E-Mu 1212M, Owner'S Manual

Page 1: ...1820 1820 Owner s Manual Owner s Manual ...

Page 2: ...eadquarters E MU Systems 1500 Green Hills Road Scotts Valley CA USA 95066 Europe Creative Labs Ballycoolin Business Park Blanchardstown Dublin 15 IRELAND E MU Japan Creative Media K K Kanda Eight Bldg 3F 4 6 7 Soto Kanda Chiyoda ku Tokyo 101 0021 JAPAN Asia Pacific Africa Middle East Creative Technology Ltd 31 International Business Park Creative Resource Singapore 609921 SINGAPORE ...

Page 3: ...k Mounting the AudioDock 16 Software Installation 17 Installing the E MU 1010 Drivers 17 Windows XP Windows XP x64 Windows Vista Windows Vista x64 17 Uninstalling all Audio Drivers and Applications 17 Note About Windows Logo Testing 18 3 PCI Card Interfaces 19 The E MU 1010 PCI Card 19 Connections 19 EDI Connector 19 S PDIF Digital Audio Input Output 19 ADAT Optical Digital Input Output 19 IEEE139...

Page 4: ... MU Icon in the Windows Taskbar 29 The Toolbar 29 The Session 30 New Session 30 Open Session 31 Save Session 31 Session Settings 31 System Settings 31 Using External Clock 32 MIDI Settings 32 I O Settings 33 Input Mixer Strips 35 Input Type 35 Mixer Strip Creation 36 Multichannel WAVE Files 37 Windows Media Player DVD Surround Sound Playback 37 Insert Section 38 Working with Inserts 38 The Insert ...

Page 5: ...orting Core FX Presets and FX Insert Chains 58 FX Edit Screen 59 User Preset Section 60 Core Effects and Effects Presets 61 List of Core Effects 62 DSP Resource Usage 62 Core Effects Descriptions 63 1 Band Para EQ 63 1 Band Shelf EQ 63 3 Band EQ 64 4 Band EQ 65 Auto Wah 66 Chorus 67 Compressor 67 Basic Controls 68 Distortion 69 Flanger 70 Freq Shifter 71 Leveling Amp 72 Lite Reverb 73 Mono Delays ...

Page 6: ...100 Compressor Settings 100 E MU PowerFX 101 Automating E MU PowerFX 103 E MU PowerFX Resource Availability 103 Rendering Audio with E MU PowerFX 105 General Tips for Rendering using PowerFX 105 Tips for using Freeze Mode on Cubase LE 105 Using E MU PowerFX with WaveLab and SoundForge 105 E MU E Wire VST 106 E Delay Compensator 107 E Delay Compensator Use 108 E Delay Units Parameter 108 Grouping T...

Page 7: ...SMPTE problems 120 Duplicating SMPTE time code 121 Other Tips for using SMPTE 121 Example SMPTE Connection 121 MIDI Time Code MTC 122 Word Clock In Out 122 Getting in Sync 124 Useful Information 125 AES EBU to S PDIF Cable Adapter 125 Cables balanced or unbalanced 125 Balanced Cables 125 Unbalanced Cables 126 Digital Cables 126 Grounding 126 Phantom Power 126 Appearance Settings in Windows 126 Tec...

Page 8: ...8 E MU 1820M 1820 1212M PCI Digital Audio System ...

Page 9: ...hysical inputs and E MU Digital Audio System Components E MU 1212M E MU 1820 E MU 1820M E MU 1010 PCI Card E MU 0202 I O Daughter Card 0202 I O Card Cable 2 MIDI Adapter Cables D A S Software Driver Installation CD ROM Prod Tools Software Bundle CD ROM Quick Start Guide E MU 1010 PCI Card AudioDock EDI E MU Digital Interface Cable PC Power Adapter Cable Headphone Splitter Cable D A S Software Driv...

Page 10: ...s Combined with the digital I O on the 1010 PCI card you have a total of 18 inputs and 20 outputs Of course professional quality 24 bit A D and D A converters with automatic DC blocking are used throughout E MU 1820M System The E MU 1820M system includes the AudioDockM and is a no compromise mastering grade system which includes all the features of the 1820 system The 1820M system is distinguished...

Page 11: ...board sound and uninstall all other sound cards If you wish to try using multiple sound cards in your system do so after you have confirmed that your E MU Digital Audio System is operating normally InstallShield IKernel Application Error on Windows XP When installing this software on Windows XP you may be confronted with a kernel error at the very end of installation This is an issue with the Inst...

Page 12: ...e are some procedures you can follow when handling electronic devices in order to minimize the possibility of causing electrostatic damage Avoid any unnecessary movement such as scuffing your feet when handling electronic devices since most movement can generate additional charges of static electricity Minimize the handling of the PCI card Keep it in its static free package until needed Transport ...

Page 13: ...g the case E Note Some computer cases don t use screws to secure PCI cards In this case follow the instructions that came with your computer 4 Remove the metal brackets from two adjacent PCI slots If you have the E MU 1820 system non M you only need to remove the bracket from a single PCI slot Put the screw s aside for use later See figure 1 below 5 Align the E MU 1010 PCI card with the slot and p...

Page 14: ...Daughter card or Sync Daughter Card as shown in figures 3 4 The cables are keyed so they cannot be incorrectly inserted Seat the connectors firmly in the sockets and arrange the cables neatly 2 Align the Sync Daughter Card or the 0202 Daughter Card with the slot and press gently but firmly down into the slot as shown in figure 2 on the preceding page 3 Do not force the E MU Card into the slot Make...

Page 15: ... there is no spare disk drive power cable insert the Adapter Cable between one of your disk drives and the power supply 6 Plug the small connector into the E MU 1010 PCI card as shown above The connector is keyed and can only be inserted one way 7 After all components have been installed and securely fastened close the computer case CAUTION Do not connect the supplied CAT5 cable to the Ethernet or...

Page 16: ...e feet into the round depressions at each corner of the bottom plate Rack Mounting the AudioDock The AudioDock was designed to be rack mounted using standard 19 inch rack shelves These shelves are available from a number of sources on the Internet Search for Rack Shelf Two AudioDocks fit side by side on a single rack shelf Two screws are provided to secure the AudioDock to the rack shelf M3 x 6mm ...

Page 17: ...nd type d setup exe replace d with the drive letter of your CD ROM drive You can also open the CD and double click Setup exe 4 The installation splash screen appears Follow the instructions on the screen to complete the installation 5 Choose Continue Anyway when you encounter the Windows Logo Testing warning screen See the note below for more information 6 When prompted restart your computer Unins...

