Mobi l eI / O Us e r ’ sGui de
Mobile I/O Users Guide Metric Halo Revision: v5.6.
Table of Contents Introduction .................................................................................................................................... I. Quick Start Guides ...................................................................................................................... 1. 2882 Quick Start Guide ...................................................................................................... Prepare the unit for use .....................................................
Mobile I/O Users Guide 6. 7. 8. 9. Using the 2882 Hardware ............................................................................................... 58 2882 Front Panel .................................................................................................... 58 2882 Rear Panel ..................................................................................................... 59 2882 Signal Flow ..........................................................................................
Mobile I/O Users Guide Front Panel DI Inputs ............................................................................................ Control Mode Details .................................................................................................... Monitor ................................................................................................................ Preset ................................................................................................................... Input ..
Mobile I/O Users Guide Plug-ins ................................................................................................................ Plug-In Graphs (requires +DSP license) .................................................................. Plug-in Macros (requires +DSP license) .................................................................. Sends ................................................................................................................... I/O insert ......................
Mobile I/O Users Guide 15. 16. 17. 18. 19. 20. Recording ..................................................................................................................... Playback ...................................................................................................................... Multibox considerations ................................................................................................ Record Panel Key Commands ........................................................
Mobile I/O Users Guide MIO Volume Control (LPF) .................................................................................... MIO M/S Processor ............................................................................................... MIO M/S Decoder ................................................................................................ MIO Static Matrix ................................................................................................. MIOComp ............................
Mobile I/O Users Guide CV -> NCO Freq .................................................................................................. Abs ...................................................................................................................... Max ..................................................................................................................... Min ..................................................................................................................... Select .
Mobile I/O Users Guide OTHER BUS POWERED DEVICES .......................................................................... G. DB25 Pinouts .................................................................................................................. H. ULN-8/LIO-8 Jumper Settings ............................................................................................ Overview ..................................................................................................................... D.I.
List of Figures 1.1. Mobile I/O 2882 ...................................................................................................................... 1.2. 2882 Routing .......................................................................................................................... 1.3. Console Window ..................................................................................................................... 1.4. Mixer Window ...........................................................
Mobile I/O Users Guide 6.9. ULN-2 Front Panel Snapshot Controls ........................................................................................ 73 6.10. ULN-2 Rear Panel .................................................................................................................. 73 6.11. ULN-2 Signal Flow ................................................................................................................ 74 6.12. ULN-2 Routing .......................................................
Mobile I/O Users Guide 10.1. Registration Message ............................................................................................................ 10.2. Registration Window ............................................................................................................ 10.3. Registration Selection ........................................................................................................... 10.4. Registration Error ........................................................
Mobile I/O Users Guide 11.42. I/O insert ........................................................................................................................... 11.43. A post-MIOStrip, Pre-HaloVerb insert ................................................................................... 11.44. Post-limiter sends on a Analog 1 and Digital 1 ...................................................................... 11.45. I/O insert routing to and from MainStage ..............................................
Mobile I/O Users Guide 13.31. +DSP Graph Inserted into Cubase ........................................................................................ 13.32. Setting the VST Outputs ...................................................................................................... 13.33. Setting the VST Inputs ......................................................................................................... 13.34. Setting the VST Outputs in the Mixer ...............................................
Mobile I/O Users Guide 18.2. MIO Console Status Menu .................................................................................................... 18.3. ConsoleConnect Presets ........................................................................................................ 18.4. When Things Go Wrong: Partially Instantiated AU .................................................................. 18.5. MIOConsoleConnect Inserted in a V-Rack ..........................................................
Mobile I/O Users Guide 321. Phase Cancellation ...............................................................................................................
List of Tables 5.1. Mic/Line Inputs ........................................................................................................................ 65 5.2. 2882 Maximums ...................................................................................................................... 65 5.3. 2882 Converter Latency ........................................................................................................... 65 5.4. 2882 Input Processing .............................................
Mobile I/O Users Guide 9.1. Mic/Line Indicator Modes ....................................................................................................... 12.1. Default Monitor Control Key Commands ................................................................................ 14.1. Record Panel Key Commands ............................................................................................... 18.1. Monitor Controller Key Commands .................................................................
Introduction This documentation covers: • • • • • • MIO Console 2882 ULN-2 LIO-8 ULN-8 +DSP This is an evolving document; this means that as features are changed or added, this manual will be updated (without an addendum or supplement). Changes will be noted in the Changelog appendix.
Part I.
Table of Contents 1. 2882 Quick Start Guide .............................................................................................................. Prepare the unit for use .......................................................................................................... Connect the 2882 ................................................................................................................... Take a listen ..............................................................................
1. 2882 Quick Start Guide Figure 1.1: Mobile I/O 2882 Prepare the unit for use Unpack the 2882 and make sure all the parts are there: • • • • • • • • • One Mobile I/O 2882 unit One IEC Power Cord appropriate for your area One 24-volt 48-watt world-ready external power supply One 30” IEEE 1394 9-pin to 6-pin FireWire Cable One 4.
2882 Quick Start Guide Cans L/R Green: Routable Inputs Red: Routable Outputs ADAT 1-8 Toslink 1-2 ADAT 1-8 Toslink 1-2 Analog 1-8 Analog 1-8 Digital L/R Digital L/R Digital L/R Digital L/R Figure 1.2: 2882 Routing Connect the 2882 Go to your computer and install the driver and MIO Console application driver from the included disc (this will require a restart). Please see the section on software installationif you need clarification.
2882 Quick Start Guide The Console window Figure 1.3: Console Window There are a few important things to look at here. To the right, the “System” column lets you set the clock source, sample rate and whether the wordclock output is 1x or 256x rate. In the “Lock” column you can see if the 2882 is receiving a valid clock on the selected source. Toward the top of the window you will see the text “2882/xxx” where “xxx” is the serial number of the box.
2882 Quick Start Guide The Mixer window Figure 1.4: Mixer Window The Mixer window presents you with a familiar interface to the 2882. At the top of every channelstrip is a pulldown list of available sources. For analog inputs you can select the input type, enable phantom power and set gain. Below the head-amp area is the Character menu. This lets you select any of our DSP based circuit emulations for your inputs, busses and outputs.
2882 Quick Start Guide You should now be in a good position to fire up a native DAW and put the 2882 through its paces. Select the 2882 as your audio interface in your DAW's hardware configuration; the analog inputs will be available on inputs 1-8, ADAT will be available on 9-16 and AES/Spdif digital inputs will be available on 17-18 (as determined by the FW channel assignments). Send your DAW’s signal to outputs 1/2 and it will come into the 2882 on DAW 1/2.
82 Quick Start Guide key when selecting the first channel. For example, hold down Option and click the assignment for the Left channel and select Analog 1. The rest of the channels will fill in automatically. Figure 1.6: Configuring the Monitor Controller Choose "OK" and you now have a surround monitor controller! Figure 1.
2882 Quick Start Guide Unleash the DSP Every 2882 is based on the 2d processing card and may be purchased with an optional +DSP license. The +DSP can be added by the user at any time (except on Legacy interfaces); if you purchased a unit with the +DSP license, it is preinstalled in the hardware and ready to go. This gives you powerful processing in the box, and the ability to work with processing and monitoring whose latency is equivalent to the converter overhead.
2. ULN-2 Quick Start Guide Figure 2.1: Mobile I/O ULN-2 Prepare the unit for use Unpack the ULN-2 and make sure all the parts are there: • • • • • • • • • One Mobile I/O 2882 unit One IEC Power Cord appropriate for your area One 24-volt 48-watt world-ready external power supply One 30” IEEE 1394 9-pin to 6-pin FireWire Cable One 4.
ULN-2 Quick Start Guide Connect the ULN-2 Go to your computer and install the driver and MIO Console application driver from the included disc (this will require a restart). Please see the section on software installation if you need clarification. Connect the FireWire cable between the ULN-2 and your computer, then go to the System Preferences and select it as the system’s sound input and output.
ULN-2 Quick Start Guide The I/O Control tab has metering for the analog and digital I/O. If you click on the +DSP tab, you have access to a “Virtual” DSP area. Next is the “Recording” tab. Any channel that is assigned to a “FW” channel via a direct out or bus output is available for recording via MIO Console’s Record Panel. The Mixer window Figure 2.4: Mixer Window The Mixer window presents you with a familiar interface to the ULN-2. At the top of every channelstrip is a pulldown list of available sources.
ULN-2 Quick Start Guide • Mono input channels assigned to LCRS through 7.1 busses will have joysticks. Right clicking on the joystick will allow you to hard assign the input channel to a specific output channel, i.e. Center. • Multichannel inputs (stereo and above) have no pan control. Keep in mind that the while ULN-2 is primarily a stereo device in the analog domain, it is possible to work in multichannel by using the optical I/O.
ULN-2 Quick Start Guide Figure 2.5: Surround Mixer To make it easier to monitor in surround, let’s use the Monitor Controller. Click on the assignment pulldown at the bottom of the Main bus and select “N/C” to remove the assignment to the analog outs. Now hold down the shift key and click the pulldown again; the Main bus was “multed” to the Monitor bus in the template which means it was routed to Analog 1/2 and the Monitor at the same time.
ULN-2 Quick Start Guide Figure 2.6: Configuring the Monitor Controller Choose "OK" and you now have a surround monitor controller! Figure 2.
ULN-2 Quick Start Guide Unleash the DSP Every ULN-2 is based on the 2d processing card and may be purchased with an optional +DSP license. The +DSP can be added by the user at any time (except on Legacy interfaces); if you purchased a unit with the +DSP license, it is preinstalled in the hardware and ready to go. This gives you powerful processing in the box, and the ability to work with processing and monitoring whose latency is equivalent to the converter overhead.
3. LIO-8 Quick Start Guide Figure 3.1: LIO-8 Prepare the unit for use Unpack the LIO-8 and make sure all the parts are there: • • • • • • • • • • One LIO-8 unit One IEC Power Cord appropriate for your area One 24-volt 48-watt world-ready external power supply One 30” IEEE 1394 9-pin to 6-pin FireWire Cable One 4.
LIO-8 Quick Start Guide Line 1 Cans L/R Green: Routable Inputs Red: Routable Outputs Black: Non-routable connections Analog 1 Analog (Line) 1-8 Send 1-8 (Mult of Line 1-8) Analog 2 Digital 1-8 DAW 19 Line 2 FW 20 Analog 1-8 Figure 3.2: LIO-8 Routing Connect the LIO-8 Go to your computer and install the driver and MIO Console application driver from the included disc (this will require a restart). Please see the section on software installation if you need clarification.
LIO-8 Quick Start Guide Using Legacy Interfaces If you are also using an older Legacy interface without a 2d card, open the application’s preferences and turn on “Legacy Support”. You will need to quit and relaunch MIO Console. All Metric Halo interfaces manufactured since 2007 contain a 2d card. The Console window Figure 3.3: Console Window There are a few important things to look at here.
LIO-8 Quick Start Guide The Mixer window Figure 3.4: Mixer Window The Mixer window presents you with a familiar interface to the LIO-8. At the top of every channelstrip is a pulldown list of available sources. For analog inputs you can select the input type, enable phantom power and set gain. Below the head-amp area is the Character menu. This lets you select any of our DSP based circuit emulations for your inputs, busses and outputs.
LIO-8 Quick Start Guide You should now be in a good position to fire up a native DAW and put the LIO-8 through its paces. Select the LIO-8 as your audio interface; the analog inputs will be inputs 1-8, digital inputs will be 9-16 (as determined by the FW channel assignments). Send your DAW’s signal to outputs 1/2 and it will come into the LIO-8 on DAW 1/2.
LIO-8 Quick Start Guide your output channels. If you want to select your outputs sequentially, a shortcut is to hold down the Option key when selecting the first channel. For example, hold down Option and click the assignment for the Left channel and select Analog 1. The rest of the channels will fill in automatically. They default to Monitor level, which is optimized for connecting to self powered monitors or amplifiers.
LIO-8 Quick Start Guide Figure 3.7: The Configured Monitor Controller Unleash the DSP Every LIO-8 is based on the 2d processing card and may be purchased with an optional +DSP license. The +DSP can be added by the user at any time (except on Legacy interfaces); if you purchased a unit with the +DSP license, it is preinstalled in the hardware and ready to go.
LIO-8 Quick Start Guide I/O platform. Please take a look at them to learn more about the LIO-8: http://mhsecure.com/metric_halo/ support/tutorials.
4. ULN-8 Quick Start Guide Figure 4.1: ULN-8 Prepare the unit for use Unpack the ULN-8 and make sure all the parts are there: • • • • • • • • • • One ULN-8 unit One IEC Power Cord appropriate for your area One 24-volt 48-watt world-ready external power supply One 30” IEEE 1394 9-pin to 6-pin FireWire Cable One 4.
ULN-8 Quick Start Guide Line 1 Green: Routable Inputs Red: Routable Outputs Black: Non-routable connections Analog (Mic) 1-8 Analog (Line) 1-8 Analog 1 Send 1-8 (Mirrors selected Mic/Line input) Analog 2 Cans L/R Digital 1-8 DAW 19 Line 2 FW 20 Analog 1-8 Figure 4.2: ULN-8 Routing Connect the ULN-8 Go to your computer and install the driver and MIO Console application driver from the included disc (this will require a restart).
ULN-8 Quick Start Guide Using Legacy Interfaces If you are also using an older Legacy interface without a 2d card, open the application’s preferences and turn on “Legacy Support”. You will need to quit and relaunch MIO Console. All Metric Halo interfaces manufactured since 2007 contain a 2d card. The Console window Figure 4.3: Console Window There are a few important things to look at here.
ULN-8 Quick Start Guide The Mixer window Figure 4.4: Mixer Window The Mixer window presents you with a familiar interface to the ULN-8. At the top of every channelstrip is a pulldown list of available sources. For analog inputs you can select the input type, enable phantom power and set gain. Below the head-amp area is the Character menu. This lets you select any of our DSP based circuit emulations for your inputs, busses and outputs.
ULN-8 Quick Start Guide You should now be in a good position to fire up a native DAW and put the ULN-8 through its paces. Select the ULN-8 as your audio interface; the analog inputs will be inputs 1-8, digital inputs will be 9-16 (as determined by the FW channel assignments). Send your DAW’s signal to outputs 1/2 and it will come into the ULN-8 on DAW 1/2.
ULN-8 Quick Start Guide your output channels. If you want to select your outputs sequentially, a shortcut is to hold down the Option key when selecting the first channel. For example, hold down Option and click the assignment for the Left channel and select Analog 1. The rest of the channels will fill in automatically. They default to Monitor level, which is optimized for connecting to self powered monitors or amplifiers.
ULN-8 Quick Start Guide Figure 4.7: The Configured Monitor Controller Unleash the DSP Every ULN-8 is based on the 2d processing card and includes a +DSP license. This gives you powerful processing in the box, and the ability to work with processing and monitoring whose latency is equivalent to the converter overhead. There are two ways to access the DSP: • You can insert processes directly in the mixer strip inserts; this works well for standalone processes like eq, compressors, etc.
ULN-8 Quick Start Guide I/O platform. Please take a look at them to learn more about the ULN-8: http://mhsecure.com/metric_halo/ support/tutorials.
Part II.
Table of Contents 5. 2882 Users Guide ...................................................................................................................... 56 2882 Overview ...................................................................................................................... 56 What it is ....................................................................................................................... 56 What it has ......................................................................
Interfaces Clock Source Indicators and Control .............................................................................. Control Mode Indicators and Selector ............................................................................. I/O Trim Mode Indicators and Selector ........................................................................... Channel Mode Indicators .............................................................................................. Per Channel Control Knobs ............
5. 2882 Users Guide 2882 Overview Figure 5.1: Mobile I/O 2882 What it is Mobile I/O is a portable, high–quality, modular FireWire–based multi-format audio converter, interface, and processor for professional audio applications.
2882 Users Guide What you need to use it • Computer: • Any Mac that supports Mac OS X with a FireWire port • Universal Binary (native support for PPC and Intel) • Mac OS X 10.3.9 or newer required • Mac OS X 10.4.
2882 Users Guide Figure 5.5: 30” IEEE 1394 9-pin to 6-pin 1394 Cable • One 4.5 meter IEEE 1394 9-pin to 6-pin FireWire Cable Figure 5.6: 4.5 meter IEEE 1394 9-pin to 6-pin 1394 Cable • Two Rack Ears w/ fasteners Figure 5.7: Rack Ears • MIO Software CD-ROM • Warranty/Registration Card If any of these items are missing from your package when you open it, please contact Metric Halo or your dealer immediately for assistance. 6-pin to 6-pin IEEE 1394 cables are available from MH Direct.
