line Inputs 2L/2R & Line Outputs 3L/3R E-MU 1616m Hardware Inputs & Outputs at 176.
6 - Appendix Using High Sample Rates WDM Recording and Playback Behavior WDM recording and playback is supported at all PatchMix sample rates. The behavior of the driver with respect to PatchMix sample rate is described below. When PatchMix and the WDM audio content (.WAV file format, playback and record settings in WaveLab. etc.
6 - Appendix Getting in Sync Getting in Sync Whenever you connect external digital audio devices together, you need to be aware of how they are synchronized to each other. Simply connecting digital out to digital in doesn’t guarantee that two digital devices are synced, even if audio is being passed. Unless you have set one to be the Master and the other a Slave, they are probably NOT synchronized and the quality of your audio will suffer. S/PDIF and ADAT are two commonly used digital audio formats.
6 - Appendix Useful Information Useful Information Cables - balanced or unbalanced? All inputs and outputs on the E-MU Digital Audio System are designed to use either balanced or unbalanced cables. Balanced signals provide an additional +6dB of gain on the inputs and are recommended for best audio performance, although unbalanced cables are fine for most applications. If you’re having problems with hum and noise or just want the best possible performance, use balanced cables.
6 - Appendix Useful Information Adapter Cables 1/8” Mini-phone to 1/4” Adapters To connect headphones with an 1/8” (mini-phone) plug to the headphone jack on the MicroDock, you need a 1/8” to 1/4” adapter. These handy devices are available at electronic department stores everywhere. Cinch (RCA) to 1/4” Adapters Equipment (such as consumer audio gear) which uses Cinch/RCA type connectors can be connected to the MicroDock using readily available adapter cables.
6 - Appendix Useful Information Grounding In order to obtain best results and lowest noise levels, make sure that your computer and any external audio devices are grounded to the same reference. This usually means that you should be using grounded AC cables on both systems and make sure that both systems are connected to the same grounded outlet. Failure to observe this common practice can result in a ground loop. 60 cycle hum in the audio signal is almost always caused by a ground loop.
6 - Appendix Technical Specifications Technical Specifications Specifications: 1616m PCIe GENERAL Sample Rates 44.1 kHz. 48 kHz, 96 kHz, 192 kHz from internal crystal or externally supplied clock (no sample rate conversion) Bit Depth 24-bit I/O, 32-bit processing PCIe Specification • PCIe base specification 1.1 compliiant • Form Factor: Universal Keyed, PCIe x1Card • 3.3V I/O • PCIe Bus-Mastering DMA subsystem reduces CPU use Hardware DSP • 100MIPs custom 32-bit audio DSP with 67-bit accumulator.
6 - Appendix Technical Specifications Specifications: 1616m PCIe ANALOG LINE OUTPUTS (6) Type Balanced, low-noise, 2-pole low-pass differential filter, AC-coupled D/A Converter CS4398 Level (software selectable) Professional: +4dBu nominal, 20 dBu maximum (balanced) Consumer: -10 dBV nominal, 6 dBV maximum (unbalanced) Frequency Response (20 Hz - 20 kHz): +0.0/-0.06 dB Dynamic Range (1kHz, A-weighted): 120 dB Signal-To-Noise Ratio (A-weighted): 120 dB THD + N (1kHz at -1dBFS): -105 dB (.
6 - Appendix Technical Specifications Specifications: 1616m PCIe HEADPHONE AMP Linear power amplifier D/A Converter: CS4398 Gain Range: 85 dB Maximum Output Power: 50 mW Output Impedance: 22 ohms Frequency Response: (20Hz - 20kHz): +0.0/-0.07 dB Dynamic Range: (A-weighted): 118.5 dB Signal-To-Noise Ratio: (A-weighted): 118 dB THD+N: (1kHz, max. gain, 600 ohm load): -96 dB (0.
6 - Appendix Technical Specifications Specifications: 1212m GENERAL Sample Rates 44.1 kHz. 48 kHz, 88.2 kHz, 96 kHz, 176.4kHz, & 192 kHz from internal crystal or externally supplied clock (no sample rate conversion) Bit Depth 24-bit I/O, 32-bit processing PCIe Specification • PCIe base specification 1.1 compliiant • Form Factor: Universal Keyed, PCIe x1Card • 3.3V I/O • PCIe Bus-Mastering DMA subsystem reduces CPU use Hardware DSP • 100MIPs custom 32-bit audio DSP with 67-bit accumulator.
6 - Appendix Technical Specifications Specifications: 1212m ANALOG LINE OUTPUTS (2) Type Balanced, low-noise, 3-pole low-pass differential filter, AC-coupled D/A Converter CS4398 Level (software selectable) Professional: +4dBu nominal, 20 dBu maximum (balanced) Consumer: -10 dBV nominal, 6 dBV maximum (unbalanced) Frequency Response (20 Hz - 20 kHz): +0.0/-0.35 dB Dynamic Range (1kHz, A-weighted): 120 dB Signal-To-Noise Ratio (A-weighted): 120 dB THD + N (1kHz at -1dBFS): -105 dB (.