Page 18: ...on The Digital Audio System audio drivers are not certified by WHQL because the product does not support some of the features that the Microsoft Windows Logo Program requires most notably Universal Audio Architecture UAA and Digital Rights Management DRM Despite this the Digital Audio System audio drivers have been rigorously tested using the same test procedures that a WHQL qualified driver requi...

Page 19: ...er mode in the Session Settings menu The 1010 PCI card can also send and receive AES EBU digital audio through the use of a cable adapter See AES EBU to S PDIF Cable Adapter for details The S PDIF input and outputs are usable at the 44 1kHz 48kHz 88 2kHz and 96kHz sample rates but are disabled for 176 4kHz and 192kHz The word clock contained in the input data stream can be used as a word clock sou...

Page 20: ...ds CD players cassette decks etc The analog inputs are assigned to a mixer strip in the mixer application The outputs can feed any line level input such as a mixing board the auxiliary input on your stereo or a set of powered speakers The line outputs are not designed to drive headphones directly Connect the line outputs to a stereo receiver or mixer with a headphone jack to obtain the proper curr...

Page 21: ...IF output a headphone amp and a RIAA equalized turntable preamp section which is normalled into line input 3L and 3R The inputs are configured as follows The outputs are configured as 2 mono microphone line inputs 3 stereo pairs of line level inputs 6 inputs 1 RIAA equalized turntable preamp input allows you to connect a turntable without using an expensive external preamp Note These inputs are au...

Page 22: ...nal directly at the analog to digital converters and before any processing by the rest of the system When setting the levels for signals being sent into the AudioDock the red level indicators should never flash MIDI 1 In Out MIDI input and output ports allow you to interface any type of MIDI equipment such as keyboards effect units drum or guitar controllers The MIDI drivers were installed when yo...

Page 23: ...is lost and switch back to external clock if sync is re established Typical causes of loss of digital or external sync include The Sample Rate Indicators The Sample Rate LEDs indicate the current sample rate at which the system is running The LEDs will light solidly to indicate the different sample rates of 44 1kHz 48kHz 96kHz or 192kHz When slaving to an external master source the clock may drift...

Page 24: ...le inputs share line level inputs 3L and 3R Inserting a plug into Line Input 3 disconnects the turntable preamp from that channel Connect the ground lead from your turntable to the ground lug to prevent hum Line Level Analog Outputs Eight balanced 24 bit line level analog outputs are provided 1 4 Output pair 4 is designated as the Monitor Output and is fed by the monitor bus of the PatchMix DSP mi...

Page 25: ... supplied with the AudioDock is specially shielded to prevent unwanted RF emissions Warning The AudioDock has been designed to use readily available and inexpensive standard computer system cables This makes it easy for you to find replacement cables if your original cable becomes damaged or lost However because these standard cables types are used for other purposes you must use caution to avoid ...

Page 26: ...The Sync Daughter card is also a format converter It converts incoming SMPTE time code to MIDI Time Code MTC and passes this information to the host computer to be used by a sequencer or audio recorder application When your computer application is the Master the Sync Daughter card converts MTC into SMPTE and sends it out to another SMPTE device Connections The Sync Daughter Card contains Word Cloc...

Page 27: ...e and recall these Sessions at will To Invoke the PatchMix DSP Mixer f Click on the buttons and knobs in the mixer screen below to jump to the description of the control 1 Left click once on the E MU icon on the Windows System Tray The PatchMix DSP mixer window appears Overview of the Mixer Add New Strip Aux Sends Volume Fader Pan Controls Solo Mute Buttons Channel Insert Section Toolbar Monitor V...

Page 28: ...k Mixer Strips This section is located to the left of the Main Section and shows all the currently instantiated mixer strips Mixer strips can represent Physical analog digital inputs or Host inputs such as ASIO or Direct Sound Mixer strips can be added or deleted as necessary This section can be resized by dragging the left edge of the frame Effects Palette This popup window is invoked by pressing...

Page 29: ...application to start audio again When unchecked FX are not loaded until needed resulting in faster computer boot New Session Calls up the New Session dialog box New Session Open Session Calls up the standard Open dialog box allowing you to open a saved Session Save Session Calls up the standard Save or Save As dialog boxes allowing you to save the current Session Show Hide Effects Toggle button th...

Page 30: ...PDIF ADAT or synchronize all devices using Word Clock You can also set up an external sync source thereby obtaining the sample rate from some other device or application External sync can be obtained from the ADAT input S PDIF input or the Sync Daughter Card word clock If the session is set at 44 1kHz or 48kHz and the external source is coming in at 96kHz for example the Sync Indicator will be ext...

Page 31: ...e to give yourself some clue as to what you were thinking when you created the session Open Session To Open a saved session click on the Open Session button A dialog box appears allowing you to choose one of your saved Sessions to open Choose one of your saved sessions and click on the Open button Save Session f Saving a session defragments the effect DSP resources If you have used all your effect...

Page 32: ...ill be extinguished and PatchMix will attempt to receive the external data The two units are NOT sample locked however and you should correct this condition to avoid intermittent clicks in the audio MIDI Settings E The SMPTE Input will not function and the Sync Card control panel will not be updated when Dock MIDI 2 In is selected Word Clock and SMPTE Out will operate with Dock MIDI 2 selected Thi...

Page 33: ...th low level signals 10dBV is approximately 12dB lower than 4dBu Choose the setting that allows you to send or receive a full scale signal without clipping Setting correct input and output levels is important You can measure the level of an input by inserting a meter into the first effect location in the strip Adjust your external equipment outputs for the optimum signal level See To Set the Input...

Page 34: ...g outputs a hotter level PCI Card Optical Input Selects between ADAT or optical S PDIF for the 1010 PCI card ADAT Input The coaxial S PDIF input is disabled when S PDIF optical is selected PCI Card Optical Output Selects between ADAT or optical S PDIF for the 1010 PCI card ADAT Output The coaxial S PDIF Output is disabled when S PDIF optical is selected S PDIF Optical Format Selects between S PDIF...

Page 35: ...everb and delay They can also be used to create separate mixes for the artist or for recording Volume Control Controls the output level of the strip into the main monitor mix bus Mute Solo Buttons These convenient buttons allow you to solo or mute selected channels Scribble Strips Click inside the scribble strip and type a name of up to eight characters Insert Section Effects EQ External Host Send...

Page 36: ... Overview of the Mixer 2 The New Mixer Strip Input Dialog appears f CDs MP3s The WAVE 1 2 strip is used to playback CDs Windows Media Player and Direct Sound 3 Select the desired input to the mixer strip from the following choices Physical Sources ASIO Sources Physical Source Analog or digital input Analog ADAT S PDIF Host ASIO Source input Streaming audio from an ASIO software application Host WA...