2882 Users Guide • Phantom power — Indicates that at least one of the preamps has the phantom power enabled. • FireWire — Indicates that the 2882 has been successfully connected to a FireWire bus and has detected the isochronous cycle required to transmit and receive audio. • Locked — Indicates that the system clock recovery circuit is properly locked to the selected clock source. If this light is not illuminated, the 2882 will not be locked to a clock and will revert to its failsafe internal clock source.
2882 Users Guide • • • • • • • 8 channels of ADAT® lightpipe output (switchable to Optical SPDIF) Wordclock input/output on BNC connectors 256x Wordclock input/output on BNC connectors Stereo S/PDIF input/output on RCA connectors Stereo AES/EBU input/output on XLR connectors 2 IEEE 1394 (FireWire) ports (400 Mbs) 1 2.1mm DC power jack (9v - 30v, center positive, 15 Watts) 2882 Signal Flow /0 3#5 !4!> L;#5(=%"; !B($7J7;F * L;#5(=%"; M#8E 678+!B( !94+ !"#$%& '"()*+,-.
2882 Users Guide Click here for a larger version There are six classes of connections you can make to the 2882 hardware: 1. 2. 3. 4. 5. 6. Analog Audio Copper-based Digital Audio Optical-based Digital Audio Clock Sync FireWire Power Analog Audio Connections The analog I/O connections on the Mobile I/O have been engineered for maximum flexibility in that they support both balanced and unbalanced connections with a wide range of input and output levels and a wide range of matching impedances.
2882 Users Guide XLR CONNECTOR MALE OR FEMALE 1 2 3 Sleeve Ring Tip Tip Ring Sleeve BALANCED TRS 1/4" CONNECTOR Figure 5.13: XLR to Balanced TRS Cable On output, the situation is a bit more complex. If you are driving an unbalanced load, you will get the best performance by not connecting the ring of the TRS jack to ground. In order to do this, you can simply use a balanced TRS/TRS connector with the unbalanced gear. You can also construct a special cable with a TRS connector and a TS connector.
2882 Users Guide Output Attenuation You may find that the 2882's analog outputs are too "hot" for your amps or powered speakers; if you find yourself: • Turning your amps or speakers down further than normal (barely on) • Bringing the master fader in MIO Console or the Monitor Control level down more than a few dB Then you are overdriving the inputs of your monitors. In this case, you should use a pad (also called an inline attenuator) on the outputs of the 2882.
2882 Users Guide The Optical SPDIF communication protocol allows a device to transmit 2 channels of 24 bit audio at 96kHz, along with digital audio clock information. Since Mobile I/O provides direct routing within the box, you can easily configure the unit to work as an ADAT based 8 channel A/D/A. Refer to the chapter on MIO Console for information about configuring the routing. Clock Sync Clock sync is a serious consideration in any digital audio system.
2882 Users Guide much power. Most desktop Macs provide more than enough power for 2882 and one other low power device. Most laptops provide enough power for 2882, but not enough for 2882 and another bus-powered device at the same time. If you are using a Powerbook computer, you should not expect to be able to power both the 2882 and a hard drive from the computer.
2882 Users Guide Table 5.4. 2882 Input Processing Input Processing M/S Decode Instantiable Parameteric EQ Instantiable Dynamics Instantiable Character Instantiable Reverb Instantiable Delay Instantiable Nearly Infinite Combinations via +DSP Optional Table 5.5.
2882 Users Guide Table 5.7. 2882 Back Panel Back Panel Word Clock Connectors (In and Out) 75 Ω BNC AES Connectors (2 Channels In and Out) XLR SPDIF Connectors (2 Channels In and Out) RCA Optical Connectors (8 or 2 Channels In and Out) TOSLINK Mic/Line/Inst Input Connectors (8 Channels) Ch. 1-4: Neutrik™ Combo XLR/TRS Ch. 5-8: TRS Analog Output Connectors (8 Channels) TRS FireWire Connectors (2) 1394a 6-Pin Power (Unswitched) 2.1mm Coaxial Security Slot Kensington Table 5.8.
2882 Users Guide Case Weight 2 kg Dimensions 13.5" x 11" x 1.73" Dimensions 34.3 cm x 27.9 cm x 4.
6. ULN-2 Users Guide ULN-2 Overview Figure 6.1: Mobile I/O ULN-2 What it is ULN-2 is the result of a dream to create a piece of audio gear that provides unbelievable audio quality while at the same time offering a degree of mobility and convenience that until very recently was simply not possible.
ULN-2 Users Guide • • • • Word Clock 1x, 256x Front Panel Metering for Analog Inputs and main Outputs Full console metering of every channel and mix bus Total recall of every console parameter Options (can be installed before or after purchase) • 1 or 2 channels of Jensen input transformers • +DSP license What you need to use it • Computer: • Any Mac that supports Mac OS X with a FireWire port • Universal Binary (native support for PPC and Intel) • Mac OS X 10.3.9 or newer required • Mac OS X 10.4.
ULN-2 Users Guide Figure 6.4: External Power Supply • One 30” IEEE 1394 9-pin to 6-pin FireWire Cable Figure 6.5: 30” IEEE 1394 9-pin to 6-pin 1394 cable • One 4.5 meter IEEE 1394 9-pin to 6-pin FireWire Cable Figure 6.6: 4.5 meter IEEE 1394 9-pin to 6-pin 1394 Cable • Two Rack Ears w/ fasteners Figure 6.
ULN-2 Users Guide • Trim Enable switch — This is a push-button switch which allows you to control whether the attenuator trim pot is in the signal path or not. Push the switch IN to enable the trim pot. The attenuation range of the trim pot is 0dB to -20dB. • Mic/TRS switch — This is a push-button switch which selects the input stage. The ULN-2 has two distinct input stages: The Mic Amp and the DI Amp. • The Mic Amp is optimized for high gain and very low noise with low impedance sources like microphones.
ULN-2 Users Guide These buttons are labeled with up and down arrows. The currently selected snapshot is indicated by the column of LED’s labeled C, 1, 2, 3, 4, 5, 6, 7, 8, 9. When the ULN-2 turns on, the “C” indicator will be illuminated, indicating that the unit has booted up with the state that was stored in the “Boot Snapshot”. Figure 6.9: ULN-2 Front Panel Snapshot Controls Pressing the up arrow will move to the next higher snapshot in the list (e.g.
ULN-2 Users Guide • switchable +4/-10 level • 2 channels balanced Monitor output with front panel level control • Connect these outputs directly to power amps or self powered monitors • 4-pin XLR power port for use with broadcast batteries • Compatible with any 4-pin XLR power system with the following characteristics: 9v - 30v DC, Pin 4 Hot, 15 Watts • TOSLINK connectors for ADAT Optical or Optical SPDIF I/O • Wordclock input/output on BNC connectors • 256x Wordclock input/output on BNC connectors • Stereo
ULN-2 Users Guide Figure 6.
ULN-2 Users Guide 2. The DI amp which is fed by the TRS portion of the combo connector. 3. The TRS return jack. This is a line level input which is the shortest path to the A/D converter. Each input path is optimized for specific sources, but each is capable of handling a wide variety of sources. For example, both the Mic amp and the DI amp are capable of receiving Line level inputs.
ULN-2 Users Guide On output, the situation is a bit more complex. If you are driving an unbalanced load, you will get the best performance by not connecting the ring of the TRS jack to ground. In order to do this, you can simply use a balanced TRS/TRS connector with the unbalanced gear. You can also construct a special cable with a TRS connector and a TS connector.
ULN-2 Users Guide The XLR connectors used for AES are fully locking. When connecting to them, make sure that you align the pins and insert firmly. When you remove the connector, make sure that you release the lock by pressing the lock release button before you pull the connector out of the ULN-2. SRC Normally, when working with digital audio transport, you must take care to ensure that all devices communicating with one another are synchronized to the same audio clock.
ULN-2 Users Guide 1x is generally appropriate for use with devices that provide a word clock output. If your device provides a 256x output, you may find that you get better results using that clock signal. The Digidesign® line of Pro Tools® products use 256x as their “ SuperClock™” clocking signal. The AES recommended procedure for distributing clock is to use an AES clock signal. The AES clock signal is an AES digital audio signal with no audio activity.
ULN-2 Users Guide Mic Inputs • Harmonic Distortion @1kHz • (+9dBu in @ 6 dB Gain) 0.0005% • Intermodulation Distortion 1k component • (19 kHz/20kHz @ +8dBu) -96 dBu Table 6.2. ULN-2 Equivalent Input Noise (E.I.N.) 20 Hz – 20 kHz Flat @ 72 dB Gain Equivalent Input Noise (E.I.N.) 150 Ω Source -130.5 dBu 50 Ω Source -132.0 dBu 0 Ω Source -134.0 dBu Table 6.3. ULN-2 Frequency Response Frequency Response 18 Hz – > 20 kHz ± 0.1 dB 8 Hz – > 50 kHz -± 1.0 dB 3 Hz – >100 kHz ± 3.0 dB Table 6.4.
ULN-2 Users Guide Input Processing Nearly Infinite Combinations via +DSP Optional Table 6.8. ULN-2 Output Processing Output Processing M/S Encode Instantiable Parameteric EQ Instantiable Dynamics Instantiable Character Instantiable Reverb Instantiable Dither Instantiable Mix Foldown Instantiable Nearly Infinite Combinations via +DSP Optional Table 6.9.
ULN-2 Users Guide Back Panel Insert Send Connectors (2 Channels) TRS Insert Return Connectors (2 Channels) TRS Analog Output Connectors (2 Channels, switchable +4/-10) TRS Monitor Output Connectors (2 Channels) TRS FireWire Connectors (2) 1394a 6-Pin Power (Unswitched) 2.1mm Coaxial Power (Unswitched) 4-Pin XLR Security Slot Kensington Table 6.11. ULN-2 Software Software Driver CoreAudio Mac OS X Mac OS X 10.3.
ULN-2 Users Guide Case Dimensions 13.5" x 8.25" x 1.73" Dimensions 34.3 cm x 21 cm x 4.
7. LIO-8 Users Guide LIO-8 Overview Figure 7.1: LIO-8 What it is The LIO-8 is a portable, archival–quality, modular FireWire–based multi-format audio converter, interface, and processor for professional audio applications. The LIO-8 is equipped with eight balanced line inputs, eight channels of AES digital I/O, eight balanced sends and eight balanced analog outputs, as well as wordclock in/out, MIDI in/out, SMPTE in/out and 2 IEEE 1394 FireWire connectors that support 400 Mbs operation.
LIO-8 Users Guide • +DSP license What you need to use it • Computer: • Any Mac that supports Mac OS X with a FireWire port • Universal Binary (native support for PPC and Intel) • Mac OS X 10.2.8 or newer required • Mac OS X 10.4.
LIO-8 Users Guide Figure 7.4: External Power Supply • One 30” IEEE 1394 9-pin to 6-pin FireWire Cable Figure 7.5: 30” IEEE 1394 9-pin to 6-pin 1394 Cable • One 4.5 meter IEEE 1394 9-pin to 6-pin FireWire Cable Figure 7.6: 4.5 meter IEEE 1394 9-pin to 6-pin 1394 Cable • Two Rack Ears w/ fasteners, rubber feet Figure 7.7: Rack Ears Figure 7.
LIO-8 Users Guide If any of these items are missing from your package when you open it, please contact Metric Halo or your dealer immediately for assistance. 6-pin to 6-pin IEEE 1394 cables are available from MH Direct. Using the LIO-8 Hardware LIO-8 Front Panel Figure 7.9: LIO-8 Front Panel The front panel provides LIO-8 system control and status at a glance (The Front Panel includes features that are only enabled if you install one or two of available add-on Mic Pre boards.
LIO-8 Users Guide • Monitor Control Section: • The Mute and Dim buttons provide instant access to simple level control for the selected Monitor path or headphone output. The Mute button provides a quick, tactile “panic switch” which mutes the monitors or front panel headphone output in case of accidental feedback loops and other audio unpleasantries. The Dim button attenuates the selected path by 20 dB. • The Monitor Control encoder provides front panel adjustment for your audio.
LIO-8 Users Guide • 2 IEEE 1394 (FireWire) ports (400 Mbs) • 1 2.1mm DC power jack (14v - 28v, center positive, 32 Watts), unswitched Signal Flow Figure 7.11: LIO-8 Signal Flow Making connections to the LIO-8 Figure 7.12: LIO-8 Routing Click here for a larger version There are seven classes of connections you can make to the LIO-8 hardware: 1. Analog Audio 2. AES Digital Audio 3.
LIO-8 Users Guide 4. 5. 6. 7. FireWire Power MIDI SMPTE Analog Audio Connections The analog I/O connections on the LIO-8 have been engineered for maximum flexibility in that they support both balanced and unbalanced connections with a wide range of input and output levels and a wide range of matching impedances. The line inputs have an impedance of 10k Ω. With that in mind, there are a number of aspects of the design that you should take into account when interfacing with the LIO-8.
LIO-8 Users Guide Balanced Sends The LIO-8 has eight balanced sends; these mirror the analog signal present at the Line input. This allows you to use the sends as a splitter to feed a mixing console, recorder or other equipment. You cannot route signal from a DAW channel to the balanced sends; to route signals from your computer to the D/A converters, you must use the Line/Monitor outputs. AES Digital Audio The LIO-8 supports 8 channels of digital audio over copper-based connections.
LIO-8 Users Guide The LIO-8 ships with a world-ready 24 volt, 2 amp power supply. You can plug this supply into any AC power source from 90V to 240V, 50Hz - 60Hz, using an appropriate IEC power cord, and it will supply the proper power to the LIO-8 on the 4 pin XLR power connector. The LIO-8 will not supply power to the FireWire bus, but will pass power coming from other devices.
LIO-8 Users Guide Monitor Controller Nominal FS output (Balanced) Output Jumper On -12.0 dBu Maximum Output Same as Line Gain Range -96 dB to +30 dB Gain Precision ±0.05 dB Gain Step 0.5 dB Table 7.4. LIO-8 Line Input + ADC Line Input + ADC Input Impedance 10k Ω Dynamic Range (-60 dB, flat 0-22.05 kHz, typ) 115 dB Dynamic Range (-60 dB, A-weighted, typ) 118 dB Noise Floor (flat 0-22.05 kHz, typ) 115 dB Noise Floor (A-weighted, typ) 117.9 dB THD D/A/A/D loop @ -12 dBFS 0.
LIO-8 Users Guide Input Processing Parameteric EQ Instantiable Dynamics Instantiable Character Instantiable Reverb Instantiable Delay Instantiable Nearly Infinite Combinations via +DSP Optional Table 7.8. LIO-8 Output Processing Output Processing M/S Encode Instantiable Parameteric EQ Instantiable Dynamics Instantiable Character Instantiable Reverb Instantiable Dither Instantiable Mix Foldown Instantiable Table 7.9.
LIO-8 Users Guide Front Panel DI Input Impedance 10M Ω DI Input Fixed Gain (Jumper Selectable) 0/10/20 dB DI Input Variable Gain -12 dB to 31.5 dB Power Switch (Jumper Defeatable) Toggle Table 7.10.
LIO-8 Users Guide Power Passes FireWire Bus Power Yes Supplies FireWire Bus Power No External Supply (Input) I00-240VAC External Supply (Max Input Current) 1.2 A External Supply (Output) 24 VDC External Supply (Max Output Current) 2.0 A External Supply Connector 4-Pin XLR Table 7.13. LIO-8 Case Case Material Powder Coated Aluminum Fasteners 3mm Phillips Head Weight 6 lbs Weight 2.7 kg Dimensions 17" x 13" x 1.
8. ULN-8 Users Guide ULN-8 Overview Figure 8.1: ULN-8 What it is The ULN-8 is a portable, archival–quality, modular FireWire–based multi-format audio converter, interface, and processor for professional audio applications.
ULN-8 Users Guide What you need to use it • Computer: • Any Mac that supports Mac OS X with a FireWire port • Universal Binary (native support for PPC and Intel) • Mac OS X 10.2.8 or newer required • Mac OS X 10.4.
