AmpliTube 3 STEREO POST effects User`s guide

User's Guide
Babyface
Portable USB Audio at its best!
™
TotalMix
24 Bit / 192 kHz 9
™
SteadyClock
™
SyncCheck
USB 2.0 Digital I/O System
22 Channels Analog / ADAT / SPDIF Interface
24 Bit / 192 kHz Digital Audio
20 x 12 Matrix Router
MIDI I/O
MIDI Remote Control
General
1
2
3
4
5
Introduction ...............................................................6
Package Contents .....................................................6
System Requirements ..............................................6
Brief Description and Characteristics.....................6
First Usage - Quick Start
5.1 Connectors – Controls – Display ............................7
5.2 Quick Start ..............................................................9
Installation and Operation - Windows
6
7
Hardware Installation..............................................12
Driver and Firmware
7.1 Driver Installation .....................................................12
7.2 Driver Update...........................................................13
7.3 De-installing the Drivers...........................................13
7.4 Firmware Update .....................................................13
8
Configuring the Babyface
8.1 Settings Dialog – General ........................................14
8.2 Settings Dialog – Pitch .............................................16
9
Operation and Usage
9.1 Playback...................................................................17
9.2 DVD Playback (AC-3 / DTS) ....................................18
9.3 Notes on WDM.........................................................19
9.4 Channel Count under WDM.....................................20
9.5 Multi-client Operation ...............................................20
9.6 Analog Recording.....................................................21
9.7 Digital Recording......................................................21
9.8 Digital Connections ..................................................22
9.9 Clock Modes - Synchronization ...............................23
10
Operation under ASIO
10.1 General ................................................................24
10.2 Channel Count under ASIO .................................24
10.3 Known Problems ..................................................25
11
Using more than one Babyface .............................25
12
DIGICheck Windows ...............................................26
13
Hotline – Troubleshooting......................................27
Installation and Operation - Mac OS X
14
15
Hardware Installation..............................................30
Driver and Firmware
15.1 Driver Installation .................................................30
15.2 Driver Update .......................................................30
15.3 Firmware Update..................................................31
16
Configuring the Babyface
16.1 Settings Dialog – General ....................................31
16.2 Clock Modes - Synchronization ...........................33
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User's Guide Babyface © RME
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Mac OS X FAQ
17.1 Round about Driver Installation ........................... 34
17.2 MIDI doesn't work ................................................ 34
17.3 Repairing Disk Permissions................................. 34
17.4 Supported Sample Rates..................................... 34
17.5 Channel Count under Core Audio ....................... 35
17.6 Various Information.............................................. 35
18
Using more than one Babyface ............................. 36
19
DIGICheck Mac........................................................ 36
20
Hotline – Troubleshooting ..................................... 37
TotalMix FX
21
TotalMix: Routing and Monitoring
21.1 Overview .............................................................. 40
21.2 The User Interface ............................................... 42
21.3 The Channel ........................................................ 43
Settings.............................................................. 45
Equalizer ........................................................... 46
21.4 Section Control Room.......................................... 47
21.5 The Control Strip.................................................. 61
View Options ..................................................... 49
Snapshots - Groups .......................................... 50
21.6 Reverb and Echo ................................................. 51
21.7 Preferences.......................................................... 53
21.8 Settings ................................................................ 54
21.9 Hotkeys and Usage ............................................. 55
21.10 Menu Options....................................................... 56
22
The Matrix
22.1 Overview .............................................................. 57
22.2 The User Interface ............................................... 57
22.3 Usage................................................................... 57
23
Tips and Tricks
23.1 ASIO Direct Monitoring (Windows)...................... 58
23.2 Copy a Submix..................................................... 58
23.3 Delete a Submix................................................... 58
23.4 Doubling the Output Signal.................................. 58