Page 37: ... see WDM Recording and Playback Behavior 192kHz 96kHz DVD Audio disks are protected against digital copying However most DVD Audio disks contain duplicate 48kHz audio tracks which will play back on the Digital Audio System Windows Media Player DVD Surround Sound Playback Select DirectSound as the output format when using Windows Media Player and other DVD player applications Eight channel WAVE pla...

Page 38: ...rts are one of most powerful features of the PatchMix DSP system as they allow you to configure the mixer for a wide variety of applications To Add an Effect to an Insert Location 1 Press the FX button The effects palette appears 2 The effects are organized into categories Click on a folder to open it 3 Select the effect you want drag it over the insert section then drop it into an insert location...

Page 39: ...cal output from the list of options The following dialog box appears 3 Choose one of the Send Outputs Click on a destination to select it 4 Click OK to select the output or Cancel to cancel the operation To Add a Send Return Insert This type of insert send breaks the signal at the insert point and sends it out to the selected destination such as an external effect processor A return source signal ...

Page 40: ... to the appropriate analog or digital connectors 4 If you re using the analog outputs and inputs you may have to adjust the levels in the I O Session Settings See page 33 You can insert a level meter after the Send Return to make sure you re getting a strong signal back from the external device 5 If you re using a digital Send Return make sure that the external digital device is synchronized to th...

Page 41: ...ecording application automatically switches the Direct Monitor Send Return to monitor the recorded track The Direct Monitor Send Return also allows the recording application to control volume and pan Normally when using direct monitor recording you ll want to control the volume and pan from the recording application In this case set the PatchMix DSP stereo pan controls hard left and right mono pan...

Page 42: ...ing A reading of 0dB on an input meter indicates signal clipping The insert meters are also useful to monitor incoming digital signals such as ADAT ASIO or S PDIF to make sure the mixer is receiving a proper signal level They re also great for troubleshooting since you can place them virtually anywhere in the mixer To Insert a Meter 1 Right Click on an Insert location of the mixer strip A pop up d...

Page 43: ...t the input levels to 10dBV consumer equipment level or 4dBu professional equipment level for each analog input This control sets the overall input level to match your other gear but to get the best possible recording you need to fine tune the level further In order to supply the correct input level you ll need to adjust the output of your analog source electric instrument or preamp so that the in...

Page 44: ...o from the converters The phase invert switch inverts the polarity of the signal It is generally used to correct for balanced lines and mics that are wired backwards Test Tone Signal Generator Insert f Musical Note Freq A 440 Hz B 493 88 Hz C 523 25 Hz D 587 33 Hz E 659 26 Hz F 698 46 Hz G 783 99 Hz The test tone signal generator insert is a handy troubleshooting aid which outputs a calibrated sin...

Page 45: ... select Effect in the TV display 2 Click the Bypass button Method 2 1 Right Click over the Effect you want to bypass in the Insert section A pop up dialog box appears 2 Select Bypass Insert from the list of options To Bypass All Inserts All Inserts in a strip can be also be bypassed with a single command 1 Right Click over the Effect you want to bypass in the Insert section A pop up dialog box app...

Page 46: ... have more than one effect in an Aux Bus ignore the preceding advice as the wet dry controls can be used to mix the amounts of your multiple effects The Aux 1 2 buses can also be used as additional submix output buses just like the main output Simply drop an ASIO or External Send Insert into the chain and the stereo bus is sent Turn down the Return Amount if you don t want the submix to be combine...

Page 47: ...ected by the Level Fader and Mute settings The Pre Fader setting allows you to create two completely different mixes using the Aux Buses since the signal levels of this mix won t be affected by the fader settings In order to change a strip from pre fader to post fader or vice versa you have to delete the strip and create a new one Main Monitor Bus Side Chain Output Return Amount Send Amount Input ...

Page 48: ...on is pressed allows you to hear the channel until solo is turned off The Solo button allows you to listen to only that channel while muting the rest of the mixer s output If multiple solo buttons are pressed you will hear all soloed channels and the non soloed channels will all be muted The mute status is remembered if a muted channel is soloed When the channel solo is turned off the channel reve...

Page 49: ...ixer strip The Master Send Level control on Aux bus 1 and 2 can be used to attenuate or boost the signal going into the Auxiliary Inserts There is also a Master Return Level to control the amount of the effected signal that will be returned into the main mix The Main Bus can also have a chain of effects inserted You might put an EQ here to equalize your entire mix or add an ASIO or WAVE send to re...

Page 50: ...insert effect is not selected the display will read No Insert Most effects have a wet dry mix parameter to control the ratio of effect to plain signal The wet dry setting is stored with the effect preset The parameter set varies with the type of effect See List of Core Effects for detailed information about the individual effects When a Send or a Send Return insert is selected with the effects dis...

Page 51: ...Mixer outputs The output routings are divided into two categories Physical Outputs and Host Outputs Select either category by clicking on the Physical or Host button The Physical Output screen displays and allows you to connect the Main and Monitor outputs of the mixer to physical analog or digital outputs Click on the box in the mix or monitor area to make or break a connection The Host Output sc...

Page 52: ... Send into the chain you can send the Auxiliary bus to any output you wish See Insert Section for more information Sync Sample Rate Indicators The Sync Sample rate Indicators show the current session s sample rate and whether it is internal or slaving to an external source The LEDs indicate which sample rate is currently in effect If an external source is being used the Source display reads EXTERN...

Page 53: ... for a moment so that short transients can be monitored Each bar 1dB Monitor Output Level This control adjusts the monitor output level Keep in mind that since the monitor level control comes after the Main Output Fader nothing will be heard from your monitors if the main level is turned down Monitor Balance Control f Hot Tip The System Volume Control on your Mac or PC can be used to control the M...

Page 54: ...4 The PatchMix DSP Mixer Main Section 54 Creative Professional ...

Page 55: ...many effects you can use at the same time As you use up the PatchMix DSP resources certain effects will appear grayed out and cannot be added to the mixer Complex effects such as reverb use more DSP resources than say a 1 Band EQ If you continue to add effects all of the DSP resources will eventually be used up The Effects Palette Click the FX button on the toolbar to bring up the Effects Palette ...

Page 56: ... 2 Edit the effect parameters as desired To Delete an Effect 1 Right click on the Insert location containing the effect you wish to delete and a pop up list appears 2 Select Delete Insert s from the top of the list The effect will be deleted FX Insert Chains FX Insert Chains can be used to save several effects and their settings into a single multi effect When an effects chain is selected and drop...

Page 57: ...g box appears asking you to Enter the Name of the New Category Alternatively you can Right click over an Effects Folder which calls a pop up dialog box with the option to Create New Category 2 Type in a name for your new folder 3 Click OK to create a new folder or Cancel to cancel the operation To Delete an Effect Category or Preset 1 Right click on the category folder you wish to delete A pop up ...