ULN-8 Users Guide Figure 8.4: External Power Supply • One 30” IEEE 1394 9-pin to 6-pin FireWire Cable Figure 8.5: 30” IEEE 1394 9-pin to 6-pin 1394 Cable • One 4.5 meter IEEE 1394 9-pin to 6-pin FireWire Cable Figure 8.6: 4.5 meter IEEE 1394 9-pin to 6-pin 1394 cable • Two Rack Ears w/ fasteners, rubber feet Figure 8.7: Rack Ears Figure 8.
ULN-8 Users Guide If any of these items are missing from your package when you open it, please contact Metric Halo or your dealer immediately for assistance. 6-pin to 6-pin IEEE 1394 cables are available from MH Direct. Using the ULN-8 Hardware ULN-8 Front Panel Figure 8.
ULN-8 Users Guide the monitors or front panel headphone output in case of accidental feedback loops and other audio unpleasantries. The Dim button attenuates the selected path by 20 dB. • The Monitor Control encoder provides front panel adjustment for your audio. By pressing the encoder, it can toggle between affecting the Monitor Control section or headphones. There are two multicolor LEDs below the encoder that indicate which path the encoder is modifying as well as mute and dim status.
ULN-8 Users Guide • • • • • MIDI I/O to connect a control surface to MIO Console SMPTE input and output on 1/4" TRS Kensington security slot 2 IEEE 1394 (FireWire) ports (400 Mbs) 1 2.1mm DC power jack (14v - 28v, center positive, 32 Watts), unswitched Signal Flow Figure 8.11: ULN-8 Signal Flow Making connections to the ULN-8 Figure 8.
ULN-8 Users Guide 1. 2. 3. 4. 5. 6. 7. Analog Audio AES Digital Audio Clock Sync FireWire Power MIDI SMPTE Analog Audio Connections The analog I/O connections on the ULN-8 have been engineered for maximum flexibility in that they support both balanced and unbalanced connections with a wide range of input and output levels and a wide range of matching impedances. The microphone inputs have an impedance of 3.3k Ω, and the line inputs are 10k Ω.
ULN-8 Users Guide enough of a DC offset to mute the ADC. As a result you should always disconnect the cable from the DI rather than the instrument. Balanced Sends and Mic S/R Mode The ULN-8 has eight balanced sends; these mirror the analog input you have selected to feed that channel’s A/D converter. For example, if you select the Mic input on analog channel 1, the output of that mic preamp will be available at send 1.
ULN-8 Users Guide 1x is generally appropriate for use with devices that provide a word clock output. If your device provides a 256x output, you may find that you get better results using that clock signal. The Digidesign® line of Pro Tools® products use 256x as their “ SuperClock™” clocking signal. The AES recommended procedure for distributing clock is to use an AES clock signal. The AES clock signal is an AES digital audio signal with no audio activity.
ULN-8 Users Guide Rails Analog Rails (low power) ±9.9 Volts Analog Rails (high power) ±12.6 Volts Phantom Power 48 ± 0.1 Volts Max Phantom Current Per Mic 10 ma Table 8.2. ULN-8 Maximum I/O Levels (Balanced) Maximum I/O Levels (Balanced) Peak Line Output @ 0 dBFS (no jumper/low power) +18.5 dBu Peak Line Output @ 0 dBFS (output jumper/low pow- +22.0 dBu er) Peak Line Output @ 0 dBFS (output jumper/high power) +24.5 dBu Analog Send Max Output +21.
ULN-8 Users Guide Mic Pre Input + ADC EIN @ 60 dB Gain (150 Ω Source Impedance) -130.50 dBu EIN @ 60 dB Gain (0 Ω Source Impedance) -133.25 dBu Analog Send Calibration (ADC = 0 dBFS) +21.5 dBu Phantom Power (Switchable Per Channel) +48 Volts Table 8.5. ULN-8 Mic Pre + ADC Frequency Response Mic Pre + ADC Frequency Response +0/-0.1dB @ fs = 44100 Hz 8.9 Hz - 20.5 kHz +0/-1.0dB @ fs = 44100 Hz 2.9 Hz - 21.0 kHz +0/-0.1dB @ fs = 96000 Hz 8.9 Hz - 43.9 kHz +0/-1.0dB @ fs = 96000 Hz 2.9 Hz - 45.
ULN-8 Users Guide Line Input + ADC Frequency Response 5° low-end in-channel phase deviation point 10.7 Hz Interchannel phase 0 Hz - 20 kHz < ±0.05° Crosstalk from SMPTE Input < -142 dB Table 8.8. ULN-8 Converter Latency Latency A/D 63 samples D/A 44 samples Table 8.9.
ULN-8 Users Guide Front Panel Encoders Have Shaft Push Buttoms Yes Monitor Controller Encoder Knobs 1 Monitor Controller Mute Yes Monitor Controller Dim Yes Indicators Per Encoder 16 Sample Rate Indicators 6 Clock Source Indicators 4 AES Clock Source Indicators 4 AES Lock Indicators 4 AES Input Signal Indicators 4 AES Output Signal Indicators 4 System Lock Indicator 1 Firewire Indicator 1 Front Panel Modes 14 Headphone Output (Dedicated DAC) TRS Stereo DI Inputs (2) TRS Balan
ULN-8 Users Guide Back Panel Power (Switched) 4-Pin XLR Security Slot Kensignton Table 8.13. ULN-8 Software Software Driver CoreAudio Mac OS X Mac OS X 10.3.9 or newer Architectures PPC, Intel MIO Console Included Record Panel Included LTC Decoder Included Mixer Included +DSP License Included Table 8.14.
9. ULN/LIO-8 Front Panel Guide Front Panel Overview The ULN-8 and LIO-8 feature a flexible front panel with comprehensive controls, status and meter readouts. The Front Panel allows you to utilize the interface without any computer attached and also communicates bidirectionally with MIO Console to keep the Console controls and the Front Panel controls synchronized at all times. Figure 9.
ULN/LIO-8 Front Panel Guide • • • • • • 44.1k 48k 88.2k 96k 176.4k 192k The Front Panel also has a Tactile switch next to the “Sample Rate” legend that may be used to cycle through the available nominal sample rates when the unit is running on internal clock. Every time you press the tact switch, the unit will switch to the next higher sample rate, unless it is currently at 192k, in which case it will switch back to 44.1k. Figure 9.
ULN/LIO-8 Front Panel Guide • +48 • U/M The details of each control mode will be addressed in dedicated sections of the documentation below. One thing that is critical to understand is that it is possible for none of the indicators listed above to be illuminated. If this is the case, then it means that the front panel control mode is indicated by one of the I/O trim mode indicator LEDs.
ULN/LIO-8 Front Panel Guide Figure 9.6: Mic/Line Indicator The Mic and Line indicators are utilized as a group and are illuminated to indicate the following input modes: Table 9.1. Mic/Line Indicator Modes Line Mode Mic On (green) Off Input from Mic Pre Input Off On (green) Input from Line Input On (green) On (green) Mic Send/Return Mode Per Channel Control Knobs The eight numbered knobs are detented rotary encoders with integrated push button tact switches.
ULN/LIO-8 Front Panel Guide of the meters are used to indicate signal levels at -66, -54, -42, -36, -30, -24, -21, -18, -15, -12, -9, -6, -3, -1, and 0 dBFS. Figure 9.8: Analog I/O Meters Since each element in the meter is a bi-color LED, the colors of the segments is under software control. The meters are configured to show green until -12 dBFS, yellow until -1 dBFS, and Red for the 0 dBFS indicator.
ULN/LIO-8 Front Panel Guide If the gain being read out is -21.5 dB, then the display will look like: Figure 9.11: Negative Gain Display System Status Indicators The Front Panel has two system status indicators to let you know if the box has detected a valid FireWire connection and to let you know if the System’s internal PLL is locked. Figure 9.
ULN/LIO-8 Front Panel Guide rest of the box, but just that the AES signal is being properly decoded and (a) could be used as a valid clock source and (b) will provide valid audio if the the input is running at the same rate as the rest of the box. The AES Clock source indicator is illuminated when the corresponding input port has been selected as the clock reference for external AES clock. At most one of the 4 AES Clock source indicators will be illuminated.
ULN/LIO-8 Front Panel Guide is actually utilized at a time (the back-panel connector or the DI connector). You can utilize this to good effect if you need to add an additional input -- but the sum is a unity gain sum so you need to get the relative levels correct at the inputs. The mix on these inputs is printed at the ADC. Figure 9.
ULN/LIO-8 Front Panel Guide Communication between the MIO Console Monitor Controller and the front panel is bi-directional — making changes in the software will be reflected on the Front Panel, and making changes via the Front Panel will be reflected in the software. Preset When Preset Mode is selected, the integrated switches in the 8 channel control knobs function as selector switches to load a stored snapshot state from Flash memory into the currently running hardware.
ULN/LIO-8 Front Panel Guide 1. 2. 3. 4. 5. 6. 7.
ULN/LIO-8 Front Panel Guide Meters on the Knobs The input knobs support an additional indicator mode, when the Front Panel is in Input Trim mode: Input Meter mode. When this mode is selected, rather than showing the Dual Vernier level of the input gain on each knob, the channel’s input meter is shown on the indicator ring of the corresponding knob.
ULN/LIO-8 Front Panel Guide Figure 9.18: Front Panel Preference Sheet The options are: • Input Links matrix Allows you to link input channel encoders (more info in the Link mode section). • Output Links matrix Allows you to link output channel encoders (more info in the Link mode section). • Front Panel Brightness Scales the brightness level of the front panel (more info in the Illumination adjustment section).
ULN/LIO-8 Front Panel Guide Infrared Remote operation When the "Enable IR Remote" preference is enabled, your LIO-8 or ULN-8 will respond to IR commands from any remote that sends NEC codes (for example, the white Apple remotes). If you have multiple interfaces you should only enable IR on one box, unless you are going to use several different remotes controls. The IR remote works on the concept of a knob being "focussed" which is indicated by the LEDs around the knob being brighter.
ULN/LIO-8 Front Panel Guide • • • • • • Up- Focussed Knob: Increment Value Down- Focussed Knob: Decrement Value Left- Focus Previous Knob Right- Focus Next Knob Play- Select I/O Trim Mode Menu- Select FP Control Mode If you want to control different functions or use a remote other than the Apple remote, you must program the IR codes.
ULN/LIO-8 Front Panel Guide Figure 9.21: Captured IR Command If the code isn't learned, you should try another remote. If you would like to learn a different command, click on the command you would like to learn. To confirm that a code has been learned correctly, switch the mode to "Test Commands" and push the button again: Figure 9.22: IR Test Mode If the remote code is not recognized, "Received Command Not Found" will be displayed in red text.
ULN/LIO-8 Front Panel Guide Once you have learned the commands you want, hit the "OK" button. The IR codes are stored in your interface, and will function even when MIO Console is not running. IR Remotes and the Monitor Controller At this time, the Monitor Controller requires MIO Console to be running to change input or output paths. However, you can still change the Monitor Controller level while MIO Console is offline. When using the IR remote, pushing a button once will send the associated command once.
Part III.
Table of Contents 10. Installation and Registration ..................................................................................................... Installing MIO Console .......................................................................................................... Included Packages ........................................................................................................ Installation ............................................................................................
Software Configuring the Monitor Controller ................................................................................. Monitor Control Interface and Basic Operation ........................................................................ Determine Configuration ............................................................................................... Identifying Monitor Sources ...........................................................................................
Software 16. Saving and Recalling Your Setups ............................................................................................. Factory Default ..................................................................................................................... Box Merge ................................................................................................................... Boot States and Snapshots ......................................................................................
Software MIO Channel Multiplier ................................................................................................ MIODelay .................................................................................................................... MIOModDelay ............................................................................................................. MIO Delay (1k) ............................................................................................................
Software Band Split ....................................................................................................................
10. Installation and Registration Installing MIO Console Included Packages The MIO Console installer folder contains several components: • MIO Console: The application that provides control for all Metric Halo interfaces. • MIODriver_XXX_Universal.pkg: This is the driver that lets the computer communicate with your interface. More information on the driver is available in the Driver Update appendix. • FirmwareFor2dCardBoxes: Contains the current firmware for interfaces with a 2d card.
Installation and Registration Figure 10.1: Registration Message Your options are: • OK:Opens the registration window. • Later:Closes the message. The message will appear again the next time you launch MIO Console. • Do not show this message again:This will set MIO Console to no longer warn you about unregistered units after this message is closed. You can set MIO Console to check for unregistered units again by going to MIO Console's preferences and enabling the "Check for unregistered units" option.
Installation and Registration In the upper left corner is a menu to select which interface to register (if more than one unregistered unit is connected): Figure 10.3: Registration Selection You can choose to register all attached units or select a specific interface. After selecting the unit(s) you wish to register, fill in the registration form; required fields are labeled in black, optional information is labeled in gray. When you're finished, hit OK.
Installation and Registration Figure 10.7: License Management Window This window will show the status of your software licenses: • Requires Registration:This interface must be registered before licenses may be managed. • Getting Status:MIO Console is looking up the license status from our servers. • Demo/Purchase Available:You do not have a license for this software package on this interface; you may request a demo or purchase a license.
Installation and Registration Figure 10.8: License Options • Purchase:This will take you to the online store where you can purchase an unlock code. • Install License:Once you have an unlock code (either from the MH online store or your dealer) you can click this button to enter it. • Get Demo:This button will request a 30 day demo of the selected software package. For example: if you request a +DSP demo license, you will see the following dialog: Figure 10.
Installation and Registration Once you have purchased the license, you will receive an email from Metric Halo with the license code, as well as a special mhlicense:// link. You can: • Copy the license code, open the "Manage Licenses" window in MIO Console, select "Install License…" and paste the code. • Click the link in the email, which will launch MIO Console and insert the information into the license management system.
Installation and Registration Figure 10.12: MH Special Deals Page Select one of the eligible boxes, and enter the serial number of any other eligible products you own.
Installation and Registration Figure 10.13: Confirmation Page You will receive an email from Metric Halo with a coupon code that you may present to your dealer or use at https://www.mhsecure.com/mhdirect/home.php to your redeem your discount.
11. MIO Console Overview MIO Console Software MIO Console is the nerve center of your Mobile I/O. Functioning as a standalone application, MIO Console provides full control of every aspect of Mobile I/O. The console software allows you to rapidly and easily adjust all of the Analog Input and Output channel parameters, system sample rate, Digital I/O source, and system clock source.
MIO Console Overview Figure 11.2: MIO Console Global configuration snapshots allow you to save each and every aspect of Mobile I/O’s configuration for later, total instant recall. This is useful for preconfiguring Mobile I/O and bringing back the configuration once at the gig, managing separate location setups, or for saving complex studio routing setups for quick changeover.
MIO Console Overview 1. I/O Panel 2. +DSP Panel 3. Record Panel When working with a Legacy interface, the Mixer and Routing Panels will also be present. More information on these panels can be found in the “MIO Console for Legacy Boxes” documentation. The +DSP panel works differently on 2d Expanded and Legacy boxes: • 2d Expanded: The functionality originally provided by the +DSP Panel has been integrated into the Mixer via Graph inserts.
MIO Console Overview Figure 11.5: Box Tabs MIO Console maintains information about the state of your system persistently.
MIO Console Overview Figure 11.7: Front Panel Prefs Sheet The options are: • Input Links matrix Allows you to link input channel encoders (more info in the ULN/LIO-8 Front Panel Guide). • Output Links matrix Allows you to link output channel encoders (more info in the ULN/LIO-8 Front Panel Guide). • Front Panel Brightness Scales the brightness level of the front panel (more info in the ULN/LIO-8 Front Panel Guide).
MIO Console Overview – Parameter Pop-up control menu Figure 11.8: Parameter Pop-up Menu The Parameter pop-up control allows you to save, recall, and manage all of the parameters associated with the head amp of a channel strip in one place. The control is documented in detail in the Parameter Pop-up Controls section of this chapter. All presets are automatically shared between all of the input channels. – Phantom Power enable button Figure 11.
MIO Console Overview • 2882: +26 dBu. The input impedance is approximately 10k Ω, and the inline pad is engaged. Phantom power is not available. • LIO-8: +24.5 dBu. The input impedance is approximately 10k Ω, and the Line Input is selected. • ULN-8: +24.5 dBu. The input impedance is approximately 10k Ω, and the Line Input is selected. This format is appropriate for interfacing with professional audio equipment. • Line -10 — This format supports input levels up to: • 2882: +15 dBu.