23.5 Recording a Submix - Loopback ......................... 59
23.6 MS Processing..................................................... 60
24
MIDI Remote Control
24.1 Overview .............................................................. 61
24.2 Mapping ............................................................... 61
24.3 Setup.................................................................... 62
24.4 Operation ............................................................. 62
24.5 MIDI Control......................................................... 63
24.6 Loopback Detection ............................................. 64
User's Guide Babyface © RME
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Technical Reference
25
Technical Specifications
25.1 Analog ..................................................................66
25.2 MIDI......................................................................66
25.3 Digital ...................................................................67
25.4 Digital Inputs ........................................................67
25.5 Digital Outputs......................................................67
25.6 General ................................................................67
26
Technical Background
26.1 Lock and SyncCheck ...........................................68
26.2 Latency and Monitoring........................................69
26.3 USB Audio............................................................70
26.4 DS – Double Speed .............................................71
26.5 QS – Quad Speed................................................71
26.6 Noise Level in DS / QS Mode ..............................72
26.7 SteadyClock .........................................................72
27
Diagrams
27.1 Block Diagram Babyface......................................73
27.2 Connector Pinouts................................................74
Miscellaneous
28
29
30
31
4
Accessories .............................................................76
Warranty...................................................................76
Appendix ..................................................................77
Declaration of Conformity ......................................78
User's Guide Babyface © RME
User's Guide
Babyface
General
User's Guide Babyface © RME
5
1. Introduction
Thank you for choosing the RME Babyface. This unique audio system is capable of transferring
analog and digital audio data directly to Windows and Mac computers. The latest Plug and Play
technology guarantees a simple installation, even for the inexperienced user. Numerous unique
features and well thought-out configuration dialog puts the Babyface at the very top of the range
of computer-based audio interfaces.
The package contains drivers for Windows XP / Vista / 7 and Mac OS X x86 (Intel).
Our high-performance philosophy guarantees maximum system performance by executing as
many functions as possible not in the driver (i.e. the CPU), but within the audio hardware.
2. Package Contents
•
•
•
•
•
•
•
Babyface
Cable USB 2.0 with double power connector
Breakout cable XLR / TRS / DIN
D-sub extension cable 1.3m (4.3 ft)
Carrying bag, grey mesh
Manual
RME Driver CD
3. System Requirements
• Windows XP SP2 or up, Intel Mac OS X (10.5 or up)
• 1 USB 2.0 port
• Computer with at least Pentium Core 2 Duo CPU
4. Brief Description and Characteristics
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
6
All settings can be changed in real-time
Buffer sizes/latencies from 48 up to 8192 samples selectable
4 channels 96 kHz/24 bit Record/Playback via ADAT optical (S/MUX)
Clock modes slave and master
Automatic and intelligent master/slave clock control
Unsurpassed Bitclock PLL (audio synchronization) in ADAT mode
SteadyClock: Jitter-immune, super-stable digital clock
DDS technology for free setting of the sample rate
SyncAlign guarantees sample aligned and never swapping channels
SyncCheck tests and reports the synchronization status of input signals
TotalMix for latency-free submixes and perfect ASIO Direct Monitoring
TotalMix: 264 channel mixer with 46 bit internal resolution
TotalMix FX: 3-band EQ, Low Cut, Reverb, Echo
1 x MIDI I/O, 16 channels high-speed MIDI
2 digitally controlled microphone inputs in reference quality
2 balanced line outputs, level +15 dBu
1 x headphone output
DIGICheck DSP: Level meter in hardware, peak- and RMS calculation
User's Guide Babyface © RME
5. First Usage – Quick Start
5.1 Connectors – Controls – Display
The top of the Babyface features a rotary encoder with push switch function, 2 keys, 2 LED
bands and 5 status LEDs.
The two LED bands show the current gain, the input or output level, or indicate the channel to
be set, all dependent on the current mode. The lowest LED signals phantom power (+48 V,
orange), the highest one overload (Clip, red).
The rotary encoder is used to change various parameters directly at the unit. First the left key
Select is used to select the mode which is then displayed by the Status LEDs:
¾
Input: Setting the gain of the analog stereo inputs. A
push on the encoder changes between left, right or
both.
¾
Output: Setting the output level of the analog outputs
1/2 at the breakout cable. A push on the encoder
activates Dim for the Main Out defined in TotalMix FX
(default: Analog 1/2).
¾
Phones: Setting the output levels of the analog
outputs 3/4. A push on the encoder activates Dim for
the Main Out defined in TotalMix FX (default: Analog
1/2).