Page 58: ...ets If the name of an imported FX preset exactly matches a preset you already have a number will be appended to end of the imported preset name 1 Click the Import Export FX Library button from the FX Palette 2 Select Import FX Category The Browse for Folder window appears 3 Choose the folder where the FX Chains you wish to import are located 4 The selected folder of FX Chains will be copied into t...

Page 59: ...ted deleted renamed or overwritten as you wish To Bypass an Insert Inserts can be bypassed if you want to temporarily hear the audio without the effect or insert Bypass can also be used to turn off a Send Insert Method 1 1 Click on the Effect in the Insert section 2 Click the Bypass button in the TV display Method 2 1 Right click over the Insert you want to bypass in the Insert section A pop up me...

Page 60: ...m as FX Palette effects Each core effect has a set of User Presets that you can use to store your favorite effect parameter settings We ve included a good collection of user presets to get you started The user presets are accessed from the bar at the bottom of the TV screen The user preset edit menu allows you to select stored presets create new presets rename or delete existing presets or overwri...

Page 61: ...ame then click OK to rename the preset or Cancel to cancel the operation To Overwrite or Save a User Preset This operation allows you to overwrite an existing preset with a newer version 1 Select the user preset you wish to modify from the user preset menu and make any changes you wish 2 Click on the Edit button A pop up menu appears 3 Select Overwrite Save The current preset will be overwritten w...

Page 62: ...lay line effects to allow maximum conservation of this precious resource Use only the longest delay you actually need The chart below shows three possible effects combinations These were created by using up the reverb resources first Even more simultaneous effects are possible if fewer reverbs and shorter delays are used Stereo Reverb Rotary Mono Delay 250 Lite Reverb Phase Shifter Mono Delay 500 ...

Page 63: ... and frequency This EQ offers up to 15dB cut or boost Parameter Description Gain Sets the amount of cut or boost of the selected frequency band Range 15dB to 15dB Center Frequency Sets the range of frequencies to be cut or boosted with the Gain control Range 80Hz to 16kHz Bandwidth Sets the width of the frequency range for the Center Frequency band that will be cut or boosted by the Gain control R...

Page 64: ... create a more natural sound 6 Adjust and tweak as needed Parameter Description High Shelf Gain Sets the amount of cut or boost of the high frequency shelf Range 24dB to 24dB High Corner Freq Sets the frequency where the signal begins getting cut or boosted with the High Gain control Range 4kHz to 16kHz Mid Gain Sets the amount of cut or boost of the mid frequency band Range 24dB to 24dB Mid Freq ...

Page 65: ...s the range of frequencies to be cut or boosted with the Mid 2 Gain control Range 1kHz to 8kHz Mid 2 Bandwidth Sets the width of the frequency range for the Mid 2 Center Frequency band that will be cut or boosted by the Mid 2 Gain control Range 01 octave to 1 octave Mid 1 Gain Sets the amount of cut or boost of the Mid 1 Frequency band Range 24dB to 24dB Mid 1 Center Freq Sets the range of frequen...

Page 66: ...of the note on sweep As the input sound fades away the filter sweeps back at a rate determined by the Release setting The wah direction allows the filter to be swept either up or down in frequency Use a higher Center Frequency setting when the wah direction is down Parameter Description Wah Direction Allows you to sweep the wah up or down Env Sensitivity Controls how closely the wah sweep follows ...

Page 67: ...recording device Since the compressor turns down the gain of the signal you might wonder how can it make the signal level stronger A Post Gain control allows you to boost the output gain of the compressor in order to make up for the gain reduction The overall level is higher and only turned down when the signal level gets too loud This level is called the Threshold which just happens to be the mos...

Page 68: ...g after the signal has fallen below the threshold again An attack setting of about 10 milliseconds will delay the onset of compression long enough to preserve the attack transients in guitar bass or drums while allowing the sustain portion of the sound to be compressed Longer release times are generally used to reduce the so called pumping effect as the compressor turns on and off Don t make the r...

Page 69: ...on with the Edge control to reduce the amount of distortion or go wild and turn everything to 11 Attack Time Controls how quickly the gain is turned down after the signal exceeds the threshold Range 1ms to 500ms Release Time Controls how fast the gain is returned to its normal setting after the signal has fallen below the threshold Range 50ms to 3000ms Pre Delay Allows the use of slower attack tim...

Page 70: ...feedback signal creates peaks in the notch filter and deepens the effect Parameter Description Delay Sets the initial delay of the flanger in 01 millisecond increments This parameter allows you to tune the flanger to a specific frequency range Range 01ms to 4ms Feedback Controls how much signal is recirculated through the delay line and increases resonance Negative values can produce intense flang...

Page 71: ...shifting 1 Hz and below can produce a wonderful lush chorusing or phasing effect For bizarre frequency shifting effects simply crank up the frequency knob Frequencies can be shifted up or down by any specified amount from 1 Hz to 24 kHz You can also shift pitch up on one side and down on the other if you wish Comparison between Pitch and Frequency Shifting Harmonic Original Hz Pitch Shifted 100 Hz...

Page 72: ...s designed to be used in situations where delay does not pose a problem such as mastering a mix or compressing prerecorded stereo material Post Gain is the only control on the leveling amp This control is used to make up the volume lost by the compression The Compression Ratio is fixed at about 2 5 1 If a large peak is detected the effect will automatically increase the compression ratio to keep t...

Page 73: ...loud High frequency energy tends to fade away first as a sound is dissipated in a room The High Frequency Decay Factor adjusts the time it takes for the high frequency energy to die away and thus changes the characteristics of the room Rooms with smooth hard surfaces are more reflective and have less high frequency damping Rooms filled with sound absorbing materials such as curtains or people have...

Page 74: ...ce control increasing the amount of comb filtering produced by the delay line Comb filtering See page 70 A High Frequency Rolloff filter in the feedback path cuts some of the high frequency energy each time the audio goes through the delay line This simulates the natural absorption of high frequencies in a room and can also be used to simulate tape based echo units The Wet Dry mix controls how lou...

Page 75: ...own right Spinning a sound around the room creates a doppler pitch shift along with many other complex and musically pleasing sonic effects The Rotary incorporates acceleration and deceleration as you switch between the two speeds Parameter Description LFO Center Sets the initial offset of the LFO and changes the position of the peaks and notches Range 0 to 100 Feedback Increases the depth of the ...

Page 76: ...d listen Normally this effect should be used with the Mix control set to 100 Speaker Type Description British Stack 1 2 Modeled from a British 8 speaker high power amplifier stack British Combo 1 3 Modeled from a British 2 speaker combo amplifier Tweed Combo 1 3 Modeled from an American 1950 s era 2 speaker combo amplifier 2 x 12 Combo Modeled from an American 1960 s era 2 speaker combo amplifier ...