MIO Console Overview – Channel Label Figure 11.12: Channel Label This simply labels which channel is associated with the channel strip. Click in the label to edit the channel name. – Channel Level Meter This is a peak reading, high-resolution, fast PPM meter. It shows the post converter level of the input signal of the associated channel. The peak hold bar indicates the highest level seen on the channel since the last reset. You can reset the hold by clicking on the meter.
MIO Console Overview to the other channel of the pair. This is very useful if you are miking with a stereo pair and need to maintain level balance between the two preamps — with the Link button engaged, the balance is automatic and exact. Digital Input Meters Figure 11.15: Digital Input Meters To the right of the Analog Input control section is the Digital Input Meter section. This group of meters provides level metering for all of the digital inputs on the Mobile I/O.
MIO Console Overview Figure 11.16: Headphone Controls The Headphone level control knob provides about 40dB of analog gain control on the headphone output. The Mute and Dim buttons reflect the state of the hardware mute and dim controls for the front panel headphone output. Engaging one of these buttons will also engage the associated control on the hardware. When the Mute function is engaged, the headphone output will be muted. When the Dim function is engaged, the headphone output will be padded by 18 dB.
MIO Console Overview System Controls Figure 11.17: System Controls The System block provides controls that adjust various system level aspects of the Mobile I/O hardware: – The Clock Source pop-up menu controls the system clock source used by the hardware for digital synchronization and driving the converters. The choices for 2882 and ULN-2 are: Figure 11.18: Clock Source Pop-up Menu for 2882 and ULN-2 • Internal directs Mobile I/O to use its internal clock.
MIO Console Overview • WCx256 (44/48) directs Mobile I/O to clock off of an external 256fs Clock Source at single rate (e.g. fs = 32k-50k) • WCx256 (88/96) directs Mobile I/O to clock off of an external 256fs Clock Source at double rate (e.g. fs = 64k-100k) • ADAT (44/48) directs Mobile I/O to clock off of the incoming ADAT stream and run at single rate. All 8 ADAT channels are available. You will generally want to select this source if you intend to use ADAT input.
MIO Console Overview • WC (88/96) directs the LIO/ULN-8 to clock off of an external Word Clock Source at double rate (e.g. fs = 64k-100k) • WC (176/192) directs the LIO/ULN-8 to clock off of an external Word Clock Source at quad rate (e.g. fs = 128k-200k) • WCx256 (44/48) directs the LIO/ULN-8 to clock off of an external 256fs Clock Source at single rate (e.g. fs = 32k-50k) • WCx256 (88/96) directs the LIO/ULN-8 to clock off of an external 256fs Clock Source at double rate (e.g.
MIO Console Overview – The WC Out pop-up menu allows you to select the output clock signal the Mobile I/O generates on its WC Out BNC connector. The available choices are 1x and 256x. The 1x signal is appropriate for driving devices that accept a Word Clock signal. The 256x signal is appropriate for driving devices that accept 256x or SuperClock signals. Refer to the documentation for the external device to determine what is the most appropriate clock reference for it. Figure 11.
MIO Console Overview WARNING: You MUST power the 2882 from an external power source BEFORE enabling High Power mode. FAILURE TO USE AN EXTERNAL POWER SOURCE IN HIGH POWER MODE MAY CAUSE DAMAGE TO YOUR COMPUTER. – The Lock indicators show which elements of the Mobile I/O clocking system are properly locked. The clocking system must be locked for the unit to behave as expected. If the system is not locked, audio will play at the wrong rate and will be distorted or noisy.
MIO Console Overview You can use the trim knob to adjust the analog output level to be consistent with the needs of other audio gear. This format is appropriate for interfacing with prosumer and consumer audio equipment. • Monitor (LIO-8/ULN-8 only) — This format incorporates a 30 dB analog domain pad. You can use the trim knob to adjust the analog output level to be consistent with the needs of other audio gear. The output impedance is approximately 5 Ω.
MIO Console Overview Figure 11.27: Box Info If there is no information displayed in the Box Info section, the software is not communicating properly with the Mobile I/O hardware, or there is no Mobile I/O present on the FireWire bus. If the FireWire light on the front panel of the Mobile I/O is illuminated but the box information does not appear in the console window, it is very likely that the software has not been installed properly.
MIO Console Overview above the “Factory Default” item. The second portion is the “Factory Default” item and the third portion is the hierarchical items below the “Factory Default” item (see Parameter Pop-up Menu ). Figure 11.28: Parameter Pop-up Menu The commands in the first portion of the menu allow you to save and manage the presets in the library. All of the presets are shared between like elements in the console.
MIO Console Overview Selecting a preset from the menu will make that preset active and will set the current state of the associated console settings to the values contained within the preset. The name of the currently selected preset will be drawn in the pop-up area in the console window to indicate which preset is active. If you change the settings in the console, the name of the preset will be drawn in italics indicating that the current settings differ from the selected preset.
MIO Console Overview Figure 11.29: Template Selection Dialog Alternatively, you can use the following steps to configure a mixer from scratch. The easiest way to create a new mixer configuration is to use the Mixer » Configure Mixer… menu command. Selecting this command presents the Configure Mixer sheet, which allows you to do bulk configuration of the mixer.
MIO Console Overview Figure 11.30: Configure Mixer Sheet The sheet is split into two major sections: • Mix Busses • Selected Mix Bus Configuration You create and configure the mix busses using the top section, then you configure the channels you assign to the busses in the bottom area. When you select a mix bus from the table in the Mix Busses section, the Selected Mix Bus Configuration area automatically updates to reflect the current configuration of the selected mix bus.
MIO Console Overview Mixer Configuration Summary To quickly configure a mixer that will send your selected inputs to your studio monitors and to your computer: 1. Select the Mixer » Configure Mixer… menu command. 2. Create a Mix Bus as described in “To Create a Mix Bus” below. 3. Add input channels as described in “To Add an input channel to a Mix Bus” below. Be sure to add some physical inputs and some DAW inputs so you can route both physical and computer inputs through the mixer. 4.
MIO Console Overview When you have finished configuring your mixer, click the Configure button in the bottom right. The mixer you have configured will now appear in the Mixer window. The v.5 Mixer removes the direct-route connection between the physical inputs and FireWire that has existed in the Mobile I/O since it was originally shipped. Instead, the v.5 Mixer extends and enhances the concept of FireWire returns. In fact, all audio is now sent to the computer via FireWire returns.
MIO Console Overview Routing is critical! It is very important to understand that the v.5 mixer does not provide default routings! You must choose where you want your audio to go. If you don’t route a mix bus to a physical output, you will not hear any audio. If you don’t route an input to FireWire it will not be available to any applications in your computer. Routing in v.
MIO Console Overview Input Strips Inputs Bus Routing + + + + + + Bus 1 Mix Bus Master Strip Output Routing To Outputs Figure 11.32: Input to Master Output Signal Flow • Each master mix bus also has an associated master strip with: • Summing bus Character processing control. • Pre-insert Direct Out routing point to route the master strip to any Physical Output or FireWire Return. • Ten (10) Plug In insert slots.
MIO Console Overview • Plug-in Macros, which provide pre-configured signal processing engines. Some of these macros are monolithic — you cannot see or edit their internal structure; others are simply pre-configured graph macros that can be used as a starting point to create your own graphs. Figure 11.33: v.5 Mixer Channel Strip Thanks to the new routing functionality in the mixer, we have been able to completely remove the patchbay from the system.
MIO Console Overview What does the Übergraph do for me? While the v.5 mixer is based upon the Übergraph, it does not allow you to interact directly with it. Rather, the v.5 mixer manages all of the plug-ins and connections within the Übergraph for you. Even though you may be creating an incredibly complex network of plug-ins with many mults and bus to bus routes, the user interaction required for you to control the system is simple and direct.
MIO Console Overview Figure 11.35: Template Window To start with a template, click the template you would like to use in the “Template” list on the left side of the window. A description of the template will appear in the “Template Description” area to give you more information about the template. You can browse through the templates to choose which one is the best starting point for you. For example, if you select “ULN-8 Tracking Cue Mix + Reverb”, you will see the following description: Figure 11.
MIO Console Overview Figure 11.37: Configure Mixer Sheet The Configure Mixer Sheet allows you to do bulk configuration of the mixer. The sheet is split into two major sections: • Mix Busses • Selected Mix Bus Configuration You create and configure the mix busses using the top section, then you configure the channels you assign to the busses in the bottom area.
MIO Console Overview • 5.1 - 5.0 with LFE • 7.1 - 5.1 with Left-Center and Right-Center The Bus Mode allows you to determine if the bus has a master fader or not. If the mode is Master Bus the mixer will create a master fader for the bus. If the mode is Aux Bus the mixer will not create a master fader, but you can assign the bus to another bus to create a return fader. Naming Input Channels In the Selected Mix Bus Configuration pane, you may give the input channels meaningful names.
MIO Console Overview To Remove a channel from a Mix Bus: 1. Select the bus from which you want to remove the channel. 2. Uncheck the box in the “Enable” column for the channel you want to remove from the bus. To Add/Remove all visible channels to/from a Mix Bus: 1. Select the bus you want to configure. 2.
MIO Console Overview Input Select Physical Input Source Phantom Power Input Gain/Trim Character Select Pre-insert Direct Output Routing Point Plug In Inserts Post-insert Direct Output Routing Point Stereo Panner Phase Invert Record Enable Solo Fader Gain Mute Channel Fader Channel Meter (Pre Fader) Channel Name Bus Select Select/Drag Strip Area Figure 11.38: v.5 Mixer Input Strip • Input Select: This pop-up menu lets you choose the audio source for the input strip.
MIO Console Overview Working with multichannel inputs: Once you have assigned a channel to a bus, MIO Console will constrain your audio sources to: • Mono inputs • Inputs that have the same number of channels as the bus If you need to send an input to a bus with a different channel count, you need to: 1. Choose “Create Multiple Mixer Strips…” from the Mixer menu 2. Enter the number of strips you want, and select the number of channels (Mono to 7.1) from the pop-up menu 3.
MIO Console Overview you can still insert mono plug-ins on the strip; the mixer will automatically insert enough plug-ins to process every channel in the strip and will also automatically link all the mono instances together. This allows you to use the full range of +DSP plug-ins on multi-channel input strips. In addition to standard plug-ins, you can also insert plug-in graphs directly into the strip.
MIO Console Overview • Solo: When any solo button is engaged on any channel in a mix bus, the mix bus will only pass signal for channels that have the solo button engaged. This solo functions as a solo-in-place, meaning all pan, level, and DSP processing settings on the channel strips are maintained. Having solo engaged does not affect the signal at any of the direct outs. The solo button turns orange when engaged.
MIO Console Overview The following parameters are linked by selection, but the link is only applied if the key is held down when changing the parameter: • Input Gain/Trim • Pan position • Channel Fader Gain Plug-ins The v.5 Mixer provides an insert model for using +DSP plug-ins.
MIO Console Overview The graph inserts also have access to the saved graph patch library — this lets you migrate patches that you have created in +DSP in v.4 or earlier to inserts in v.5. You can also save the configuration of your graph insert into the library as a preset, so as you work with the mixer, you can build up a set of “secret weapon” processors that can be instantly recalled and tweaked as needed. To Migrate Graph Patches from v.4 or earlier Consoles: Graph patches created in v.
MIO Console Overview Figure 11.41: Sends Mixer Window The Sends Mixer window shows the all the send strips for currently selected bus. Send strips are more limited than full input strips. Each Send Strip has a panner (if appropriate for the bus width and send width), phase invert, solo, mute and pre/post fader buttons, as well as a send level fader and level meter. All of the elements common with the full input strips function in the same way as the elements in the full strip.
MIO Console Overview • Send To: This menu shows the available output connections. • Return From: This menu shows the available input connections. • Bypass: When the I/O insert is bypassed, signal will continue to be routed to the “Send To” output, and the original audio will passed unmodified to the next insert slot. Any audio present on the “Return From” input will be ignored. Connections that are already in use (for example, outputs used in the Monitor Controller) will be unavailable.
MIO Console Overview Figure 11.44: Post-limiter sends on a Analog 1 and Digital 1 • Since the I/O insert can be used with FireWire channels, it can be used to route audio to and from software. For example, you can insert MainStage or other standalone signal processors into MIO Console channels and busses. Figure 11.45: I/O insert routing to and from MainStage Figure 11.
MIO Console Overview Latency in the I/O Insert Using the I/O insert incurs the following latencies: • When using an analog send/return to insert an external device on a 2882 or ULN-2, there will be 74 samples of latency • When using an analog send/return to insert an external device on a LIO-8 or ULN-8, there will be 116 samples of latency • When using FireWire to insert a plug-in hosted on your computer, there will be latency of double the host buffer size plus 66 samples Most hosts offer delay compensati
MIO Console Overview Box Number Character Select Pre-insert Direct Output Routing Point Plug In Inserts Post-insert Direct Output Routing Point Mute Record Enable Channel Fader Channel Meters (Post Fader/ Pre Inserts) Bus Name Bus Output Assign Select/Drag Strip Area Figure 11.47: v.
MIO Console Overview Important Note! You can't assign a direct out to an output until you have associated the mixer strip to an input using the Input Select! • Plug-in Inserts: Like the "insert slots" in modern DAWs, these pop-up menus function as inserts into the signal path, allowing you to insert any of the available plug-ins directly into the signal path. The processes are applied sequentially from top to bottom.
MIO Console Overview Figure 11.48: Bus Output Assign Pop-up Menu As you can see, there are items for the Monitor Controller, No Connection (n/c) and the available output paths. If an output path is already assigned elsewhere in the system, it will be grayed out in the menu. This ensures that you can not accidentally assign two busses to the same physical output (since only one will actually be connected). With this pop-up, you can control three different kinds of assignment for the bus output: 1.
MIO Console Overview • Select/Drag Strip: This area lets you select an input channel strip and move the strip either right or left within the mixer. • Clicking in this area will select the strip if it is not already selected. • ⌘ (Command) click will toggle the selection. • ⇧ (Shift) click will add strips to the current selection. All strips between the shift-clicked strip and the currently selected strip will become selected. • Click and drag to move the selected strips left or right in the mixer.
MIO Console Overview Routing Summary All routing in v.5 is managed through the mixer and monitor controller. The diagram below summarizes the routing control points and what elements of the routing model they control: CoreAudio Application Out In Mobile I/O Driver FW DAW v.5 Mixer (on Mobile I/O DSP) Monitor Controller Outputs (Digital, Analog, Cans) Inputs (Digital, Analog) Mobile I/O Audio Hardware Figure 11.49: v.
MIO Console Overview • The red arrows indicate input strip input assignment points. These indicate elements to route from either DAW outputs (signals sent from the computer to the Mobile I/O) or from physical inputs (Analog or Digital) to the strip’s input. • The blue arrows indicate input strip direct routing points.
MIO Console Overview Figure 11.50: +DSP Mid-Side Mastering Process Inserted in Logic Using Logic’s I/O Plug-in and MIO FireWire Returns FireWire Returns are not just for +DSP users. If you own an interface without +DSP, you can use the 2d plug-ins with FireWire Returns for out of the box mixing, or for direct routing connection between multiple CoreAudio applications. For example, you can use the FireWire returns to route ANY audio from ANY CoreAudio application to our award winning SpectraFoo application.
12. Monitor Controller Overview The Monitor Control window consolidates the most important monitoring functions for your MIO into one convenient window. You can configure which sources you want to monitor and from which outputs they will be monitored, for any number of channels from mono to 7.1 Surround. You can configure the Monitor Controller as a floating window so it always remains accessible, even when the MIO Console is hidden.
Monitor Controller 3. Click the ‘+’ button in the Monitor Paths section at the bottom of the Configure Monitor Controller sheet. The Add Monitor Output dialog appears. 4. Enter the name of the new Monitor Output Path. 5. Select the Bus Type of the new Monitor Output Path. 6. Click OK. The new path will appear in the Monitor Path list. 7. Click the pop-up menu in the “Output” column for the Left Channel of the path. Select the appropriate output channel from the list.
Monitor Controller MIO Console automatically saves your Monitor Sources and Output Paths, so you will only need to define each Monitor Source and Output Path once. You can use the Monitor Controller with only one Monitor Source and one Output Path defined, or you can define as many as you’d like of either or both and use the Monitor Controller to switch between them.
Monitor Controller When you create a Monitor Output Path, you specify the type of path you are making, and the name of the new path. The type of path (Mono, Stereo, LCR, LCRS, Quad, 5.0, 5.1, 7.1) you choose will allow the Monitor Controller to automatically create channel slots for each component channel.
