Audio Express ™ User Guide for Windows 1280 Massachusetts Avenue Cambridge, MA 02138 Business voice: (617) 576-2760 Business fax: (617) 576-3609 Web site: www.motu.com Tech support: www.motu.
About the Mark of the Unicorn License Agreement and Limited Warranty on Software TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the terms and conditions of the “click-wrap” license agreement presented to you when you install the software. Using the software or this documentation indicates your acceptance of the terms and conditions of that license agreement. Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation.
Contents 5 Quick Reference: Audio Express Front Panel 6 Quick Reference: Audio Express Rear Panel 7 Quick Reference: MOTU Audio Console 9 About the Audio Express 13 Packing List and Windows System Requirements 15 IMPORTANT! Run the Audio Express Software Installer First 17 Installing the Audio Express Hardware 27 MOTU Audio Console 31 Audio Express Front Panel Operation 35 Cubase, Nuendo, Live and Other ASIO Software 41 SONAR and other WDM Software 45 Reducing Monitoring Latency 51
When in mix mode, use the knob to control the jack’s input volume or pan (as indicated by the LEDs, 12) for the currently selected mix. When in trim mode, use the knob and input level meters (9) to calibrate the input signal level. These knobs provide +60 dB and +22 dB of boost, respectively, for the mic (XLR) and instrument (TRS) input jacks. Adjustment can be made in approximately 1 dB increments. Both jacks have preamps, so you can plug in just about anything: a microphone, a guitar or even a synth.
4. These two balanced, quarter-inch jacks serve as the Audio Express’s main outputs. You can connect them to a set of powered studio monitors and then control the volume from the front panel volume knob. To hear disk tracks in your audio software on these main outs, assign 3. This jack accepts any standard 9-18V DC power supply with either tip-positive or tip-negative polarity. 2. These jacks provide stereo, 24-bit S/PDIF digital input and output at any sample rate up to 96kHz. 1.
Quick Reference: MOTU Audio Console CHAPTER Click the tabs to access general MOTU interface settings or settings specific to the Audio Express (or other connected interface). Determines the clock source for your Audio Express. If you’re just using the analog ins and outs, set this to Internal. The other settings are for digital transfers via S/PDIF or synchronization to time code or other audio devices.
CHAPTER 1 About the Audio Express Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 The Audio Express Rear Panel. . . . . . . . . . . . . . . . . . . . . . . . . .9 The Audio Express Front Panel. . . . . . . . . . . . . . . . . . . . . . . 11 16-bit and 24-bit recording . . . . . . . . . . . . . . . . . . . . . . . . . . 11 CueMix mixing and effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Host Audio Software. . . . . . . . . . . . . . .
■ Coaxial S/PDIF in/out ■ MIDI IN and MIDI OUT connectors ■ 1394 FireWire A connector ■ High-speed USB 2.0 connector ■ Foot pedal input ■ DC power jack Analog The quarter-inch analog inputs are equipped with 24-bit 96 kHz A/D converters. The analog outputs have 24-bit 96 kHz D/A converters. All audio is carried to the computer in a 24-bit data stream. All quarter-inch analog outputs and inputs are on balanced TRS +4dB jacks. All of these jacks can also accept unbalanced plugs.
Digital Performer. Therefore, pressing the foot switch is the same as pressing the 3 key. The Audio Express Control Panel software lets you program any keystroke you wish. On-board SMPTE synchronization The Audio Express can resolve directly to SMPTE time code via any analog input, without a separate synchronizer. It can also generate time code via any analog output. The Audio Express provides a DSP-driven phase-lock engine with sophisticated filtering that provides fast lockup times and subframe accuracy.
CUEMIX MIXING AND EFFECTS HOST AUDIO SOFTWARE All Audio Express inputs and outputs can be routed to the on-board CueMix 8-bus (4 stereo) digital mixer driven by hardware-based DSP. The mixer allows you to mix all inputs to any output pair directly in the Audio Express hardware, independent of the computer. The on-board mixer can be used when the Audio Express is operating stand-alone (without a computer) as a complete portable mixer.
CHAPTER 2 Packing List and Windows System Requirements PACKING LIST PLEASE REGISTER TODAY! The Audio Express ships with the items listed below. If any of these items are not present in your Audio Express box when you first open it, please immediately contact your dealer or MOTU. Please register your Audio Express today. There are two ways to register.