Page 77: ...ing the longer stereo delays you can overdub musical lines one on top of the other with the feedback control turned up Parameter Description Left Delay Time Sets the length of the delay for the left channel in milliseconds Right Delay Time Sets the length of the delay for the right channel in milliseconds Delay Time L R Stereo Delay 100 Stereo Delay 250 Stereo Delay 500 Stereo Delay 750 Stereo Del...

Page 78: ...a room The High Frequency Damping parameter adjusts the time it takes for the high frequency energy to die away and thus changes the characteristics of the room Rooms with smooth hard surfaces are more reflective and have less high frequency damping Rooms filled with sound absorbing materials such as curtains or people have more high frequency damping The Low Frequency Damping parameter adjusts th...

Page 79: ...awtooth wave gradually fades then jumps abruptly back When the frequency of the A or B Phonemes is shifted up or down entirely new effects can be produced These frequency controls can also be used to tune the phoneme frequencies to the range of audio you are processing List of Available Phonemes A E I O U AA AE AH AO EH ER IH IY UH UW B D F G J K L M N P R S T V Z Parameter Description Phoneme A S...

Page 80: ...arameter The effect of the fast turn on can be enhanced by using an optional 1 millisecond lookahead in the Gate s envelope detector Together with the Threshold setting tuning the Release time parameter is very useful in order to achieve the least obtrusive most natural sounding gating effect which is highly dependent on the specific program material being processed The gate does not offer an adju...

Page 81: ...sec may make the gating effect obvious if the background signal being gated out is very noisy Max Gain Reduction This parameter sets the attenuation that will be applied to the signal when the Gate is shut off The Gate control signal will swing between 0dB and this value as the Gate turns on and shuts off To perform a strict gating operation Max Gain Reduction would normally be set to infinity in ...

Page 82: ...nput signal Its most rightward maximum value of 0dB represents a unity gain path through the Gate in its turn on state Except for the possibility of the 1 milli second lookahead latency the Gate behaves exactly as a straight wire in this turned on state Values less than 0dB represent the amount by which the input signal is being attenuated as the Gate shuts off The most leftward gain shutoff value...

Page 83: ...lly simulate use of a guitar volume pedal for gently fading in each note Ambience Reduction can be used like a gate to suppress ambient reverberations that below a certain threshold When the input signal exceeds an adjustable Threshold the Attack phase begins and continues until the gain reaches unity 0dB After the Attack peaks the gain stage immediately transitions into the Decay phase which cont...

Page 84: ...equired for the gain to fall from 0dB down to the attenuated Sustain Level Note that if the Sustain Level is set to 0dB this decay time becomes simply a delay before entering the Sustain phase Release Time This parameter controls the time in milliseconds that is required for the gain to fall from the Sustain Level down to the Release Level Level Meter This meter represents the input signal level i...

Page 85: ...addition enabling this parameter will also cause the attack to restart at the Release Level instead of whatever gain was being applied when the new attack arrived Attack Curve This parameter allows the gain during the Attack phase to follow one of 3 curves linear logarithmic or exponential Because the ADSR computes gain using linear coefficients the exponential curve comes the closest to being a c...

Page 86: ...here filter parameters are adjusted identically for both channels or split Left and Right where the left and right channels support completely independent filter types and parameter values In addition to a standard Bypass switch the effect offers an adjustable wet dry mix parameter While not normally found on EQ sections adjustable wet dry mixtures can be useful for generating phase cancellation a...

Page 87: ...this mode the Lowpass Rolloff Lowpass Frequency and Lowpass Resonance parameters are available for editing the filter response Highpass The frequency response of the highpass filter looks something like the diagram below In this mode the Highpass filter can have up to a 48dB octave rolloff slope The Highpass Rolloff Highpass Frequency and Highpass Resonance parameters are available for editing the...

Page 88: ...ote that while the Highpass Lowpass combination appears the same as the Band Pass filter this mode is different in several important respects The rolloff points are independently adjustable as individual frequencies rather than specified as a combination of center frequency and bandwidth The rolloff slope of each High and Low filter can be specified separately while the Bandpass and Band Cut filte...

Page 89: ...be specified separately while the Band Cut filter uses the same Resonance at high and low corner frequencies Band Pass In this mode the Lowpass and Highpass filters are connected in series to form a bandpass filter whose Center Freq and Bandwidth parameters are used to generate the rolloff frequencies for the underlying Lowpass and Highpass filters In this mode the rolloff slope on the high and lo...

Page 90: ...serted in it The sidechain contains the bulk of the compressor algorithm and is responsible for computing the gain control signal Signal multiplexers at the front of the signal path and sidechain allow linked stereo compression or split signal path sidechain processing The RFX Compressor does not have the input gain control that is found on some compressors These are typically used to align the in...

Page 91: ...in 16 steps from 1 1 1 to 1 INFINITY When Neg Compression is set to Enabled the range of compression ratios extends beyond INFINITY to encompass negative compression ratios from 1 100 down to 1 1 which can be useful for applications like ducking and other special effects See the discussion of the Neg Compression parameter on page 96 Attack Sets the amount of time that the compressor s level detect...

Page 92: ...evel from that 0dB input signal to fall anywhere in the range of 0dB down to 60dB Advanced Parameters This parameter controls whether the Advanced Parameters listed in this section are hidden or exposed on the screen For simple applications quick edits or for novice users these advanced parameters can be hidden to minimize screen clutter and preclude erroneous operation For special and exotic appl...

Page 93: ...Gain parameter Thus signal levels below the Threshold increase as the Soft Knee depth and or Ratio is increased but see the Gate parameter below 0dB Threshold 10dB Threshold 20dB Threshold 30dB Knee 20dB 80dB Threshold 20dB Ratio 4 1 Soft Knee Varying the Soft Knee Threshold 0dB Ratio 1 5 1 Ratio 4 1 Ratio 10 1 20dB 35dB 80dB Threshold 20dB Soft Knee Varying the Compression Ratio Soft Knee Thresho...

Page 94: ...d or delay by setting the relative time offset in milliseconds between the compressor s signal path and its sidechain path At negative values this parameter lets the level detector in the compressor s sidechain look into the future up to 100 milliseconds in order to antic ipate upcoming peaks in the signal accomplished of course by inserting delay into the signal path This lookahead technique allo...

Page 95: ...ing on different selectable characteristics of the input signal In Program dependent mode release times are increased depending on how often how long and by how much the input signal program material exceeds the Threshold Release times increase slowly under sustained excursions of the input over the Threshold and typically return back to normal within a few seconds after the signal level has falle...