Monitor Controller Selecting an Input Source The Monitor Source area will contain buttons representing all of your defined Monitor Sources. To select the input that will feed your Output Path, simply click on one of these buttons. The selected input will automatically be routed to the current monitor output. There are key-commands defined for the first eight monitor sources. Selecting an Output Path The Monitor Output area will contain buttons representing all of your defined Output Paths.
Monitor Controller • For Quad signals, select sources for the Left, Right, Ls, and Rs channels. Note: You can not switch to a 7.1 surround source using Source Override. The Monitor Controller as Floating Window You can configure the Monitor Controller to be a floating window, also known as a “Utility Window” in official Mac OS X terminology. As a Mac OS X Utility Window, the Monitor Controller will remain “floating” on top of all other windows on screen, even if the MIO Console application is hidden.
Monitor Controller Contour Shuttle Pro), you can assign appropriate key-commands to the buttons of the HID device to control the monitor controller. You can edit all the Key Commands in MIO Console. Note: The key commands you have set for the monitor control commands are global; they work even if MIO Console is not the front-most application. This means that if you set up your HID controller to use the MIO Console key commands always (e.g.
Monitor Controller Figure 12.5: Monitor Controller Configure Button The Monitor Controller’s Configuration Dialog sheet will open: Figure 12.6: Monitor Controller Configuration Pane Adding a New Monitor Source 1. Click the ‘+’ button in the Monitor Sources pane. 2. The Add Monitor source dialog appears: Figure 12.7: Add Monitor Source Dialog 3. Enter the name of the new Monitor Source. 4. Select the Bus Type of the new Monitor Source. 5. Click OK.
Monitor Controller 6. 7. 8. 9. Figure 12.8: New Monitor Source Input List Click the pop-up menu in the “Signal Source” column for the Left Channel of the source. Select the appropriate physical source channel from the list. This includes Physical Input and DAW channels. Repeat step 6 for each of the channels that make up the bus. If you decide (now or later) that you want to change the name of the Monitor Source, you can edit the name in the list (you can double-click the name to edit it).
Monitor Controller Figure 12.10: Monitor Controller Configuration Dialog Sheet Adding a New Monitor Output Path 1. Click the ‘+’ button in the Monitor Paths pane. 2. The Add Monitor Output dialog appears: Figure 12.11: Add Monitor Output Dialog 3. Enter the name of the new Monitor Output Path. 4. Select the Bus Type of the new Monitor Source. 5. Don’t worry about the “Type” pop-up menu — it is reserved for future use.
Monitor Controller 7. Click the pop-up menu in the “Output” column for the Left Channel of the Monitor Path. Select the appropriate physical destination channel from the list. 8. Repeat step 7 for each of the channels that make up the bus. 9. If you decide (now or later) that you want to change the name of the Monitor Output Path, you can edit the name in the list. Double-click the name to edit it. 10.Repeat from step #1 for each Monitor Output Path you want to add. Removing a Monitor Output Path 1.
Monitor Controller • Mini Monitor Control Window uses same location: If enabled, the Mini and full Monitor Control windows will open in the same spot when toggled. If not enabled, you may move them to different locations. • Switch Send Window on Bus source select: When enabled, selecting a bus in the Monitor Source section will cause that bus to be displayed in the Send window.
13. Routing Examples Introduction This document provides a hands-on description of how to configure the mixer and router for a somewhat complex tracking situation. This document is only for 2d Expanded units. You can compare this document to corresponding document (Routing Applications for Unexpanded Units) for un-expanded units to see how much easier the process has gotten with the 2d Card and the v.5 mixer.
Routing Examples With the 2d Card, we can add reverb “In the Box”. You can still connect outboard gear to add other effects if desired. The first thing we need to do is configure our mixers and routing. For this setup we will use two mix busses in MIO Console: one for the actual headphone mix and one for the send mix to the reverb. To do this we need to bring up the Mixer Config sheet for the v.5 mixer: Figure 13.
Routing Examples Figure 13.3: Newly Created Busses After you have created the busses, you still need to assign the desired inputs to the Monitor bus.
Routing Examples Figure 13.4: Basic Mixer Configuration Now we need to add sends to get the audio from the inputs to the Reverb bus. This can be done in bulk by selecting the desired input strips and then inserting the send in one of the insert slots.
Routing Examples Figure 13.5: Selected Strips Then insert the send: Figure 13.
Routing Examples Figure 13.7: After Inserting the Sends As you can see, you now have a fader and panner for each send that you can use to set the level and pan of the signal into the reverb. The Pre buttons on each send strip make the send strip Post Fader when disabled, and Pre Fader when enabled (lavender colored). We still need to route the Monitor Mix to the headphones.
Routing Examples Figure 13.8: Making the Output Assignment Finally, we need to add a HaloVerb reverb plug-in to the Reverb bus return: Figure 13.9: Selecting the Reverb Plug-in Once you insert the plug-in, you will see the HaloVerb UI with the Factory Default settings: Figure 13.
Routing Examples can unmute each channel and set its send level to the reverb. If you want it to match the levels of the dry headphone mix, you can ensure that all the sends are Post Fader and all the send faders are set to unity gain. If you would rather set the reverb send levels independently of the dry mix, you can make the sends Pre Fader. Tweak the HaloVerb settings to taste. Notice that even if you set the Direct dB parameter back to 0 dB there is no phasing introduced, because the v.
Routing Examples For this example we will work with a 2882 and have two sets of powered monitors connected to the Mobile I/O. The first set will be connected to Analog Outputs 1-2 and the second to Analog Outputs 3-4. External Preamp/Converter with ADAT Output Microphones Headphones ADAT Optical Front Panel Headphone Out Guitars, Vocals Etc. AES/EBU OutBoard Effects/Instruments Microphones Big Monitors Small Monitors Figure 13.
Routing Examples This template configures a single 2882 with: • • • • • • All inputs routed to the computer All analog inputs set to Line +4 input level All inputs routed to a stereo monitor mix All inputs to the stereo monitor mix are unmuted Stereo Output 1+2 from the computer routed to the monitor mix Monitor mixer is routed to the Monitor Controller However, the template does not provide support for our scenario of two sets of stereo monitors. So we can quickly add that to the configuration.
Routing Examples Figure 13.16: Add Small Monitor Path Then select the output channels for the path (click the pop-up for the Left Channel); hold down the option key to select successive channels in one step: Figure 13.17: Select Path After you make the selection the path will be configured: Figure 13.18: Channels Selected You can close the disclosure arrows for the Monitor Paths list: Figure 13.
Routing Examples Figure 13.21: Final MC Config After you click the OK button, the Monitor Controller window will look like this: Figure 13.22: Final Monitor Controller We want to make sure that both Analog 1+2 or Analog 3+4 has signal, but not both at the same time; sound should only come from one set of speakers at a time. That is precisely what the Monitor Controller will do for us; sound will only be routed to one of the Monitor Paths at a time, and the unselected Monitor Paths will be muted.
Routing Examples If you want to use this example as a tracking set up, choose Save As... from the file menu. This brings up a standard Macintosh save dialog and allows you to save the entire state of MIO Console as a setup document. Virtualizing Windows audio programs Introduction With the introduction of virtualization technology from: • Parallels ( http://www.parallels.com/products/desktop ) • VMware Fusion ( http://www.vmware.
Routing Examples You can also launch MIO Console (running natively in Mac OS X), and use it to control the patchbay, mixer, +DSP, mic pre gains, etc. – just as you would if your audio app was Mac OS X native.
Routing Examples Figure 13.24: Using Logic I/O Plug-ins for Insert Processing on Output Objects Routing Tips for Digital Performer Routing for Insert processing in Digital Performer Since Digital Performer does not provide an I/O plug-in for inserting an audio routing loop to external processing, you need to be a bit careful when configuring the routing in Digital Performer.
Routing Examples Figure 13.25: The Input Bundle Configuration Figure 13.26: The Output Bundle Configuration As you can see from the illustrations above, we have created two Mono input bundles and one Stereo input for Analog 1+2 to be used as inputs for tracking and a Stereo input bundle for the +DSP return. We have also created two Stereo output bundles; one for the Main Mix (Main Out) and one for the +DSP Send (+DSP Loop Send 1). To insert a +DSP process chain on a single channel Follow these steps: 1.
Routing Examples 6. Assign the output of the Aux fader to the main output bundle of your mix. Figure 13.27: Single Channel +DSP Mid/Side Compressor To insert a +DSP process chain on a submix Follow these steps: 1. On the mixer strip of the channels that you want to process in +DSP, select a bus to route the submix to (for example, Bus 1-2). You can assign as many channels as you want to the send bus and form a submix using the DP mixer. 2.
Routing Examples Figure 13.28: Multichannel Bussed +DSP Parallel Compressor Routing Tips for Cubase Routing for Insert processing in Cubase Using External Effects on track objects (normal audio tracks) to route through processing on the MIO is pretty straight forward. 1. Define the External Effects in the VST Connections: Figure 13.29: Defining the External FX Set the External FX’s send outputs to any outputs other than the pair you are monitoring through.
Routing Examples output other than 1 and 2 (in the illustration above we use DAW 3/4). Set the Return Bus inputs to be any unused channels; here we use FW 3/4. 2. In the MIO Mixer, create a channelstrip for DAW 3/4. Assign its POST-insert Direct Out to FW channels 3/4. 3. Insert the External Effect into an Insert slot in the channel you’d like to process. Figure 13.30: Inserting the External FX 4. Insert your processing (in this example, a +DSP graph) in this channelstrip. 5. You are done! Figure 13.
Routing Examples Figure 13.32: Setting the VST Outputs Next we need to create an input mapping for FW 1/2, so that we can record the mix back into Cubase. Figure 13.33: Setting the VST Inputs The final step is to assign your audio in Cubase’s mixer: • • • • Set the inputs on your 18 playback channels to “No Bus”. Set the outputs sequentially (Audio 1 to Mono Out 1, Audio 2 to Mono Out 2, etc). Set the input of your stereo mixdown channel to “Stereo In”.
Routing Examples Figure 13.34: Setting the VST Outputs in the Mixer This will route your 18 tracks to the MIO Mixer; the stereo mix will be monitored directly from the MIO Mixer as well as being routed into Cubase where it can be recorded. Routing Tips for Pro Tools With the release of Pro Tools 9, it became possible to use Metric Halo interfaces directly with Pro Tools - this gives you access to MIO Console, 2d, +DSP and our conversion without any other hardware.
Routing Examples Figure 13.35: Routing to Firewire In the example above, the eight analog inputs of the LIO-8 are routed to FW channels 1-8. Since we've used the direct outputs after the inserts, You can record into Pro Tools with your DSP effects. If you use the direct outs before the inserts, any DSP effects won't be recorded.
Routing Examples Figure 13.36: Input Tab We've created eight input paths and set them to channels 1-8 from the LIO-8. You can also create stereo input paths to match your MIO Mixer setup if you're working that way. Inserts It's easy to create inserts in MIO Console to use in Pro Tools for mixing; you can route your audio through external processors or your interface's DSP and return it back to Pro Tools.
Routing Examples Figure 13.37: Insert Tab Define as many inserts as you need and map them to the inputs and outputs of your interface. In this example, we've created eight inserts and assigned them to I/O 9 to 16 so that they don't conflict with the input channels. Now we'll configure MIO Console.
Routing Examples Figure 13.38: Configuring the MIO Mixer, DAW 9-14 1. Create a DAW channel for each insert send and assign the post-insert direct out to the corresponding FW output. Assign the channelstrip to your monitor bus (so that the meters will be active) and make sure to mute it so that the insert will not be double monitored in MIO Console. 2. Insert the “I/O” insert on each channel. Open the I/O and assign the send and return to your desired input and output: Figure 13.
Routing Examples channel. Since we muted the channel in MIO Console, you won't hear the audio there but will hear it after it gets routed back into Pro Tools. For more information on the I/O insert please refer to the I/O insert section of the Mixer Window overview. If you're using analog outputs 1 and 2 for monitoring, you can use the other 6 analog outputs for sends.
Routing Examples 2. Insert plug-ins or graphs in the mixer channels that you created. 3. Back in Pro Tools' mixer, put an I/O insert in the desired channelstrip. The send from Pro Tools will go out the DAW channel in MIO Console, be processed, and then return to Pro Tools over the FW channel. Since we muted the channel in MIO Console, you won't hear the audio there but will hear it after it gets routed back into Pro Tools- just like it was an outboard piece of gear.
Routing Examples Figure 13.44: Output Tab In this example we've put the monitor output to the MIO Mixer is on DAW 17/18; this way the first 16 DAW channels are available for inserts and other uses. Stem Mix or “Summing” Another method to work with your outputs is to create your stereo mix in the MIO Mixer and use Pro Tools for playback and volume automation.
Routing Examples Figure 13.
Routing Examples Figure 13.46: Mapping to DAW 1-16 The 16 DAW channels from Pro Tools are routed to a stereo bus. Every channel and bus can have Character, our exclusive analog emulation. You can use it to “heat” up your mixes! The stereo bus is routed to FW 1/2, which will send it back onto Pro Tools. This will allow you to record the stereo master back into the session.
Routing Examples Figure 13.47: Connecting a Three Box System • Analog I/O 1-8 are on box #1, which is the first box of an aggregate. These should appear as FW 1-8 in the aggregate. • Analog I/O 9-16 are on box #2; this is connected to box #1 over AES and is not part of the aggregate. In box #1, the AES channels would be sent to FW 9-16 via the direct outs. • Analog I/O 17-24 are on box #3, which is the second box of an aggregate. These should appear as FW 21-29 in the aggregate.
14. Record Panel Overview MIO Console integrates a dedicated multichannel recording interface. The Record Panel allows you to record with Mobile I/O right out of the box without needing to add any additional software to your system. The Record Panel was purpose built for doing massive multichannel recordings with multiple boxes. We have deployed systems recording 72 channels at 96k, and have tested systems with even greater channel capability.
Record Panel The Record Time readout shows how long the recording has been running for when the Record Panel is in record mode, and how long the Record Panel has been playing for when in playback mode. The time format can be changed by Control-clicking the Record Time readout: Figure 14.3: Record Time Display Options The Disk Time Remaining readout shows the time available on the selected recording disk.
Record Panel algorithm for filling the play buffer so the behavior of this meter may appear somewhat erratic. If your disk is too slow, this meter will increase towards 100%, and if it reaches 100% it means that the disk is not supplying data fast enough and there will be glitches in the playback audio. This meter is only active during playback. The next element is the Play position meter: Figure 14.6: Play Position When audio is playing back, this meter indicates the current playback position in the take.
Record Panel cannot be recorded from) should be listed in the tracks overview. It may be useful to list tracks from offline boxes if you are doing offline configuration, but in general you will not want to show tracks from offline boxes. When you are recording, each track shows a continuously updating track overview for the signal that has been recorded for that channel.
Record Panel Each Take Folder will contain one audio file for each track that is Record Enabled when you start the take. Each audio file will be named as follows: TT-. Where: • TT = track number • = the name shown in the second line in the track header • = extension for the selected audio file type The Take Folder will also contain a log file written by the recording engine.
Record Panel The RP playback engine enables a couple of cool tricks: • You can record with no playback • You can start playback, and then start recording a new take • You can start recording a new take, and then start playback of the take while it is being recorded (basically read-after-write playback) Clicking Stop will end the current take playback (and stop any current recording as well).
Record Panel Figure 14.10: Recording Prefs Button The Recording Preferences sheet will appear: Figure 14.11: Recording Preferences Sheet You can specify various text strings that may be included in the metadata included with some files using the 4 text entry fields. There is a preference to control how Take Folders are named. Every time you hit record, the Record Panel will create a new Take Folder that will contain all the audio files for the take.
Record Panel Next is a preference to enable Mirrored Recording. This will record your audio to two separate drives simultaneously. This gives you redundancy in case of a drive failure, or can be used to create a delivery drive that can be handed to a client immediately after recording. To use this feature, check the Enable Mirrored Recording checkbox, then use the Recording > Set Record Mirror Folder… menu command to choose your secondary record drive.
Record Panel • Select the interface that will be receiving timecode under LTC Device • Select the input that the timecode is received on. On the ULN-8, this would normally be the SMPTE input, but can be received from any other input that is routed to a FireWire channel. On the 2882 and ULN-2, timecode can be received on any input that is routed to a FireWire channel. You can specify the bit depth that you would like to record at. Using 16-bit files saves space but provides less dynamic range.