PACKING LIST AND WINDOWS SYSTEM REQUIREMENTS
CHAPTER 3 IMPORTANT! Run the Audio Express Software Installer First OVERVIEW Install the Audio Express software first! . . . . . . . . . . . . . . Installing the Audio Express software. . . . . . . . . . . . . . . . MOTU Audio Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ASIO MOTU Audio Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . The MOTU Audio WDM driver . . . . . . . . . . . . . . . . . . . . . . . MOTU MIDI Driver . . . . . . . . . . . . . . . . . . . . . .
MOTU AUDIO CONSOLE MOTU Audio Console (available in the Start menu) gives you access to all of the settings in the Audio Express, such as the clock source and sample rate. For complete details, see chapter 10, “CueMix FX” (page 51). For details about using Cubase and Nuendo with the Audio Express, see chapter 7, “Cubase, Nuendo, Live and Other ASIO Software” (page 35).
CHAPTER 4 Installing the Audio Express Hardware OVERVIEW IMPORTANT NOTE BEFORE YOU BEGIN! Here’s an overview for installing the Audio Express: Before you begin installing the Audio Express (or any bus-powered device), take these important precautionary measures to avoid damaging the sensitive electrical components in your computer, the Audio Express or other devices being connected: Important note before you begin! . . . . . . . . . . . . . . . . . . .
CONNECT THE AUDIO EXPRESS INTERFACE Your Audio Express audio interface is equipped with both a FireWire A (400 Mbit/sec) connector and a hi-speed USB2 (480 Mbit/sec) connector, and you can use either port to connect the Audio Express to your computer. This gives you maximum flexibility and compatibility with today’s ever-expanding universe of Mac and Windows computers.
For the most reliable connection, it is recommended that you connect the Audio Express directly to one of your computer’s USB 2.0compatible ports. However, since USB 2.0 hubs are compatible with both types of devices, the Audio Express can be connected to a USB 2.0 hub along with USB 1.1 devices if necessary. The Audio Express will not operate properly if it is connected to a USB 1.1 hub. Follow these instructions to determine whether your computer supports USB 1.1 or USB 2.
dB pad Each XLR mic input is equipped with a -20 dB pad. To toggle the pad for a mic input: CONNECT AUDIO INPUTS AND OUTPUTS Here are a few things to keep in mind as you are making audio connections to other devices. Mic/instrument inputs Connect a microphone, guitar, instrument or other analog input to the XLR/TRS combo jack with either a standard mic cable or a balanced cable with a quarter-inch plug. ☛ Do not connect a +4 (line level) XLR cable to the mic inputs (because of the preamps).
Main outs In a standard studio configuration, the main outs are intended for a pair of studio monitors, but they can also be used as regular outputs for any purpose. Their reference level is +4dB. Use the front panel VOL knob to adjust the Main out volume. Push the VOL knob until you see +main LED turn red (or flash red) and then turn it to adjust the main output volume.
CONNECT AND SYNC S/PDIF DEVICES Bus power requirements The Audio Express draws all the power it needs from the FireWire bus connection to the computer. However, the FireWire connection to the computer must meet all of the requirements discussed below. DAT decks and other devices with S/PDIF digital I/O will sync to the Audio Express via the S/PDIF connection itself. Just connect it to the Audio Express via the S/PDIF connectors.
direct connection to the power supply harness inside your computer. This is the same power supply harness to which you connect internal hard drives, CD/DVD drives, etc. PCMCIA or ExpressCard slot adapters — If you plan to connect the Audio Express to a PC card FireWire adapter (inserted in the PC card slot in your laptop), it must provide a 6-pin connection and it must also have its own power supply. Most commonly, these types of products have a DC power adapter.
A TYPICAL AUDIO EXPRESS SETUP Here is a typical Audio Express studio setup. In this example, no external mixer is needed. All mixing and processing can be done in the computer with audio software, or you can use the Audio Express’s CueMix™ no-latency mixer. You can control the Audio Express’s four separate mixes from the front panel or from the included CueMix FX software.