Page 96: ...ompressors the Max Compression parameter allows you to adjust the amount of gain reduction before the compressor returns to a 1 1 gain curve The diagram shows three settings of the Max Compression parameter the compressor gives up and returns to 1 1 after 6 15 and 24dB of compression have been exhausted respectively The parameter is most useful at higher compression ratios allowing the gain curve ...

Page 97: ... exclusively from the right channel This allows dynamics control between two completely independent signals In this mode both the compressor s left and right outputs are fed by the mono signal from the left input channel s signal path Splitting the signal path and sidechain makes possible applications where the two signals may be completely unrelated such as ducking Other split sidechain applica t...

Page 98: ... song Gain Adjust to make up for lost volume Soft Knee Adjust as desired Comp Lookahead This can be used instead of the Attack control Max Compression Unlimited Smoothing out the Bass Guitar Level This setup evens out the volume and prevents the bass guitar from wandering in and out of the mix Threshold 24dB adjust according to the sound Ratio 4 1 Attack 8 msec Release 70 msec Gain 4dB adjust acco...

Page 99: ... soft pas sages Ratio 2 1 Attack 0 1 msec Release 100 msec Gain Set to compensate for lost gain Soft Knee Off Gate Off Comp Lookahead 0 msec Auto release Off Max Compression 12dB Backwards Drums Cymbals This is a special effect which reverses the volume envelope of cymbals and drums Threshold 37dB adjust according to the sound Ratio 1 1 Neg Compression enabled Attack Instantaneous Release 200 msec...

Page 100: ...tings E You can boost the low frequencies in the right channel to create a de boomer The left channel is set flat no EQ The right channel boosts hi frequencies Left Channel Lowpass mode Lowpass Rolloff Off Right Channel Highpass mode 24dB oct HP Frequency 8173Hz HP Resonance 36 Compressor Settings Lookahead gives the compressor time to react to the vocal sibilance Input Mode L In R Sidechain Thres...

Page 101: ...sing the Cakewalk VST adapter 4 4 1 implement VST 2 X auto delay compensation Parameter Description PowerFX On Off Enables or bypasses E MU PowerFX FX Palette Select from a single Core effect or a Multi Effect FX Inserts Drop Effects from the FX Palette here Signal Present LEDs These indicators turn blue to show the presence of input and output signals FX Parameters Select the desired effect in th...

Page 102: ...Strip it will be highlighted in yellow then adjust the effects parameters in the right section of the window 7 You can also select or edit User Presets from the section below the FX parameters See the User Preset Section for more information Delay Compensation If you are using Cubase VST 5 1 or another older sequencer without automatic delay compensataion you will have to insert an E Delay Compens...

Page 103: ...he Insert Strip Doing so will result in unpredictable behavior 7 To edit Automation first enable both Automation Write and Automation Read and press Play Cubase LE begins overwriting as soon as you change a control 8 If you don t like the results and want to try again select Show Used Automation from the Project menu The Automation Subtrack appears Next click in the Parameter Display and select Re...

Page 104: ...g Cubase LE Yes Off Off Steinberg Cubase SL Yes Off Off Steinberg WaveLab 4 Yes On Off Steinberg WaveLab Lite ver 4 Yes On Off Steinberg WaveLab 5 No Pops clicks may occur Try 8 buffers at 1024 On Either Sony Acid 4 Yes On Off Sony Vegas 5 Yes On Off Sony SoundForge 7 No Power FX crashes when launched On Off Adobe Audition 1 5 No Audio distortion immediate lockup Any Any FruityLoops Studio 4 5 Yes...

Page 105: ... PowerFX processed tracks to another track in realtime Check Realtime Render in the Render dialog box when using Cubase LE Cubase SX2 or Cubase SL2 This setting will give the best results Tips for using Freeze Mode on Cubase LE Make the project length as short as possible Freeze always renders the entire project length even if the MIDI track being rendered is shorter Great Tip Temporarily bypass E...

Page 106: ...T inserts or Sends to Physical Inputs and Outputs via PatchMix DSP E Wire has three main components A VST plug in which handles the audio routing to PatchMix DSP An ASIO mixer strip in PatchMix DSP configured to route audio to the E Wire plug in You simply drop the effects you want to use into this strip For hosts that don t support automatic delay compensation a manual delay compensation plug in ...

Page 107: ...he plug in by pressing the blue button 11 Set the ASIO Send and Return on the E Wire plug in to match the strip you set up for E Wire 12 Done E Delay Compensation An E Delay Compensator must be inserted into any other audio tracks that are not using E Wire in order to keep them time aligned 13 Simply insert an E Delay Compensator plug in into the same insert location you used for E Wire on any oth...

Page 108: ...ack will be delayed in relation to the second track The E Delay Compensator should be added as an insert effect on the second track in order to provide delay compensation E Delay Units Parameter The Units value in the E Delay dialog box should be set for the number of times you send ASIO down to the PatchMix DSP mixer and back in a single track A single PowerFX insert chain with any number of effe...

Page 109: ... all the other tracks must equal two Track 2 has one PowerFX E Wire insert and so adding one unit of E Delay keeps it time aligned Track 3 doesn t use a PowerFX E Wire insert and so it needs two E Delay Units to remain in alignment Grouping Tracks When several tracks require E Delay Compensation you can send the output of each track to a group or bus and use a single E Delay Compensator on the out...

Page 110: ...5 Effects E MU E Wire VST 110 Creative Professional ...

Page 111: ...at supports the Sonorus S MUX standard E MU 1820 System at 88 2k 96k 1010 PCI Card AudioDock All outputs remain active at 88 2k 96k but the number of ADAT channels is reduced from eight to four see above There are two possible input configurations when using the E MU 1820 system at 88 2k 96k as shown in the chart below Basically you have the option of using the 4 ADAT input channels or 4 Line Inpu...

Page 112: ...hannels are reduced from eight to four using the S MUX standard E MU 1212M Inputs Outputs at 88 2kHz or 96kHz Source Inputs Outputs ADAT 4 4 S PDIF 2 2 Line 2 2 Total 8 8 ADOCK ADOCK 4 Chan 4 Chan 4 Chan Input Output 88 2 kHz 96 kHz ADAT enabled Line In 2 3 enabled or At the 88 2kHz 96kHz sample rates all outputs are available but 4 inputs are lost ADAT optical is also reduced to four channels You...

Page 113: ... 192kHz you have two 24 bit inputs and outputs S PDIF is not specified to operate at these rates and so all S PDIF inputs and outputs are disabled The ADAT input output channels are reduced to two channels S MUX standard Microphone Input and Line 2 Input enabled Microphone Input and ADAT Input enabled 2 chan ADAT Line 1 Input and ADAT Input enabled 2 chan ADAT Line Inputs 1 3 enabled allows use of...