15. DSP Implementation Guide Plug-in Processing in the v.5 Mixer There are two levels of DSP available in 2d Expanded interfaces: • The basic 2d plug-in set, which is only accessible via the channelstrip inserts • The +DSP plug-in set, which is available via the inserts or graphs You can see a comparison of the two DSP packages in the DSP Package Comparison appendix. Inserts Click anywhere on an empty insert slot, and you'll see the insert menu: Figure 15.
DSP Implementation Guide Figure 15.4: MIOStrip UI The M/S processor uses a generic interface -- one that is automatically created from the parameters in the plugin. The MIOStrip uses a custom interface -- one generated by us with a specific layout and special UI elements. All of the plug-in UI's share the plug-in bar at the top of the window. This bar provides generic services for managing the state of any plug-in. Figure 15.
DSP Implementation Guide If you need to insert a plug-in on a multichannel (LCR to 7.1) input or bus, simply insert the m/m version and MIO Console will instantiate the plug-in on every channel of the input or bus. The UIs will be linked; adjustments you make will be applied to all channels of the plug-in.
DSP Implementation Guide To the left are the inputs for the graph, and to the right are the outputs. A newly instantiated graph has the inputs and outputs connected, so that it will not interrupt the signal. The I/O will match the number of channels in the object the graph is inserted in; a mono channel will have a mono graph, a stereo channel will have two channels of audio in the graph, etc. The Plug-in pop-up menu contains all of the available instantiable plug-ins.
DSP Implementation Guide Figure 15.11: Completing the Connection Figure 15.12: Making a Mult After everything is placed and wired up, you will need to ensure that you have routed the output of your signal processors to the appropriate port on the output side of the graph. When you are done, you will have a complete graph. For example: Figure 15.
DSP Implementation Guide Patch Library Pop-up Menu The Patch Library pop-up menu allows you to save the complete state of the plug-in graph. This menu works like all the other Library pop-up menus in MIOConsole.
16. Saving and Recalling Your Setups MIO Console and your interface keep their data in what are called states. A state is the collection of data that tells the system how the interface is configured, how your mixer is set up, etc. This data is stored in several ways: • Factory default: This is part of the interface's firmware and defines how the interface should be set up if there is no bootstate. The factory default cannot be modified in the box, but can be modified and saved as a bootstate.
Saving and Recalling Your Setups Boot States and Snapshots All Mobile I/O hardware has support for setting a Boot State — the configuration the hardware will use when the unit boots up. This boot state includes the entire state of the unit including the configuration of the mixer, the router, sample rate, clocking, analog I/O levels (for HW that has digital control), and +DSP configuration.
Saving and Recalling Your Setups The first snapshot slot is special as it is used by the unit to configure the hardware and the routing when the ULN-2 starts up. The other 9 slots are available for storing alternate configurations that can be selected “on the fly” after the ULN-2 is up and running. When a computer is attached to the ULN-2, the front-panel controls to select snapshots are locked-out since the computer is actively controlling the configuration of the box.
Saving and Recalling Your Setups To save your current console setup, go to the File menu and select "Save": Figure 16.5: File menu You will be asked what to name the file and where to save the file. If you have modified and existing file, you will only be able to “Save As”, which which will write your changes to the open file. To reopen this configuration later you can double-click the .
Saving and Recalling Your Setups • If your interface has a bootstate stored and MIO Console has no mixer loaded, plugging your interface into your computer will automatically load the bootstate into MIO Console. • Changes made to the front panel of the ULN-8 and LIO-8 are synced when MIO Console is launched. For example if you quit MIO Console and change an input gain from the front panel of the ULN-8 while tracking in a DAW, the gain change will be reflected in MIO Console the next time it is launched.
17. MIO Console Preferences Accessing the preferences MIO Console has a number of preferences that you can set to control aspects of its behavior. These preferences are accessed via the MIO Console > Preferences… command (or via ⌘, (Command + comma) key sequence). When you select the Preferences command, the Preferences sheet is shown on the MIO Console window: Figure 17.1: MIO Console Preferences The preferences you can control are: • What MIO Console does on launch.
MIO Console Preferences Figure 17.2: On Launch Pop-up • Load the last state (with ConsoleSync) — This will cause MIO Console to compare the state that is stored in the hardware and the last state stored in the MIO Console Prefs in your Preferences folder. If the timestamp on the states are the same, MIO Console will automatically load the stored state. If the timestamps are different, MIO Console will behave as set in the ConsoleSync setting below.
MIO Console Preferences • • • • • • those panels will be omitted from the UI on the next launch of MIO Console. This will streamline the UI by removing elements that you do not need. The default state is for Legacy Box Support to be disabled. Use OpenGL for rendering — When checked , this will cause MIO Console to accelerate the display of much of the graphics in the application using OpenGL Hardware Acceleration.
MIO Console Preferences Check for unregistered units — When checked, MIO Console will connect to the registration server (if the computer is online) and prompt you to register your interface if it is not registered. Please see the section on Registration and Licensing for more information. Other Preferences There are specific preferences in three other locations in MIO Console: • The box specific preferences, available by clicking on the serial number of the interface in the I/O tab.
18. ConsoleConnect ConsoleConnect Overview Introduction to ConsoleConnect Designed from the ground up to seamlessly integrate MIO Console with your preferred digital audio workstation software, ConsoleConnect allows you to use the MIO as if it were designed in concert with your workstation. This is a quantum leap forward for both the Mobile I/O and your native host allowing you to have the level of integration that, up until now, has only been found in dedicated hardware workstations.
ConsoleConnect • Plug-in Mode, which allows you to erase the artificial boundary between your DAW and MIO Console. It makes MIO Console work like a part of your DAW by making the MIO Console windows appear inside your DAW's as plug-in windows. MIO Console is still running, but does not appear as a normal application. If you want to have instant access to all the features of MIO Console from within your host and you don’t mind floating windows, then plug-in mode is for you.
ConsoleConnect Figure 18.1: MIO Console Preferences The preferences are: • Console windows float when connected checkbox: when checked, if MIO Console is connected to a host via ConsoleConnect, and is running in plug-in mode, this causes all MIO Console windows to be created in the floating window layer. All the windows will float above normal document windows. If your host uses floating windows for plug-ins, the MIO Console windows will be in the same layer as the host’s plug-ins.
ConsoleConnect 2. If MIO Console isn’t running yet, the plug-in will Launch MIO Console as a plug-in in the host. Once MIO Console is in plug-in mode, its windows are put into the floating window layer of the host. This means that all the MIO Console windows work like plug-in windows in the host. You can modify MIO Console to control your hardware, view meters, etc. All while your key commands continue to work in the host (transport, etc.).
ConsoleConnect Once MIO Console is in Conduit mode, its continues to function as a stand-alone application. This means that you can command-tab between your host and MIO Console; you can use Exposé to reveal windows, etc. Communication The ConsoleConnect Plug-in that you insert into the host has bidirectional communication with MIO Console. This is true in both Plug-in mode and Conduit mode.
ConsoleConnect Tips for Specific Host DAWs Please follow the links below for specific tips on how to maximize your experience with ConsoleConnect. • • • • • Logic Digital Performer Cubase GarageBand ProTools Logic The best place to insert MIOConsoleConnect is on an unused (virtual) instrument channel. The MIOConsoleConnect plug-in will work on any type of channel but it will use no CPU on a channel with no audio.
ConsoleConnect Due to the MAS issue described above, you need to be a bit careful when inserting MIOConsoleConnect in the V-Rack. We recommend that you: 1. Create a new mono Master Fader in the V-Rack 2. Set the output for the Master Fader to an unused bus (for example Bus 64) — this is very important 3.
ConsoleConnect The MIOConsoleConnect plug-in will work on any type of channel but it will use no CPU on a channel with no audio. You only need to insert MIOConsoleConnect once per session in order to save every parameter of all connected Metric Halo boxes with your session. GarageBand When GarageBand starts up with a new song, by default you get a “Grand Piano” track every time. We’ll use this track to insert the MIOConsoleConnect plug-in.
ConsoleConnect Under “Sound Generator” (which is GarageBand’s way of inserting virtual instruments) please select “none” from the list; this will allow the track to function, but cost you no CPU power. Below the generator section is the “Effects” section. Since this track isn’t passing audio, go ahead and remove the checkmarks from: Compressor, Visual EQ, Echo and Reverb. This will also save you some CPU.
ConsoleConnect Once you have saved some presets, you can recall them more directly by clicking on the “Manual” menu under “MIOConsoleConnect”. Figure 18.13: Direct Preset Recall Note: The preset you create will contain a complete state of all the boxes in your system including: Routing, Matrix Parameters, Patchbay, +DSP and Record Panel Settings for each box. Additionally, when in Plug-in mode, you will notice small tab in your menu bar called “MIO”.
19. Control Surface Support Control Surface Preferences MIO Console has extensive support for external tactile control surface units. MIO Console supports two different Control Surface communication protocols: Euphonix’s EuCon and Mackie Design’s Mackie Control Protocol. Both protocols are supported simultaneously, so you can use both types of controllers at the same time. If both controllers are controlling the same elements of MIO Console, MIO Console will keep both protocols synchronized.
Control Surface Support • Fader Pack 3— Select the MIDI ports for the third Mackie Control fader pack used in the system. MIO Console will place this fader pack to the left of Fader Pack 2 in terms of fader layout • Use Control Surface while in background— When checked, MIO Console will continue to use the Mackie Control units, even if it is not the active application on your computer. Uncheck this if you will use the same control surface units in another host program too.
Control Surface Support The Control Room knob on the MC Control will control the Monitor Control Level in MIO Console, if you have configured the Monitor Controller. Note that the Control Room knob provides very fine control; don’t turn it too fast when you first use it — experiment a little to get a feel for the gain ramp. Pressing the Control Room knob toggles the state of the Monitor Control Mute.
Control Surface Support On the MC Control, you access the knobset by pressing the soft-knob labelled with the knobset name. The knobsets that are supported by MIO Console are the “Pan” and “Input” knobsets (as well as the “Aux” and “Mix” knobsets for switching amongst the send busses). On the MC Mix, the knobsets are selected via the buttons on the left hand side of the surface.
Control Surface Support Since each send in the MIO Mixer has its own strip in the send window, MIO Console supports switching the Mixer model to map the sends to a selected bus. When you select the sends, the currently selected send bus is mapped onto the surface. If you select sends again, the next send bus is mapped onto the surface. You can also return to the main Mix window at any time.
20. +DSP DSP Package Comparison All currently shipping interfaces (and older units that have been upgraded with a 2d card) come with the “2d Expanded” plug-in set. The ULN-8 includes a +DSP license; it is an option on all other interfaces. Below is a comparison of the included plug-ins and capabilities of the two packages. Feature Table 20.1.
+DSP Feature 2d Expanded Insertable Graphs (infinite possibilites) 2d Amps 2d Expanded +DSP √ Table 20.2.
+DSP 2d Reverbs 2d Expanded 2d Expanded +DSP LongVerb √ Med Diffuse Room √ ModVerb √ Small Diffuse Room √ 2d Mastering Table 20.5. 2d Mastering 2d Expanded 2d Expanded +DSP Parallel Compressor √ Parallel Limiter √ Mid-Side Compressor √ Mid-Side EQ √ Mid-Side Limit √ Stereo Parallel Limiter √ 2d Pedals Table 20.6. 2d Pedals 2d Expanded 2d Expanded +DSP Nezumi √ Nezumi Less Gain √ Screamer √ Cabinets Table 20.7.
+DSP Glide [0, 1k] Specifies the rate at which the gain will change. If the Glide value is close to 0 (especially between .1 and 1), the gain will change slowly. If Glide is close to 1000, the gain will change quickly. Master Bypass {On, Off} When bypassed, the gain will be set to 0dB, passing the input signal unchanged.
+DSP Side Invert {Off, On} When enabled, inverts the 2nd input channel before processing. Mode {Decode (Constant Amplitude), Decode (Constant Power), Encode (Constant Amplitude), Encode (Constant Power), LR->MS->LR} Selects the processing mode. Decode (Constant Amplitude) Makes input 1 be the Mid Channel and input 2 the Side Channel. In this mode, the processor decodes the M/S input to Left and Right outputs, keeping the total amplitude constant. The center point is output compensated to not clip.
+DSP Side Invert {Off, On} When enabled, inverts the 2nd input channel before processing. Width [0, 1] Adjusts the width of the transformed field. When this parameter is 0, the ouput will be mono. When this is 1, the full stereo width is represented. Master Bypass {On, Off} Bypasses all of the processing.
+DSP Master Bypass {On, Off} Puts the mixer into direct route mode (e.g. all inputs are directly routed to the corresponding outputs, and no mixing occurs). MIOComp • Synopsis: Flexible Signal Dynamics Compressor • Category: Dynamics, Mastering • Channels: 1, 2 Description: MIOComp is a flexible, full featured dynamics processor that provides compression/limiting functionality. The compressor provides a flexible detector that can be driven from the input signal or a sidechain input.
+DSP Release [5µ, 5] s The characteristic release time of the application of the gain reduction. Longer release times will cause MIOComp to be maintain the gain reduction for a longer period of time after transients. Longer release times are appropriate when using MIOComp as a leveling amp/AGC. Alternatively, shorter release times are appropriate when using MIOComp to increase the apparent level of impulsive material. Very short release times can lead to distortion in the output signal.
+DSP your interface, with the use of an external RIAA phono preamp. Only one band of EQ should be set to RIAA on a channel as using the filter twice will not provide useful results. Master Parameters: Enable{Off, On} Enables the EQ block. When disabled, the EQ (including the master gain) is hard-bypassed, and does not consume DSP power. Gain[-80, 10] dB Master gain applied to the signal at the output of the EQ block.
+DSP been RIAA encoded (for example, the signal on a phonograph disc). This filter type would be selected if you need to decode the output of a phonograph player that is directly connected to the inputs of your interface, with the use of an external RIAA phono preamp. Only one band of EQ should be set to RIAA on a channel as using the filter twice will not provide useful results. Master Parameters: Enable{Off, On} Enables the EQ block.
+DSP When the detected level is below the Threshold, the gain cell passes the signal with no change. Conversely, when the detected level is above the Threshold, the signal is attenuated based upon the Knee and the level of the signal above the Threshold. When the Knee is set to 0, MIOLimit acts a hard-threshold brickwall limiter. When the Knee is set to a value above 0, the knee will be softened, and the effective ratio will increase gradually from 1 to infinity.
+DSP Master Bypass {On, Off} When enabled, fully bypasses the plugin. See also: MIOComp MIOStrip • Synopsis: Mobile I/O Channel Processor • Category: EQ, Dynamics, Channel Strip • Channels: 1, 2 Description: MIOStrip provides a complete channel strip processor in one self-contained signal processor. It includes dynamics (gate and compressor with side-chain EQ) and EQ in a flexible, internally routable package. MIOStrip is a mono or stereo processor and provides a mono sidechain input channel.
+DSP Gate Release [5µ, 5] s The characteristic release time of the application of the gain reduction. Longer release times will cause the gate to be less responsive to short transient signal drops. Very short release times can lead to distortion in the output signal. The release time is applied in the detector stage of the Gate block. Gate Sidechain EQ SC Source {Off, On} Chooses the detector input source. Select between the processed signal and the sidechain input.
+DSP Comp Knee [-1, 1] Adjusts the shape of the knee of the compressor as the detector goes above threshold. When knee is set to 0, the transition from no gain reduction to the specified ratio is immediate at the specified threshold. As this parameter is increased, the transition between the 1:1 ratio and the specified ratio is made more and more progressive, thus "softening" the action of the compressor. Comp Makeup Gain [-30, 30] dB Sets the additional gain applied to the signal post compressor.
+DSP EQ Band Gain [-24, 24] dB Sets the parameteric gain on the EQ band. For peaking filters, this is the gain at the peak of the band. For shelving filters, this is the gain at the extreme limit of the filter. This parameter is ignored for the high and low pass filter types as well as the bandpass filter type. EQ Band Frequency [20, 22k] Hz Sets the characteristic frequency of the filter band. EQ Band Bandwidth [0.01, 2.5] Oct Sets the bandwidth of the filter band in octaves.
+DSP Description: Sum/Difference takes its inputs and forms the sum (A+B) and difference (A-B) of the two signals. Parameters: Master Bypass {On, Off} See also: MIO Channel Summer, MIO Channel Difference, MIO Channel Multiplier MIO Channel Multiplier • Synopsis: Channel Multiplier • Category: Building Blocks • Channels: 2 Description: Multiplier takes its inputs and forms the product (A × B) of the two signals.