CONNECT MULTIPLE MOTU INTERFACES You can daisy-chain up to four MOTU FireWire interfaces on a single FireWire bus, with the restrictions described in the following sections. Most computers have only one built-in FireWire bus (even if it supplies multiple FireWire sockets). Synchronizing multiple interfaces When multiple MOTU interfaces are connected, choose a Master Clock Source from the menu in the General tab (Figure 4-10).
Adding additional interfaces with a second FireWire bus Third-party FireWire bus expansion products in the form of a cardbus (“PC card”) adaptor, ExpressCard adaptor or PCI card allow you to add a second FireWire bus to your computer. It may be possible to add additional MOTU FireWire interfaces connected to such a third-party product, depending on the performance of the product and the performance of your host computer.
CHAPTER 5 MOTU Audio Console OVERVIEW MOTU Audio Console gives you access to basic Audio Express hardware settings, such as sample rate, clock source and more. Accessing the Audio Express settings. . . . . . . . . . . . . . . . ‘General’ tab Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
‘GENERAL’ TAB SETTINGS Sample Rate Choose the desired Sample Rate for recording and playback. The Audio Express can operate at 44.1 (the standard rate for compact disc audio), 48, 88.2, or 96 kHz. If you have a S/PDIF device connected to the Audio Express, make sure that it matches the Audio Express’s sample rate. ☛ Mismatched sample rates cause distortion and crackling. If you hear this sort of thing, check the sample rate settings in your hardware and here in MOTU Audio Console.
S/PDIF The S/PDIF clock source setting refers to the S/PDIF coaxial input jack on the Audio Express. This setting allows the Audio Express to slave to another S/PDIF device. routes the signal directly to your speakers via hardware. For details, see chapter 10, “CueMix FX” (page 51). Use this setting whenever you are recording input from a DAT deck or other S/PDIF device into the Audio Express.
The Samples Per Buffer setting also impacts how quickly your audio software will respond when you begin playback, although not by amounts that are very noticeable. Lowering the Samples Per Buffer will make your software respond faster; raising the Samples Per Buffer will make it a little bit slower, but barely enough to notice. Monitoring live inputs without plug-in effects As mentioned earlier, CueMix FX allows you to monitor dry, unprocessed live inputs with no delay at all.
CHAPTER 6 Audio Express Front Panel Operation OVERVIEW VOLUME CONTROL FOR PHONES AND MAIN OUTS The Audio Express offers front-panel mixing via six rotary encoders and a bank of status LEDs. Push-button rotary encoders . . . . . . . . . . . . . . . . . . . . . . . . Power switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Volume control for phones and main outs . . . . .
MIXING WITH THE FRONT PANEL CONTROLS The Audio Express can operate as a mixer, and you can use the knobs on the front panel to control the mix. The mixer combines the signals of all inputs and sends the mixed signal to an output pair, such as the main outs. You can control the relative volume of the inputs , as well as the overall volume of the mix signal on output.
Use the following gestures for controlling pan for the (stereo) S/PDIF input, or any inputs that are configured as a stereo pair by the CueMix FX software (see the next section): Do this To do this Turn To adjust balance or width Push and hold To toggle between balance and width In balance mode, push To set balance to center In width mode, push To toggle between 100% (full stereo) and 0% (full mono) To go back to controlling volume, push and hold the MIX/VOL knob again.
Using the Audio Express as a stand-alone mixer When the Audio Express is not connected to a computer, it can operate as a stand-alone mixer, and you can use the front panel to control your mix. VISUAL FEEDBACK WHEN ADJUSTING MIX CONTROLS When you turn a knob to adjust volume or pan, the ten-segment MIC/INST ladder LEDs provide visual feedback as you turn the knob. For example, when adjusting pan, the two meters show the relative amount of signal going to the left and right channels.
CHAPTER 7 Cubase, Nuendo, Live and Other ASIO Software OVERVIEW The Audio Express includes an ASIO driver that provides multi-channel I/O and sample-accurate synchronization with Steinberg’s Cubase family of digital audio sequencers, including Cubase and Nuendo. What is ASIO? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Run MOTU Audio Console . . . . . . . . . . . . . . . . .
If you have a S/PDIF digital audio device connected to the Audio Express, see “Connect and sync S/PDIF devices” on page 22. If you are slaving the Audio Express and Cubase to SMPTE time code via the Audio Express itself, choose SMPTE and follow the directions in “Resolving Cubase or Nuendo to SMPTE time code” on page 77. ☛ If you are using an ASIO host application other than Cubase or Nuendo, it must support the ASIO 2.