6 - Appendix Technical Specifications Dimensions & Weight MicroDock MicroDock Weight: 2.27 lb / 1.03 kg Dimensions: L: 7.75" L: 196 mm W: 7.25" W: 184 mm H: 1.625" H: 41 mm 1010 PCIe Card Weight: 0.30lb / 0.14kg Dimensions: L: 6.5" / 165 mm H: 4.0" / 102 mm 0202 Daughter Card Weight: 0.25lb / 0.10kg Dimensions: L: 5.
6 - Appendix Internet References Internet References The internet contains vast resources for the computer musician. A few useful sites are listed here, but there are plenty more. Check it out. Software Updates, Tips & Tutorials............... http://www.emu.com Setting up a PC for Digital Audio.................. http://www.musicxp.net MIDI Basics ....................................................... Search for “MIDI Basics” (many sites) MIDI & Audio Recording ................................ http://www.
6 - Appendix Internet References Declaration of Conformity Trade Name: E-MU Systems Model No.: EM8850 EM8870 EM8871 Responsible Party: E-MU Systems Address: 1500 Green Hills Road, Scotts Valley, CA 95066 U.S.A. This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.
6 - Appendix Internet References Compliance Information United States Compliance Information FCC Part 15 Subpart B Class B using: CISPR 22 (1997) Class B ANSI C63.4 (1992) method FCC Site No.90479 Canada Compliance Information ICES-0003 Class B using: CISPR 22 (1997) Class B ANSI C63.4 (1992) method Industry of Canada File No.
Index Numerics Index Auto-Release, RFX compressor 96 Auto-Wah 66 Aux Bus 47 Auxiliary Effects Assignment 53 Auxiliary Returns 53 Auxiliary Sends 47 used as extra mix busses 53 B Numerics 0202 Daughter Card 20 1010 PCIe Card 19 1-Band Para EQ 63 1-Band Shelf EQ 63 3-Band EQ 64 48 Volt DC Adapter 16 48 Volt Phantom Power 22, 117 4-Band EQ 65 5.1 Surround Connections 27 5.1/7.
Index D D D/A Converter 1212M 122 1616M 119 Damping, high frequency 74, 79 Decay Time, lite reverb 74 Decay Time, reverb 79 De-esser, creating 101 Delete folder 57 FX user preset 61 mixer strip 38 Diffusion 79 Digital Cables 116 Digital I/O Specs 120 Digital Interface, S/PDIF 19, 22 Direct Sound Source 37 Distortion 70 Doppler, effect using Rotary 76 Drivers 118, 121 Drivers, installing 18 Drum Punch 99 Ducker 98 DVD, playing in 5.1/7.
Index I Headphones, using with the 0202 20 Help System 31 High Frequency Damping, stereo reverb 79 High Frequency Decay Factor, lite reverb 74 High Frequency Rolloff mono delays 75 stereo delays 78 Highpass Filter 88 Hold Time, reshaper effect 85 Host Input Display 52 Host Output Display 52 Hum, in the audio 117 I Importing Core FX & FX Insert Chains 58 Increase Drum Punch 99 Input display 52 level line 25 setting 43 specs 118, 121 type mixer strip 36 red color 36 Insert add effect 39 add send 40 add send
Index N Mixer block diagram 30 overview 29 strip 36 aux send 47 fader 49 insert 39 label 49 mute button 49 new 37 solo button 49 type 37 viewing 29 Mixer Strip add new 37 delete 38 type 37 Monitor balance control 54 mix 50 mute 50 output 25 level control 54 mute 54 Mono Delays 75 Multimode Filter 87 Mute mixer strip 49 monitor 50 N Neg Compression, RFX compressor 97 New mixer strip 37 preset category 57 session 31, 32 at 176k/192k 111 user effect preset 60 Noise Gate 81 Notes, Tips & Warnings 12 O OpAmps
Index S RJ45 Connector 16 Robot Voice Effects, creating 78 Rotary, effect 76 Rubber Feet, installing on Audio Dock 18 Rumble Filter, using multimode filter 87 S S/MUX 111 S/PDIF cables 116 inputs and outputs 19, 22 optical 23 S/PDIF to AES/EBU Adapter 116 Sample Rates 118 setting 32 Save effect user preset 60, 61 FX Insert Chains 56 session 33 Scribble Strip 49 Send /return insert 40, 41 bypass or solo 51 auxiliary 47 insert 40 Send/Return Levels 50 Session 32 creating 176k/192k 33, 111 creating new 32 te
Index W W Wah-Wah 66 WDM Recording & Playback Behavior 113 Wet/Dry Mix, effects 59 White Noise Generator 45 Window Appearance Settings 117 Windows Media Player 37 multichannel sound playback 38 Windows Taskbar, E-MU icon 31 Windows Vista 18 Windows XP 18 X XLR Connector 22 Z Zero-Latency Monitoring 41 132 Creative Professional