+DSP Description: MIOModDelay is a dynamic, interpolating delay that uses a audio control signal to set the delay time through the process. The input control signal is clipped to the range of 0.0…1.0, and then is multipled with the maximum delay specified by Delay(samp). The resulting fractional delay is applied to the input signal to form the output signal.
+DSP This version of the delay utilizes the external memory block for the delay buffer. If you get a message that MIO Console can't instantiate the plug-in, you will need to use fewer memory-intensive plugins such as delays and reverbs. Parameters: Delay(samp) [0, 23.999k] samps Specifies the delay throught the process block in samples. Delay(ms) [0, 544.195] ms Specifies the delay throught the process block in milliseconds. Master Bypass {On, Off} When engaged sets the delay through the block to 0.
+DSP Delay(ms) [0, 23.1973] ms Specifies the delay throught the process block in milliseconds. Master Bypass {On, Off} When engaged sets the delay through the block to 0. MIO Delay (2k-15k IM) • Synopsis: Internal Memory Delays • Category: Delay, Building Blocks • Channels: 1 Description: Provides an integer sample delay from the input to the output. Changes in the delay time are interpolated, allowing you to change the delay time with no glitches.
+DSP Provides an integer sample delay from the input to the output. Changes in the delay time are interpolated, allowing you to change the delay time with no glitches. For large changes in the delay time, the interpolation has the effect of shifting the pitch of the delayed signal as the delay time is changing. This version of the delay utilizes the external memory block for the delay buffer. If you get a message that MIO Console can't instantiate the plug-in, try using the IM version.
+DSP The MIO MultiTap Delay is appropriate for creating the initial delays for a reverb algorithm. It can also be used to create multiple delayed copies of a signal. This second application can be used in a musical context or could be used to create multiple time-aligned feeds for a distributed sound reproduction system (e.g. a PA with multiple fill zones). Parameters: Enable {Off, On} Enable the tap.
+DSP Invert {Off, On} When enabled, inverts the delayed signal relative to the input polarity. Enable {Off, On} Enable the tap. When enabled, the tap generates output from on its dedicated output port and contributes to the summed output. Delay(samp) [0, 1.023k] samps Sets the delay, in samples, between the input and output of this tap. Gain [-160, 10] dB Sets the gain of the delayed signal. Invert {Off, On} When enabled, inverts the delayed signal relative to the input polarity.
+DSP Invert {Off, On} When enabled, inverts the delayed signal relative to the input polarity. Master Bypass {On, Off} Plug-in version Table 20.10. Multitap delay times Delay (samples) Delay (ms) Short 1024 21 Medium 24000 500 Long 96000 2000 MIOAllpass • Synopsis: First Order Allpass Filter • Category: Phase EQ, Building Blocks • Channels: 1 Description: MIOAllpass provides an adjustable high-order all-pass filter. When the Coeff is 0, the filter acts as a pure single sample delay.
+DSP MIOHardClip • Synopsis: Adjustable Threshold Hard Clipper • Category: Distortion, Building Blocks • Channels: 1 Description: Applies a hard clipping threshold to the input signal. The Threshold specifies the absolute level at which the signal will be clipped. If the absolute value of the signal (on a sample by sample basis) is greater than the level specified by Threshold the output will be set to ± Threshold (with the sign determined by the sign of the input sample).
+DSP MIOSoftClip Type 2 • Synopsis: Type 2 Soft Saturation Clipper • Category: Distortion, Building Blocks • Channels: 1 Description: When the the absolute value of the input signal level reaches the specified Threshold (on a sample by sample basis), Metric Halo Type 2 saturation is applied to the signal. Type 2 saturation is more aggressive than Type 1 saturation, but still provides relatively gentle, low order distortion that is applied to the signal symmetrically.
+DSP Master Bypass {On, Off} Disables the saturation and passes the signal through untouched. See also: MIOHardClip, MIOSoftClip Type 1, MIOSoftClip Type 2 MIOSoftDistortion Type 1 • Synopsis: Type 1 Soft Distortion Generator • Category: Distortion, Building Blocks • Channels: 1 Description: When the the absolute value of the input signal level reaches the specified Threshold (on a sample by sample basis), Metric Halo Type 1 distortion is generated and sent to the output.
+DSP MIOSoftDistortion Type 3 • Synopsis: Type 3 Soft Distortion Generator • Category: Distortion, Building Blocks • Channels: 1 Description: When the the absolute value of the input signal level reaches the specified Threshold (on a sample by sample basis), Metric Halo Type 3 distortion is generated and sent to the output. This signal may be added to the input to generate the same effect as the Type 3 soft clipper.
+DSP MIOInSlew limits the slew rate of the input to the maximum slew rate specified by the Slew Rate parameter. This block simulates the effect of slew rate limiting on the output of a signal driver. The slew rate limitation has the effect of a slow-rolloff nonlinear filter, and is an interesting distortion effect. Parameters: Slew Rate [0, 100] samps Sets the maximum change in the input on a sample-by-sample basis.
+DSP can use this to apply a non-linearity that always reduces the amplitude of the input signal, whether the input is positive or negative. The non-linearity generated by this symmeterized map generates high-order odd harmonics for the even order terms, and low-order odd harmonics for the odd order terms. Parameters: x^1 [-4, 4] Sets the coefficient of the linear term of the map. x^2 [-4, 4] Sets the coefficient of the quadratic term of the map.
+DSP Inv {Off, On} Sets the sign of the cubic coefficient (the sign is negative when enabled). Inv {Off, On} Sets the sign of the quartic coefficient (the sign is negative when enabled). Master Gain [-300, 12] dB Sets the overall gain of the output post mapping. Master Bypass {On, Off} When enabled, bypasses the process so that the output is the same as the input.
+DSP Master Bypass {On, Off} When enabled, bypasses the process so that the output is the same as the input. MIO A/B Switch (Linear) • Synopsis: A/B Switch - Linear Interpolation • Category: Signal Switch, Building Blocks • Channels: 2->1, 4->2, 6->3, 8->4, 10->5, 12->6, 14->7, 16->8 Description: The MIO A/B (Linear) is a multichannel process block that allows you to crossfade between multichannel input ports. The MIO A/B (Linear) implements a mono channel input port selector switch.
+DSP more quickly when it initially changes and the change per sample will decrease as the internal gain approaches the selected gain. Parameters: A Blend [0, 1] Sets the portion of the output that comes from the first input port when the A/B switch is turned on. The portion of the output that comes from the second input port is the complement of this value. B Blend [0, 1] Sets the portion of the output that comes from the first input port when the A/B switch is turned off.
+DSP MIOQuadLFO is a signal generator which functions as a Low Frequency Quadrature Oscillator whose oscillation frequency is precisely controlled by the Frequency parameter. The Quadrature oscillator generates a very pure, low-distortion sinusoidal waveform at one output and the quadrature (90 degree phase shifted) waveform at the other output. Parameters: Frequency [1m, 20] Hz Precisely sets the frequnecy of the oscillator.
+DSP Noise • Synopsis: Full Scale White Noise Generator • Category: Signal Generator, Building Blocks • Channels: 1 Description: Noise is a signal generator that creates uniform randomly distributed full-scale white noise.
+DSP Scale/Offset • Synopsis: Scale and Offset Signal • Category: Building Blocks • Channels: 1 Description: Scale/Offset is used to apply an affine transformation to the input signal on a sample by sample basis. This can be used to suitably scale and offset control signals used as audio-rate controls for blocks that accept such signals, or it can be used to set scale and bias on signals before they are driven into non-linear elements.
+DSP instantaneously. In between values cause the filter to interpolate changes in the parameters at a faster or slower rate. Gain [-100, 27] dB Sets the output gain of the filter. NC SVF • Synopsis: Numerically Controlled State Variable Filter • Category: EQ, Synth Effect, Building Blocks • Channels: 1 Description: NC SVF is a monophonic process block that simultaneously applies multiple filters (high pass, low pass, band pass and notch) to the input signal.
+DSP HaloVerb is a mono to mono or stereo to stereo reverb that can be used as a send processor or an inline processor. This version of HaloVerb is optimized for use on the 2d Card, and will run at all sample rates. The 2d card will support up to 4 instances of HaloVerb in mono or 2 instances in stereo (limited by memory requirements). Parameters: Room Size [65, 99] M Sets the effective size of the room; can also be thought of as Reverb Time. Larger numbers make the room bigger and the reverb time longer.
+DSP Decay [0, 100] % Sets the damping of the regenerative filters of the room. Larger values roll the high–end off faster. Reverb dB [-inf, 9.54243] dB Sets the level of the reverb signal mixed into the output. Direct dB [-inf, 9.54243] dB Sets the level of the direct (dry) signal mixed into the output. Diffusion [0, 1] % Controls how much diffusion is applied to reverberant field.
+DSP TransientControl • Synopsis: Transient Dynamics Shaper • Category: Dynamics, Building Blocks • Channels: 1, 2 Description: TransientControl is a dynamics shaping processor. By using the Trans and Sustn controls, it is possible to accentuate the transient or sustained components of a signal; for example, by increasing the Trans and decreasing the Sustn of a snare drum, you can accentuate the hit and decrease the ring.
+DSP Master Bypass {On, Off} When enabled, fully bypasses the plugin. UI Mode {0, 1, 2} Selects the UI of the plug-in: Basic, Basic with process metering, Advanced with process metering. Display Gain Range {0, 1, 2, 3, 4, 5} Sets the gain range for the process metering display. Include Output Gain {0, 1} Sets whether the gain from the Gain control is figured into the process metering.
+DSP Min • Synopsis: Selects the minimum value of its two inputs • Category: Math • Channels: 2 Description: Min passes the input that has the smallest value on a sample by sample basis. The output of Min is the smaller of its inputs. Select • Synopsis: Selects the value of its inputs based upon the value of the control input • Category: Math • Channels: 2 Description: Select passes one of its inputs (x or y) based upon the value of the signal at its Cntl input.
+DSP • Category: Math • Channels: 0 Description: Constant generates a constant DC signal with the value specified by Constant. This is useful for generating a constant signal to be used as a control signal to be used as an input for other processing blocks such as MIO Channel Multiplier, NC SVF, Max, Min and Select. Parameters: Constant [-100, 100] The value of the output signal.
+DSP • Channels: 0 Description: ADSR generates a note envelope and NCO oscillator control signal from an input MIDI note message. The ADSR plugin listens for MIDI notes from every MIDI device in the system, and when it detects a note on message, it generates envelope control signal based upon the Attack, Decay, Sustain, and Release parameters and the MIDI note on velocity. It also generates a NCO oscillator control signal based upon the note value from the incoming MIDI message.
+DSP other side of the Channel Multiplier block. You can add additional processing to both the Envelope and Frequency outputs to make much more interesting synth tones. Exponential ADSR is a monophonic envelope processor and a new note on message will steal the voice from a currently active note-on message. Parameters: Attack [0, 1k] ms The amount of time for the volume envelope to reach the peak volume after the detection of the note on message.
Part IV.
Table of Contents A. MIO Console Key Commands ................................................................................................... Key Commands .................................................................................................................... B. Updating your Firmware ........................................................................................................... Introduction .........................................................................................
Appendices J. Support Resources .................................................................................................................... 351 K. Changelog ................................................................................................................................
A. MIO Console Key Commands Key Commands MIO Console supports many key commands that you can use. Often, these key commands are supplied with the intention that you will use them with a third-party HID (Human Interface Device) controller device (for example, a Contour Shuttle Pro), so the key commands may involve many modifier keys. Many these key commands can be changed by you, while some of them are fixed.
MIO Console Key Commands Command Key Sequence Record Panel: Scroll Timeline Right ⇧← (Shift + ←) Record Panel: Scroll Timeline Left Record Panel: Play Record Panel: Stop Record Panel: Record Switch to/from Mini Controller Volume Up Volume Down Toggle Dim Toggle Mute Toggle Window Visibility Monitor Source Override Select Monitor Source 1 Select Monitor Source 2 Select Monitor Source 3 Select Monitor Source 4 Select Monitor Source 5 Select Monitor Source 6 Select Monitor Source 7 Select Monitor Source 8
MIO Console Key Commands Some of the key-commands depend upon whether or not you are running MIO Console in legacy mode. In Legacy Mode, there are 5 Panels in the MIO Console window, whereas if you disable legacy mode there are only 5 Panels in the MIO Console window. Command Table A.2. Pane Select Key Commands in 2d Expanded Mode Key Sequence ⌘1 (Command + 1) Select Pane: I/O Control ⌘2 (Command + 2) Select Pane: +DSP ⌘3 (Command + 3) Select Pane: Recording Command Table A.3.
MIO Console Key Commands Command Key Sequence Mixer > Create New Bus ⌘⇧B (Command + Shift + B) Mixer > Configure Mixer Mixer > Create New Bus Mixer > Set Color For Selected Strips Mixer > Delete Selected Strips Mixer > Channel Strip Meters Post Fader Window > Show/Hide All Floating Windows ⌘⇧C (Command + Shift + C) ⌘⇧B (Command + Shift + B) ⌘⌥C (Command + Option + C) ⌘⇧D (Command + Shift + D) ⌘⇧P (Command + Shift + P) ⌘B (Command + B) 321
B. Updating your Firmware Introduction The Mobile I/O is a complex device with a complex DSP–based signal processing and control architecture. One of the major strengths of Mobile I/O’s design is that the operating system of the box can be upgraded at any time by updating the firmware. The firmware provides data to the hardware upon system boot that configures both fundamental aspects of the hardware and the operating system for the box. This data is stored in a memory device on the Mobile I/O motherboard.
Updating your Firmware 2. Make sure your Mobile I/O is powered up and connected to your computer. It is strongly recommended that you turn off any amplifiers or powered speakers connected to the unit; it is possible that the MIO could produce noise during the firmware update that could damage your speakers. 3. Run the MIO Console. 4. Be sure that you don’t have any audio apps communicating with the MIO (don’t have any audio apps running during the Firmware update). 5.
Updating your Firmware The Console will find your Mobile I/O on the FireWire bus and begin sending commands to it. While the update is taking place, a progress window will displayed on the screen: Figure B.3: Update Firmware Progress Window When the firmware update has completed, the progress window will disappear. You may see this dialog: Figure B.4: Firmware Update Complete If you see this message, you must follow these steps for the new firmware to be recognized: 1.
C. Updating the Driver Introduction The MIO Driver is the conduit between your interface and CoreAudio. We occasionally update the driver to provide new features, fix bugs or maintain compatibility with new Apple operating systems. Updating the driver is a simple process, but there is a definite procedure that should be followed: 1. Quit all software. 2. Disconnect your interface(s) from your computer. 3. Double click the driver installer package and use the Apple installer to update the MIO Driver package.
D. FireWire Overview FireWire® is Apple’s registered trademark for the IEEE 1394 High-Speed Serial Bus. FireWire started as an Apple technology to replace a variety of interface ports on the back of the computer. After promulgating a number of closed proprietary technologies in the early days of the Macintosh, Apple determined that open standards were better for the Mac, for the industry, and for Apple itself.
FireWire speed of any bus traffic that flows through them. In order to maximize performance, you want to ensure that low speed devices are not used to join high speed devices. In practice this generally means that you should attach your interface directly to your computer or through a high speed hub. To connect the interface to your computer simply plug a FireWire cable into the interface and into the computer.
FireWire The FW800 device’s speed is reduced to 400 Mbs, since the slower device is connected between it and the computer. If you keep the FW800 connections together those devices will run at 800 Mbs regardless of whether there are FW400 devices in the chain. If you intermix FW800 and FW400 devices, you will lose bus speed on any FW800 device connected after a FW400 device. • “Using a FW hub will speed up my connection.
E. CoreAudio About CoreAudio™ Technology CoreAudio is Apple® Computer’s technology standard for interfacing applications to multichannel audio hardware with professional quality. Apple defined the standard and made it the primary interface for audio in OS X. It provides the mechanism for making high-resolution, multi-channel, low-latency connections between audio hardware and audio applications on Mac OS X.
CoreAudio support a small number of sample rates and may not support all of the sample rates that are available with the Mobile I/O hardware. Channel Names CoreAudio provides a mechanism for the driver to tell the host the names of the channels. Some hosts do not use this information and “make up” their own names for the channels. This mechanism is not dynamic, so the Mobile I/O driver cannot update the host’s names as you adjust the Output Patchbay router or mixer channel assignments. In v.