CHOOSING THE MOTU ASIO DRIVER Once you’ve made the preparations described so far in this chapter, you’re ready to run your audio software and enable the MOTU ASIO Driver. Check the audio system or audio hardware configuration window in your software. There will be a menu there that lets you choose among various ASIO drivers that may be in your system. Choose the MOTU ASIO Driver from this menu. For information about the Buffer Size setting, see “Adjusting the audio I/O buffer” on page 47.
DIRECT MONITORING The Direct Monitoring option (Figure 7-5) allows you to monitor inputs directly in the Audio Express hardware with no drain on your computer and near zero latency. When you enable this option, Cubase uses the Audio Express’s CueMix FX monitoring features whenever you use Cubase’s monitoring features. For further information, see “Controlling CueMix from within Cubase or Nuendo” on page 49.
channels to musicians, or it can serve as an integrated extension of your Cubase/Nuendo mixing environment. If you program an Audio Express mixing configuration that goes hand in hand with your Cubase/Nuendo project, be sure to use the file save features in CueMix FX to save the Audio Express settings as a file in your Cubase/ Nuendo project folder for instant recall of all settings. See chapter 10,“CueMix FX” (page 51) for complete details.
CUBASE, NUENDO, LIVE AND OTHER ASIO SOFTWARE
CHAPTER 8 SONAR and other WDM Software OVERVIEW The Audio Express WDM driver provides standard multi-channel input and output for WDM-compatible audio software running under Windows. WDM and Wave driver compatibility. . . . . . . . . . . . . . . . . Installing the MOTU Audio WDM driver. . . . . . . . . . . . . . WaveRT support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Making settings in MOTU Audio Console . . . . . . . . . . . . Enabling the MOTU Audio WDM driver . . . . .
“MOTU Audio Console” (page 27). The following sections provide a brief explanation of each Audio Express setting for use with SONAR. If you have a S/PDIF digital audio device connected to the Audio Express, see “Connect and sync S/PDIF devices” on page 22. Samples Per Buffer The Samples Per Buffer setting can be used to reduce the delay — or monitoring latency — that you hear when live audio is patched through your Audio Express hardware and SONAR.
3 Check the Audio Express inputs and outputs that you wish to use and uncheck the ones you don’t as shown in Figure 8-3. Other audio settings in SONAR There are a few other settings in SONAR that impact Audio Express operation: 1 In the Audio preferences section, choose Driver Settings. 2 Choose any Audio Express input and output for recording and playback timing. It doesn’t matter which ones. 3 In the same settings, click the Wave Profiler button and run the Wave Profiler.
(such as the main outs), the mirrored audio stream is mixed with the phones audio output. For further explanation, see “Phones Assign” on page 30. CHANGING AUDIO EXPRESS SETTINGS You can change the Audio Express settings at any time by accessing MOTU Audio Console.
CHAPTER 9 Reducing Monitoring Latency OVERVIEW Monitoring latency is that slight delay you hear when you run an input signal through your host audio software. For example, you might hear it when you drive a live mic input signal through an amp modeling plug-in running in your audio sequencer.
MONITORING LIVE INPUT There are two ways to monitor live audio input with an Audio Express: 1) through the computer or 2) via the Audio Express’s CueMix hardware mixer. Figure 9-1 below shows method 1, which allows you to add effects processing such as reverb and guitar amp effects via plug-ins in your audio software. See the next section, “Adjusting the audio I/O buffer” for details about how to reduce — and possibly eliminate — the audible monitoring delay that the computer introduces.
ADJUSTING THE AUDIO I/O BUFFER A buffer is a small amount of computer memory used to hold data. For audio interfaces like the Audio Express, buffers are used for the process of transferring audio data in and out of the computer. The size of the buffers determines how much delay you hear when monitoring live inputs through your audio software: larger buffers produce more delay; smaller buffers produce less.
Lower latency versus higher CPU overhead The buffer setting has a large impact on the following things: ■ Patch thru latency ■ The load on your computer’s CPU ■ Possible distortion at the smallest settings ■ How responsive the transport controls are in your audio software The buffer setting presents you with a trade-off between the processing power of your computer and the delay of live audio as it is being patched through your software.