Page 114: ...ADOCK 2 Chan 2 Chan ADOCK ADOCK 2 Chan or Microphone ADAT Input enabled 2 Chan ADOCK 2 Chan At the 176 4kHz or 192kHz sample rates you sacrifice S PDIF line input 3 and line output 3 ADAT optical is reduced to two channels You can choose one of the following options Microphone Inputs Line 2 Inputs Line Inputs 1 ADAT Microphone Inputs ADAT Inputs Line Inputs 1 3 ...

Page 115: ...he WDM audio content WAV file format playback and record settings in WaveLab etc are both running at the same sample rate and when a Wave strip or send is present in the PatchMix mixer configuration WDM audio will be played or recorded bit accurate without sample rate conversion or bit truncation When running PatchMix at 44kHz 48kHz if there is a mismatch between the WDM playback audio content and...

Page 116: ...6 Using High Sample Rates Overview 116 Creative Professional ...

Page 117: ... PatchMix DSP mixer becomes visible Pressing the SMPTE button brings up the SMPTE window SMPTE Features Conversion of SMPTE to MTC quarter frame messages full frame messages Constant quarter frame messages are generated with steady SMPTE data input Occasional MIDI full frame messages are generated when SMPTE contains data dropouts Conversion of MTC quarter frame full frame messages from the host c...

Page 118: ...el modes See the descriptions below Output Level Sets the SMPTE output level from 10dBV consumer to 4dBu pro FLY JAM Frames If flywheel mode is on and a dropout is detected this is the number of fly wheel frames that will be output before the sync card stops and chases Word Clock Termination Turns word clock termination on or off Except in special cases this con trol should normally be left on See...

Page 119: ...o tape and can thus be used in audio or video work Longitudinal time code is the type of SMPTE used on the Sync Daughter Card It contains 80 bits of information per frame An audio SMPTE frame is divided into 80 bit cells A voltage change during a bit cell period constitutes a digital 1 and no change during a bit cell period constitutes a digital 0 In addition to the location bits there are user bi...

Page 120: ... as in stripe SMPTE time code is recorded on an unused audio track of another recorder then played back into the Sync Daughter Card The Sync Daughter Card passes the location information on to the host computer as MTC quarter frame data to be used by an application such as an audio recorder or sequencer SMPTE is usually recorded at about 3 VU on semi pro gear 10 VU on professional gear and 0 VU on...

Page 121: ...ter Word Clock is generated by the Digital Audio System and NOT by the software application Cubase SMPTE is not locked to Word Clock inside the Sync Card they are completely independent SYNC CARD 1010 CARD ADAT Optical carries embedded word clock ADOCK ADAT In LTC BRC ADAT REWIND FAST FWD STOP PLAY RECORD EJECT MTC PatchMix DSP set to ADAT Sync 1 33 65 97 2 34 66 98 3 35 67 99 4 36 68 100 5 37 69 ...

Page 122: ...ve given MTC its own MIDI output port on the Sync Daughter Card This ensures that the timing information will not be affected by other MIDI data on the line Word Clock In Out f Word clock ADAT and S PDIF synchronize at the sample rate and are used to transfer digital data between machines Word clock provides a standardized means of synchronizing multiple digital audio devices so that data can be t...

Page 123: ...termi nation off See Word Clock Termination The diagram below shows the proper way to connect and terminate a serial word clock chain Using a BNC T connector ensures that word clock is precisely in phase for both devices The middle device has termination turned Off and the last device in the word clock chain has termination turned On House Sync Generator Digital Device 1 Digital Device 2 Digital D...

Page 124: ...nverters on the external device are being used Only one lightpipe is needed as long as PatchMix is set to receive its word clock signal from the external device The external A D is the Master and the E MU DAS is the Slave In the second example a second lightpipe is used to supply embedded word clock as well as eight channels of audio to the external A D D A The external device MUST be set to recei...

Page 125: ...when connecting balanced outputs to unbalanced inputs Doing so can increase noise level and introduce hum Use balanced 3 conductor cables ONLY if you are connecting balanced inputs to balanced outputs Balanced Cables Balanced cables are used in professional studios because they cancel out noise and interference Connector plugs used on balanced cables are XLR 3 prong mic connector or TRS Tip Ring S...

Page 126: ...aused by a ground loop Phantom Power Phantom power is a dc voltage 48 volts which is normally used to power the pream plifier of a condenser microphone Some direct boxes also use phantom power Pins 2 and 3 of the AudioDock microphone inputs each carry 48 volts dc referenced to pin 1 Pins 2 and 3 also carry the audio signal which rides on top of the constant 48 volts DC Coupling capacitors at the i...

Page 127: ...kHz 192kHz AudioDockM Power Use 1 25A 12V 15W ANALOG LINE INPUTS Type Servo balanced DC coupled low noise input circuitry Level software selectable Professional 4 dBu nominal 20 dBu maximum balanced Consumer 10 dBV nominal 6 dBV maximum unbalanced Frequency Response 05dB 20 Hz 20 kHz THD N 110 dB 0003 1kHz at 1 dBFS SNR 120 dB A weighted Dynamic Range 120 dB A weighted Channel Crosstalk 115 dB 1 k...

Page 128: ... A weighted min gain Input Impedance 10K ohm CMRR 40 dB 60Hz MICROPHONE PREAMP Gain Range 10 to 50 dB Max Level 12 dbV 9 8 dBu THD N 100 dB 001 1 kHz at 1 dBFS SNR 106 dB A weighted min gain Input Impedance 330 ohm CMRR 80 dB 60Hz HEADPHONES Frequency Response 0 0 0 35 dB 20 Hz 20 kHz THD N 1 kHz max level 33 ohm load 69 dB 0 035 600 ohm load 94 dB 0 002 SNR 117 dB A weighted Dynamic Range 117 dB ...

Page 129: ...z 4 channels 24 bit 96 kHz 2 channels 24 bit 192 kHz Firewire 400 IEEE 1394a port 6 pin Compatible with DV cameras or HDs MIDI 2 MIDI in 2 MIDI out SYNCHRONIZATION Internal Crystal Sync 44 1 kHz 48 kHz 88 2 kHz 96 kHz 176 4 kHz 192 kHz ADAT S PDIF optical or coaxial Word Clock sync card only 75 ohm termination switchable RMS JITTER 44 1K Measured via Audio Precision 2 SRSync SourceRMS jitter in pi...