CoreAudio Clock Sources The CoreAudio specification provides the capability for hosts to control the hardware clock source. Some hosts provide a user interface to do this, others do not. If the host does provide an interface to do this, you will be able to select one of the Mobile I/O external clock sources directly from the host. If the host does not provide an interface, you will need to use the MIO Console to select the external clock source.
F. Troubleshooting Guide COMPUTER DOES NOT SEE MOBILE I/O If you attach Mobile I/O to your computer, and the computer is unable to communicate with the Mobile I/O hardware there are five basic possibilities for the source of the problem: 1. 2. 3. 4. 5.
Troubleshooting Guide If removing other devices from the bus solves the problem, it is likely that there is a problem with either one of the devices you removed or with one of the cables connecting the devices. You’ll need to isolate the problem component. If removing the other devices from the bus does not fix the problem, check the next possibility.
Troubleshooting Guide Figure F.1: Utilities Menu MISSING METERS IN MIO CONSOLE There is a limit in the 2d card that only the first seven busses in MIO Console have active metering. If you create and eighth bus (or more), they will pass audio but will not have active meters. COULD NOT INSTANTIATE PLUG-IN If you see the following dialog in MIO Console: Figure F.2: 2d Out of Memory This means that you are trying to exceed the memory of your interface, which is used for delays and reverbs.
Troubleshooting Guide DIGITAL DISTORTION If your interface passes audio but there is distortion or other audible artifacts, check the DSP Usage in the Box Info area of the Console window. If this value is over 100%, you are overloading the DSP. Try removing some plug-ins, graphs, or busses to lower the DSP load.
Troubleshooting Guide grounding problems. Balanced connections are not much more expensive than unbalanced connections and solve so many problems that if both ends of the connection support balanced interconnect, you should not even consider using unbalanced cables. You may get the idea that we hate unbalanced connections. You’re right. We do. You should too.
Troubleshooting Guide Finally, the Apple Cinema Display has a known issue with its backlight dimmer. If you run the Apple Cinema Display with its backlight at anything other than full brightness, the backlight dimmer will introduce a midrange buzz into the system ground which will appear in unbalanced interconnects (input and output) with Mobile I/O. This issue affects other devices that connect to the computer’s system ground.
Troubleshooting Guide When using an external battery source, DO power Mobile I/O directly from the battery – not through an inverter. DON’T power the computer with an external battery and use the computer to power Mobile I/O; doing so will not resolve your bus power problems, and it will give you more limited run times. If you need to use the external battery with the computer use two batteries or split the DC supply at the battery and power both the Mobile I/O and the computer.
G. DB25 Pinouts Figure G.
DB25 Pinouts Figure G.2: AES I/O DB25 pinouts Wiring pinout for XLR: • HOT: Pin 2 • COLD: Pin 3 • GND: Pin 1 DB25 #1 Table G.1.
H. ULN-8/LIO-8 Jumper Settings Overview There are a number of settings that can be configured in the ULN-8 and LIO-8 using jumpers. We’ll detail them here. To access the ULN-8/LIO-8 configuration jumpers: 1. Remove the six screws from the top of the case: Figure H.1: Top Screw Placement 2. Remove the screws from the left and right sides of the case. If the rack ears are fitted, there will be five screws per side. Please note that the screws on the rack ears are longer than the others.
ULN-8/LIO-8 Jumper Settings D.I. Board Figure H.4: D.I. Board Jumper Sites There are 4 pairs of pin headers on the DI board mounted to the front panel, two pair per channel. The pair of pins closest to the TRS connectors (for each channel) is the low gain set. The pair closest to the ribbon cable is the high gain set. When installing a jumper, it should be within the white box next to the jumper label, not connecting adjacent jumpers. Gain Table H.1. D.I. board gain settings Channel 1 Channel 2 0.
ULN-8/LIO-8 Jumper Settings Output levels Jumpers can be installed to raise the operating output level of the analog outputs. There are a few reasons why they are not installed by default: • The factory configuration of the ULN-8 Line outputs is +18 dBu, which is a very common level for interfacing with a large majority of existing gear. • The noise performance is better optimized when the outputs are set to to Monitor mode when interfacing with powered monitors. • The box runs cooler and uses less power.
ULN-8/LIO-8 Jumper Settings • J8 disables the phantom power supply These should both be installed if no preamps are installed. They must be removed if any preamps are installed. • J7 bypasses the front panel power switch. Installing a jumper at this site will provide constant power from the 4 pin XLR power jack. • J2 enables high power mode. It must be installed if any of the output jumpers are installed. Figure H.
I. ULN-R Installation Guide ULN-R Parts and Tools The ULN-R Mic Pre (Ch. 1-4) kit includes the following parts: • 1) DB25 connector board Figure I.1: DB25 Connector Board • 1) 4 channel ULN-R mic pre board Figure I.2: 4 Channel ULN-R Mic Pre Board • 1) 3 pin phantom power cable Figure I.3: 3 Pin Phantom Power Cable • 1) 20 Pin Ribbon Cable Jumper Figure I.
ULN-R Installation Guide Figure I.5: 7/16” Standoffs • 3) Phillips head screws Figure I.6: Phillips Head Screw The ULN-R Mic Pre (Ch. 5-8) kit includes the following parts: • 1) 4 channel ULN-R mic pre board • 1) 20 pin ribbon cable jumper • 4) Phillips head screws The Ch. 1-4 kit must be installed for the Ch 5-8 kit to function! To install the ULN-R mic pre option in the LIO-8 you will need: • #1 Phillips screwdriver • 7/16” nutdriver (Ch.
ULN-R Installation Guide 2. Remove the screws from the left and right sides of the case. If the rack ears are fitted, there will be five screws per side. Please note that the screws on the rack ears are longer than the others. Be sure to put the longer screws back in the rack ears when you reassemble the LIO-8. Figure I.8: Side Screw Placement, with Rack Ear If the rack ears are not fitted, there will be three screws per side. Figure I.
ULN-R Installation Guide Figure I.12: DB25 Connector Board (Interior) 6. Remove the jumpers from J8 and J9 on the power supply board at the front of the LIO: Figure I.13: Phantom Power Jumpers on the PSU Board 7.
ULN-R Installation Guide Figure I.14: Phantom Supply Cable and Ch. 1-4 Connectors 8. Install the mic pre board, making sure that the pins on the bottom of the board line up with the sockets highlighted in the picture above. You must install the channel 1-4 board in this position. Use two Phillips head screws to secure the mic pre board and dab them with caulk. Fit the ribbon cable jumper between the mic pre and DB25 connector board, making sure that the pins are lined up. Figure I.15: Installing the Ch.
ULN-R Installation Guide Figure I.16: Installing the Ch. 5-8 Mic Pre Board The installation is finished! Replace the top cover, and replace the six crews on the top of the case. Then replace the screws on the left and right side, remembering to use the longer screws on the rack ears. It sometimes helps to squeeze the top and bottom of the case together when replacing the side screws, to ensure that the outer holes line up with the threaded inserts.
J. Support Resources Metric Halo has several resources to help you; if you have questions that aren't answered in this document, we have further materials online: • Our FAQ: http://www.mhsecure.com/faq • Our technote and tutorial library: http://mhsecure.com/metric_halo/support/tutorials.html You may also consider joining our user email list, where you may ask questions of other users. You can subscribe to the list at https://mail.music.vt.edu/mailman/listinfo/mobileio.
K. Changelog v5.6.01: Changes: • • • • • Added ConsoleSync "On Launch" behaviors to MIO Console preferences Added ConsoleSync preferences to MIO Console preferences Added ConsoleConnect support for 64 bit VST hosts Enabled Retina support for MIO Console Updated firmware version to 5.0.
Changelog • • • • • • • • • • Changed Use OpenGL for rendering preference to be on by default Changed the Record Panel Name take folders incrementally preference to be on by default Changed the Record Panel Record File Format preference to default to BWF instead of SDII Changed the Record Panel Auto Break File Size preference to default to 2GB instead of Unlimited Added support for Eucon 3.
Changelog v5.4.04: Changes: • • • • • • Send window channels display in the color set in the main mixer window Changed pre/post indication in send windows Character can be bypassed via Option-clicking Added preference to autoselect send windows when chosen in the Monitor Controller Added key command for Monitor Controller Source Override Record Panel now supports up to sixteen interfaces Bugfixes: • • • • • • • • • • • • Creating a new file while recording eliminated the ".
Glossary Symbols +DSP A collection of plug-ins that run on the processor inside our interfaces. There are over 100 plug-ins in the +DSP package. +DSP requires a software license to run; it is included with the ULN-8, and can be added to all other interfaces. The license is added by putting an unlock code into MIO Console while the interface is connected to the computer.
Glossary is now out of phase in the “Cold” signal, and when the “Hot” and “Cold” are summed the noise will cancel and only the original signal will remain. BNC A locking connector used for connecting RF and digital interfacing signals over a coaxial cable. Commonly used in audio for wordclock connections, as well as digital interfacing. Boost To increase gain. Bus A bus is used to mix signals together.
Glossary with a DB25 to DB25 cable, or you may use a DB25 fan-out to interface with other types of connectors, such as XLR or TRS. dB Decibel; a logarithmic unit of measurement used to describe sound levels relative to a reference level, both acoustically and electrically. There are several suffixes added to dB to indicate the reference quantity or weighting function used: • dBFS: Decibels relative to full scale; 0 dBFS is the maximum level in a digital audio system, since the level cannot go over 0.
Glossary the ULN-8 have 92.5 dB of gain. This means that they can take an incoming signal and increase its level by 92.5 dB. Graph A free-form area for creating signal processors. Inputs are on the left and outputs are on the right. DSP building blocks are placed in the Graph and connected by dragging virtual wires between the inputs and outputs of the blocks and the Graph itself. Graphs can be saved for repeated use.
Glossary Figure 317: Linear Fade Logarithmic fade A fade up or down which changes gain faster at the end of a fade up and faster at the beginning of a fade out. In the example below, the Logarithmic fade causes the curved lines in the fade in and out. A logarithmic fade tends to sound more natural on audio material. Figure 318: Logarithmic Fade M Mic Pre Microphone Preamplifier.
Glossary • Side, (always figure-8) turned 90° in relation to the Mid. Should be placed as close as possible to the Mid’s diaphragm. The two signals are matrixed to stereo using a M/S decoder. The advantage of M/S recording is that the stereo width is variable from true mono through stereo and can be modified after recording. The M/S Processor included with +DSP adds the ability to encode stereo to M/S, allowing you to separately processes the center and sides of a prerecorded stereo signal.
Glossary Phase Describes the position of one sound wave relative to another, or in relation to time. Let's look at phase between two signals. In the first example, the two signals have the same phase: Figure 319: 0° Phase Offset The two signals are drawn perfectly on top of each other. In the next example, the right signal is 180° out of phase with the left signal. When the audio on the left is at its highest, the right is at its lowest and vice versa.
Glossary Figure 321: Phase Cancellation Post Means “after”. Common uses: • Post-fader: After the fader. A post-fader meter would show the level of an audio signal including the boost or cut of the fader. • Post-insert: After the insert. A post-insert direct out would send wet audio. PPM meter Peak Program Meter. This type of audio meter features a fast response, allowing you to see peak signal level and catch potential overs quickly. Pre Means “before”.
Glossary Send There are two kinds of sends used by Metric Halo: • Analog: In the ULN-2 and ULN-8, the send is the physical output of the insert. • Digital: In MIO Console, a send is used to route an channel to busses other than the main bus. Sends are accessed via the inserts. SNR Signal to Noise Ratio; a measurement used to indicate how much a signal is corrupted by noise. The higher this number is in dB, the less noise will be added to your signal by the equipment.
Glossary W Wet If a signal has been mixed with an effect, it is said to be wet. If there is no uneffected signal present, the signal is 100% wet. Many processors have controls to let you set the wet/dry ratio; a processor used on a send or aux is usually set to 100% wet. Word clock (WC) Used to synchronize multiple digital devices. Commonly used to connect a master clock to all devices in a studio to ensure that they are in sample accurate sync.
Index A ADAT Optical Digital Audio 2882, 63 ULN-2, 78 AES DB25 pinouts , 339 AES Digital Audio 2882, 63 LIO-8, 91 ULN-2, 77 ULN-8, 104 AES Status Indicators (ULN-8/LIO-8), 116 Analog Audio Connections 2882, 61 LIO-8, 90 ULN-2, 75 ULN-8, 103 Analog DB25 pinouts , 339 Analog Input Channel Link, 148 Analog Output Channel Link, 156 Aux Bus, 170 B Balanced Sends LIO-8, 91 ULN-8, 104 Boot State, 248 Bootstate Save System Boot State, 248 Save System Boot State (all boxes), 248 Box Info, 156 Box Tab, 143 Boxes per
Index ULN-2, 78 ULN-8, 104 Computer does not see Mobile I/O, 332 Console file, 249 Console Window, 142 ConsoleConnect Conduit mode, 259 Cubase tips, 262 Digital Performer tips, 261 Finding the Plug-in, 260 FireWire returns, 187 GarageBand tips, 263 Key Commands, 259 Logic tips, 261 Overview, 256 Plug-in mode, 258 Preferences, 257 Pro Tools tips, 265 Status menu, 259 ConsoleSync, 250 Control mode (ULN-8/LIO-8), 112 Control Surface Eucon and MIOConsoleConnect, 267 EuCon Control Room Support, 267 EuCon Control
Index LIO-8, 87 ULN-2, 71 ULN-8, 100 Front Panel (ULN-8/LIO-8) +48 mode, 120 AES Status Indicators, 116 Channel mode, 113 Clock source, 112 Control mode, 112 DI Inputs, 117 Dim, 117 Encoder, 117 Gain display, 115 Headphones, 117 High Resolution Metering, 114 I/O trim, 113 Illumination (Brightness) Adjustment, 121 Infrared Remote, 123 Input mode, 119 Input trim, 120 Link mode, 119 Meters on the Knobs, 121 Monitor Control Section, 117 Monitor mode, 118 Mute, 117 Output Trim, 121 Overview, 111 Per Channel Cont
Index Power, 91 Rear Panel, 88 Routing, 89 Signal Flow, 89 SMPTE, 92 Specifications, 92 What comes with it, 85 What you need to use it, 85 Lock indicators, 155 LTC, 239 M Mackie Control (see Control Surface) Mailing list, 351 Master Bus, 170 Master strip, 165, 181 Bus Name, 183 Bus Output Assign, 183 Channel Fader, 183 Channel Meter, 183 Character Select, 182 Direct Output Routing Point (post inserts), 183 Direct Output Routing Point (pre-Inserts), 182 Fader Gain display, 183 Monitor Controller Assign, 184
Index System Status Indicators, 58 TOSLINK Optical Digital Audio, 63 What comes with it, 57 What you need to use it, 57 Mobile I/O Is Not Powered Up, 332 Monitor (output level), 156 Monitor Control Section (ULN-8/LIO-8), 117 Monitor Controller Adding a new Monitor Path, 198 Adding a New Monitor Source, 196 Adjusting the Monitor Level, 193 As a floating window, 194 Changing the order of the Monitor Output Paths, 199 Changing the order of the Monitor Sources, 197 Changing the per Path Calibration, 199 Configu
Index Play position, 234 Playback, 236 Playback folder, 236 Preferences, 237 Progress meters, 233 Record folder, 235 Recording, 235 SMPTE, 240 Take folder, 235 Time readouts, 232 Track header, 235 Tracks overview, 234 Transport controls, 233 Zoom buttons, 235 Record Panel preferences Auto Break, 240 BEXT chunk, 240 Bit depth, 240 Disable Spotlight Indexing, 240 File format, 239 Take folder, 238 Timestamping, 239 Registration, 133 Reset All Box Channel Names, 144 Reset Box Input Channel Names, 144 Reset MIO
Index Ground Loops, 335 License Reinstallation, 335 Missing meters in MIO Console, 334 Mobile I/O Is Not Powered Up, 332 No output, 333 Safety Boot, 337 Software Is Not Installed Properly, 332 Tutorial, 351 U Übergraph, 166 ULN-2 ADAT Optical Digital Audio, 78 AES Digital Audio, 77 Analog Audio Connections, 75 Analog outputs, 75 Clock source, 72 Clock Sync, 78 DI inputs, 72 FireWire, 79 Front Panel, 71 Headphones, 73, 75 Input gain knob, 71 Inserts, 73 Metering, 71 Mic Amp, 72 Mic/TRS switch, 72 Monitor Ou