Controlling CueMix from the front panel The knobs on the Audio Express front panel give you direct control over CueMix. For complete details, see “Mixing with the front panel controls” on page 32. Using the CueMix FX application If your host audio software does not support direct hardware monitoring, you run the Audio Express’s CueMix FX application side-by-side with your host software and manage your monitor mix in CueMix FX. For complete details, see chapter 10, “CueMix FX” (page 51).
REDUCING MONITORING LATENCY
CHAPTER 10 CueMix FX OVERVIEW ADVANTAGES OVER HOST-BASED MIXING AND PROCESSING CueMix FX is a cross-platform software application that provides graphic, on-screen control for the Audio Express’s mixing features. Essentially, it gives you on-screen control of the Audio Express’s front panel mixing controls. CueMix FX provides several advantages over mixing and processing in your host audio software: CueMix FX also provides many advanced audio analysis tools, including a tuner and oscilloscope.
Many inputs to one output pair It might be useful to think of each mix as some number of inputs all mixed down to a stereo output pair. CueMix FX lets you choose which inputs to include in the mix, and it lets you specify the level and pan for each input being fed into the mix. Each mix is independent Each mix has its own settings. Settings for one mix will not affect another. For example, if an input is used for one mix, it will still be available for other mixes.
WORKING WITH A MIX Each mix has the following components: approximately 1 dB increments. This includes the digitally controlled analog trims on the two mic/ guitar inputs and the two quarter-inch analog inputs on the back panel.
Input pan The pan knob (Figure 10-1) for each input pans the input across the mix’s stereo outputs. If the input itself is grouped as a stereo pair, two forms of panning control are provided: SHORTCUTS Balance Balance works like the balance knob on some radios: turn it left and the right channel dims, turn it right and left channel dims. But the left channel always stays left and the right channel stays right.
Control room Talkback mic Main outs Outs 3-4 ( mic input) Live room Headphone distribution amp Listenback mic Figure 10-2: Typical hardware setup for Talkback and Listenback. Talkback / Listenback mic input Choose the audio input to which your Talkback and/or Listenback mic is connected, as shown below: Talkback mic input engaged. To completely silence all other CueMix audio, turn them all the way down. Attenuation only occurs when talkback or listenback is engaged.
Controlling Talkback and Listenback volume To control the volume of the Talkback and/or Listenback mics, adjust their input fader in CueMix FX. This fader controls the volume of the input, regardless of which bus mix is being displayed in the CueMix FX window. In other words, once an input has been designated as a Talkback or Listenback input, its fader becomes global for all CueMix buses.
DEVICES MENU If you are working with more than one MOTU audio interface product, this menu displays all interfaces that are currently on line. Choose any device from the menu to edit its settings using the CueMix FX software. Below each device are five signal analysis tools: FFT Analysis, Oscilloscope, X-Y Plot, Phase Analysis, and the Tuner. Choose one to open its window. For details on these features, see the following sections. FFT Analysis / spectrogram . . . . . . . . . . . . . . . . . . . . . . . . .
Choosing a channel to display The FFT window follows the currently chosen Scope channels (Figure 10-1 on page 52). View controls You can show and hide the FFT display and spectrogram as desired using the View controls (Figure 10-7). Pause button the x-axis scale options menu. With a linear scale selected, frequency is constant, but the width of each octave along the x-axis is different.
In Min/Max mode, Min and Max set the lowest and highest displayed frequencies (in Hertz). Vertical controls (amplitude axis) The Vertical controls (Figure 10-7) operate similarly to the Horizontal controls, except that they configure the y-axis (amplitude). In Zoom/Offset mode, Zoom sets the display zoom from 1x to 100x, and Pos sets the center amplitude of the graph. In Min/Max mode, Min and Max set the smallest and largest displayed amplitude.
View controls The View controls (Figure 10-11) provide several options for the oscilloscope display. Horizontal controls (time axis) The Horizontal controls (Figure 10-12) configure the value range of the x-axis (time). Click and drag the values up or down to set them, or double-click to return to the default value. Pause button View menu There are two modes for the controls: Zoom/Offset and Min/Max. To change the mode, use the Horizontal control menu (Figure 10-12).