Page 130: ... Type Servo balanced DC coupled low noise input circuitry Level software selectable Professional 4 dBu nominal 20 dBu maximum balanced Consumer 10 dBV nominal 6 dBV maximum unbalanced Frequency Response 0 0 0 2 dB 20 Hz 20 kHz THD N 102 dB 0008 1kHz at 1 dBFS SNR 111 dB A weighted Dynamic Range 111 dB A weighted Channel Crosstalk 115 dB 1 kHz signal at 1 dBFS Common mode Rejection 40 dB at 60Hz In...

Page 131: ...in SNR 100 dB A weighted min gain Input Impedance 10K ohm CMRR 40 dB 60Hz MICROPHONE PREAMP Gain Range 10 to 50 dB Max Level 12 dbV 9 8 dBu THD N 95 dB 0018 1 kHz at 1 dBFS SNR 100 dB A weighted min gain Input Impedance 330 ohm CMRR 80 dB 60Hz HEADPHONES Frequency Response 0 0 0 35 dB 20 Hz 20 kHz THD N 1 kHz max level 33 ohm load 70 dB 0 032 600 ohm load 85 dB 0 006 SNR 112 dB A weighted Dynamic ...

Page 132: ...out coaxial transformer coupled 2 in 3 out optical software switchable with ADAT AES EBU or S PDIF switchable under software control ADAT 8 channels 24 bit 44 1 48 kHz 4 channels 24 bit 96 kHz 2 channels 24 bit 192 kHz Firewire 400 IEEE 1394a port 6 pin Compatible with DV cameras or HDs MIDI 2 MIDI in 2 MIDI out SYNCHRONIZATION Internal Crystal Sync 44 1kHz 48 kHz 88 2 kHz 96 kHz 176 4 kHz 192 kHz...

Page 133: ...ioDockM Power Use 1 25A 12V 15W ANALOG LINE INPUTS Type Servo balanced DC coupled low noise input circuitry Level software selectable Professional 4 dBu nominal 20 dBu maximum balanced Consumer 10 dBV nominal 6 dBV maximum unbalanced Frequency Response 05dB 20 Hz 20 kHz THD N 110 dB 0003 1kHz at 1 dBFS SNR 120 dB A weighted Dynamic Range 120 dB A weighted Channel Crosstalk 115 dB 1 kHz signal at 1...

Page 134: ...NIZATION Internal Crystal Sync 44 1kHz 48 kHz 88 kHz 96 kHz 176 4 kHz 192 kHz ADAT S PDIF optical or coaxial Word Clock sync card only 75 ohm termination switchable RMS JITTER 44 1K Measured via Audio Precision 2 SRSync SourceRMS jitter in picoseconds 44 1 kHz Internal Crystal 596ps 44 1 kHz Optical Input 795ps Dimensions Weight AUDIODOCK Complete Product Weight 5 65lb 2 56kg AudioDock Weight Alon...

Page 135: ...mu_1820 KVR Forum http www kvr vst com forum search php Driver Heaven Forum http www driverheaven net search php s MIDI Addict Forum http forum midiaddict com search php Home Recording Forum http homerecording com bbs search php s d866b60193933eb726660e7bd 90dfb27 Sound On Sound Forum http sound on sound2 infopop net 2 OpenTopic a srchf s 215094572 Studio Central Cafe Forum http studio central com...

Page 136: ...of the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference to radio or television rece...

Page 137: ...2 1998 Class B EN61000 3 2 2001 EN61000 3 3 1995 w A1 98 Australia New Zealand Compliance Information AS NZS 3548 1995 w A1 A2 97 Class B EN55022 1998 Class B Japan Compliance Information VCCI April 2000 Class B using CISPR 22 1997 Class B VCCI Acceptance Nos R 1233 C 1297 Attention for the Customers in Europe This product has been tested and found compliant with the limits set out in the EMC Dire...

Page 138: ...7 Appendix Internet References 138 Creative Professional ...

Page 139: ...sor 92 Auto Volume Pedal using reshaper effect 83 Automating PowerFX 103 Auto Release RFX compressor 95 Auto Wah 66 Aux Bus 46 Auxiliary Effects Assignment 52 Auxiliary Returns 52 Auxiliary Sends 46 used as extra mix busses 52 B Background program disabling 29 Backward Cymbal Effect 99 Balance Control monitor 53 Balanced Cables 24 125 Band Cut Filter 89 Band Pass Filter 89 Block Diagram mixer 28 B...

Page 140: ...ughter Card description 20 installing 14 E MU 1010 PCI Card description 19 installing 13 E MU Icon 29 Envelope reverberation 73 78 E Wire 106 Exit PatchMix DSP Services 29 Exporting Core FX FX Insert Chains 58 External Clock 26 32 122 124 External Mode SMPTE 118 External Sync Source 32 Extra Buffers 102 F Factory Templates 31 Firewire Connector 20 Flanger 70 Flywheel Mode SMPTE 118 Frame Rates SMP...

Page 141: ... scribble strip 48 Latency monitoring without 41 LED clock source 23 green 22 MIDI activity 23 red 22 sample rate indicator 23 Level Fader 48 Level Meter gate effect 82 Leveling Amp 72 Levels setting input 42 LFO flanger 70 phase shifter 75 vocal morpher 79 Limiter 68 Limiting Peaks 98 Line Level input output audiodock 24 I O daughter card 20 Lite Reverb 73 Lookahead gate effect 81 reshaper effect...

Page 142: ... meters 53 monitor 53 SMPTE 118 reduction at high sample rates 113 routing display 51 section 53 P Palette effects 55 Pan 48 Pan Controls 35 Parametric EQ setting up 64 PatchMix DSP disabling 29 Peak Limiter 91 Peak Meters 42 Phantom Power 22 description 126 Phase Invert 44 Phase Shifter 75 Phattening using chorus 67 Phoneme 79 Physical Input Display 51 Physical Output Display 51 Physical Source 3...

Page 143: ...system 31 Sibilance reducing 100 Sidechain creating a de esser 100 creating a ducker 97 Sidechain Effects 52 routing 46 Signal generator insert 44 Signal Level Indicators LEDs 22 meters 53 Signal Level increasing 20 24 Smooth Bass Guitar Level 98 SMPTE 117 background 119 example connection 121 Soft Knee RFX compressor 92 Software Installation 17 Solo button 48 insert 59 60 send return insert 50 Sp...

Page 144: ...using PowerFX 102 Using External Sends Returns 40 TV Screen 49 50 U Unbalanced Cables 126 User Preset effect 60 V Vocal Morpher 79 Volume Control 35 W Wah Wah 66 WDM Recording Playback Behavior 115 Wet Dry Mix effects 59 Windows Media Player 36 Windows Media Player multichannel 37 Windows Taskbar E MU icon 29 Word Clock In Out 26 122 X XLR Connector 22 Z Zero Latency Monitoring 41 ...