Waveform Recognition The Waveform Recognition option searches through new audio data looking for a waveform which most resembles that which was previously displayed. The region where this takes place is a small window around the line marking time equals zero, denoted by the extra vertical graph lines surrounding it. There are two kinds of waveform recognition available: Type I and Type II. Figure 10-13: Waveform Recognition menu Type I recognition provides the most stable display of the waveform.
Magnitude is enabled, the trigger will look for both +0.500 and -0.500. You will see a second blue line appear in the display when Magnitude is enabled to denote the second value. Holdoff Holdoff defines a time interval during which the oscilloscope does not trigger. The most recent trace will be displayed during that period. When the period is over, the trigger is “re-armed’, i.e. it will begin looking for the criteria again.
To adjust the left and right edges of the measurement area, click and drag the blue bars in the graph, or click and drag the blue numbers in the upper left or right corners. To reset them to the default value, double-click the numbers. Information about the measured area is displayed at the center of the top ruler: the duration (in seconds and samples), the approximate frequency, and the scientific note name. If the measured area is long enough, the approximate beats per minute (bpm) is displayed.
screen, try raising the Holdoff level. Once the transient is settled in the display and fairly stable, you may need to adjust the horizontal position to center it in the display. These settings are depicted in the example in Figure 10-16. You can also pause the display at any time and adjust the horizontal bounds to locate a transient. Clip detection You can use the Oscilloscope to detect clipping in a digital audio signal.
X-Y PLOT The X-Y Plot window (Figure 10-17) graphs the amplitude of a stereo audio signal on a twodimensional grid. For each unit of time (i.e. each sample), the amplitude of the left channel is displayed on the xaxis and the amplitude of the right channel is displayed on the y-axis. A thick white vertical line marks where left channel amplitude equals zero; a thick white horizontal line marks where right channel amplitude equals zero (Figure 10-17, below).
Choosing a channel to display The X-Y Plot follows the currently chosen Scope channels (Figure 10-1 on page 52). View controls The View controls (Figure 10-18) provide several options for the X-Y Plot display. Color/Grayscale In Color mode (Figure 10-18) the most recently displayed audio data is shown in red, which fades to yellow, green and then finally blue, before disappearing. In Grayscale mode, data is first shown in white and then fades to gray.
Persistence The Persistence controls (Figure 10-21) affect the appearance of data from when it is first displayed until it disappears from the grid. Using the X-Y Plot The X-Y Plot helps you “see” the width of the stereo field of a mix.
PHASE ANALYSIS The Phase Analysis window (Figure 10-23 on page 68) graphs frequency versus phase difference versus amplitude of a stereo signal on either rectangular or polar coordinates. In rectangular coordinates, the vertical axis represents frequency, and the horizontal axis represents the phase of the left channel minus the phase of the right channel (measured in radians).
Line/Scatter Choose either Line or Scatter from the menu in the View section (Figure 10-24) to plot each data point as either a single pixel or as a continuous line that connects each frequency data point to the next, as shown below in Figure 10-19. Rectangular/Polar Choose either Rectangular or Polar from the menu in the View section (Figure 10-24) to control how audio is plotted on the Phase Analysis grid.
Horizontal and vertical controls The Horizontal and Vertical controls (Figure 10-28) let you scale each axis of the grid and offset its zero point. Click and drag the values up or down to set them, or double-click to return to the default value. There are two modes for the controls: Zoom/Offset and Min/Max. To change the mode, use the menu shown in Figure 10-28. Figure 10-28: Setting the Horizontal or Vertical control modes. In Zoom/Offset mode, Zoom scales the axis. Pos moves the zero line.
outside the critical frequency range of the instrument being recorded, you can avoid phase problems among the mic signals. Tuning PA systems The Phase Analysis window can also be used to troubleshoot and tune PAs and sound reinforcement systems by placing microphones in strategic locations, comparing the two signals in the Phase Analysis grid and looking for phase issues at various locations.
TUNER Detected frequency Meter Meter value greater uncertainty. The color of the segments changes gradually from green (in tune) to yellow, orange, and red (progressively further out of tune). Meter value: difference between the detected note and the detected frequency, in cents. Arrows: the direction in which the detected Detected note Arrow Reference frequency The Tuner window is an accurate and easy to use tuner. Opening the Tuner Each MOTU audio interface has its own Tuner window.
Here is a summary of Configurations menu operations: 3 Type in a name, choose a preset slot and click OK. Configurations Menu item Saving a hardware preset as a CueMix FX configuration To save a hardware preset as a CueMix FX configuration: What it does Create New Lets you name and save a new configuration, which appears at the bottom of the Configurations menu. Save Overwrites the current configuration (checked in the list at the bottom of the menu) with the current settings in CueMix FX.
that is not currently being displayed, CueMix FX will jump to the appropriate tab to display the control you are adjusting. Share surfaces with other applications When the Share surfaces with other applications menu command is checked, CueMix FX releases the control surface when you switch to another application. This allows you to control your other software with the control surface. Here’s a simple way to understand this mode: the control surface will always control the front-most application.
CHAPTER 11 MOTU SMPTE Console OVERVIEW MOTU SMPTE SETUP The Audio Express can resolve directly to SMPTE time code via any analog input, without a separate synchronizer. The Audio Express can also generate time code via any analog output. The Audio Express provides a DSP-driven phase-lock engine with sophisticated filtering that provides fast lockup times and sub-frame accuracy.
auto-detect and switch to the incoming frame rate, except that it cannot distinguish between 30 fps and 29.97 fps time code, or 23.976 and 24 fps time code. So if you are working with either of these rates, make sure you choose the correct rate from this menu. READER SECTION The Reader section (on the left-hand side of the window in Figure 11-1) provides settings for synchronizing the Audio Express to SMPTE time code.
U Y L OT N A M PA TI M EN CO FID N CO The Audio Express cannot freewheel address without clock. Therefore, the Freewheel Address setting will always be lower than or equal to the Freewheel Clock setting, and both menus will update as needed, depending on what you choose. The ‘Infinite’ freewheel setting The Infinite freewheel setting in the Freewheel Clock menu causes the Audio Express to freewheel indefinitely, until it receives readable time code again.
SYNCING TO SMPTE TIME CODE Use this setup if you have: The Audio Express system can resolve directly to SMPTE time code. It can also generate time code, under its own clock or while slaving to time code. Therefore, the Audio Express can act both as an audio interface and as a SMPTE time code synchronizer to which you can slave other devices.
CHAPTER 12 Performance Tips & Troubleshooting Things seems like they are working fine, but the Audio Express then just drops off line, and the computer can’t see it anymore. This is a common symptom when the problem is that the Audio Express is not getting enough power via its Firewire connection to the computer. Check the power source for the Audio Express. Make sure that the power connection meets the requirements outlined in “Power options” on page 22.
Controlling monitoring latency See chapter 9, “Reducing Monitoring Latency” (page 45). CUSTOMER SUPPORT We are happy to provide customer support to our registered users. If you haven’t already done so, please take a moment to register on line at motu.com, or fill out and mail the registration card included with your 8pre. Doing so entitles you to technical support and notices about new products and software updates.
Index Symbols +main 5, 31 1394 connector 6, 11, 18, 19 24-bit recording 11 third-party software 44 4-pin FireWire 22 6-pin FireWire 22 828 connecting to Audio Express 25 896mk3 connecting to Audio Express 25 A Ableton Live 37 Analog inputs/outputs 6 making connections to 20 trim 53 Application follows control surface 73 ASIO 12, 15, 16, 35 clock source 36 Audio sample rate 28 Audio Express connecting multiple interfaces 25 expansion 25 installing 17 power switch 31 rear panel overview 9 SMPTE setting 29 so
Main outs jacks 6 volume 5, 31 volume control 5, 11 Main volume 5, 11 Master fader mix busses 53 Master volume 5, 31 Mic/guitar inputs trim 53 Mic/instrument inputs 6, 19 connecting 24 overview 10 phantom power 5 MIDI connections 21 jacks 6 overview 10 Windows driver installation 16 Mix bus level meter 53 mute 53 Mix1 1-2 Cubase 38 Sonar 43 Mix1 return includes computer output 56, 57 MME driver 7 Monitoring 46 with third-party software 44 Mono button 53 MOTU Audio ASIO driver 16 MOTU Audio Console 27 MOTU