¾
Sync: Synchronisation indicator for the digital optical
input (SPDIF, ADAT). Flashes when the signal has
been detected but is not fully synchronous. See also
chapter 9.9 / 16.2, Clock Modes - Synchronisation.
The key Recall is used to store and load a specific listening volume for the Main Out (default:
Analog 1/2) defined in TotalMix FX. Pushing the knob for 2 seconds stores the current setting. If
the volume (output level) had been changed a quick hit on the Recall key will restore the former
value.
The right side of the Babyface has an instrument input and a
headphones output.
The analog input 2 can be switched in TotalMix between line (low
impedance, balanced, at the breakout cable) and instrument (high
impedance, unbalanced, TRS jack at the unit). See Settings menu
of input channel 2.
The analog outputs Phones (channels 3/4) are available at the breakout cable and on the right
side of the unit. The connectors are not separated electrically. When connecting two headphones the volume might be reduced. The low impedance and unbalanced output signal is – in
terms of quality – identical to the ones at the line outputs, but limited to +7 dBu.
In case the phones output is to be used as line output, usually an adapter TRS plug to RCA
phono plugs, or TRS plug to TS plugs is required. More on cable codes and pinouts can be
found in chapter 27.2.
User's Guide Babyface © RME
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The short circuit protected, low impedance line outputs do not operate servo balanced!
When connecting unbalanced equipment, make sure pin 3 of the XLR output is not connected. A connection to ground will cause a decreased THD (higher distortion) and increased power consumption!
The Babyface has two analog microphone inputs that can operate as line inputs with levels up
to +12 dBu, when set to 0 dB gain. The electronic input stage uses a servo balanced design
which handles unbalanced and balanced signals correctly, automatically adjusting the level
reference.
When using unbalanced cables with the XLR breakout cable: be sure to connect the 'ring'
contact of a stereo TRS jack, and pin 3 of a XLR jack, to ground. Otherwise noise may occur, caused by the unconnected negative input of the balanced input.
The rear of the Babyface has an
optical input and output, a power
supply connector, a USB socket
and a 15-pin D-sub connector for
the included breakout cable.
Optical Out
USB 2.0
Breakout cable
Optical In
Power
Optical I/O (TOSLINK): The unit automatically detects SPDIF or ADAT input signals. The optical output can operate as ADAT or SPDIF output, depending on the current setting in the Settings dialog.
USB 2.0: USB socket for connection to the computer.
Socket for power connection. Unburdens the computer’s power supply, or ensures a stable
power supply, in case it proves to be insufficient when taken from the computer. If the power
supply via standard USB cables is not sufficient the included special dual power cable can also
be used.
The included breakout cable provides these connections:
¾
Microphone/Line In: 2 x XLR, balanced
¾
Line Out: 2 x XLR, balanced
¾
Phones Output: 1 x stereo TRS 1/4"
(6.3 mm), unbalanced. Can also be
used as additional line output.
¾
MIDI I/O: One MIDI input and output via 5-pin DIN connector.
If the breakout cable turns your desktop into a mess the included extension cable comes to the
rescue. It is simply inserted between the breakout cable and the D-sub connector of the Babyface. Then both breakout cable and all cables connected to it will be out of sight, without decreasing the Babyface’s technical specifications or performance.
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User's Guide Babyface © RME
5.2 Quick Start
After the driver installation (chapter 7 / 15), connect the inputs to the analog signal source.
Mount the included breakout cable with or without the extension cable to the D-sub connector of
the Babyface.
The analog input sensitivity can be changed at the unit (Select In) or in TotalMix (Settings,
Gain), assuring the highest signal to noise ratio will be achieved. Also try to achieve an optimum
input level by adjusting the source itself. Raise the source’s output level until the peak level
meters in TotalMix reach about –3 dB.
The analog line inputs of the Babyface can be used with +4 dBu and -10 dBV signals. The electronic input stage can handle balanced (XLR, TRS jacks) and unbalanced (TS jacks) input signals correctly.
The Babyface's digital output supports the formats SPDIF and ADAT optical.
On the analog playback side (the DA side), an adjustment of the analog output level can be
done by the rotary encoder (Select Out or Phones), or in TotalMix FX.
The output signal of channels 3/4, Phones, is also available at the unit. The output level can be
set freely using the rotary encoder. This output is a low impedance type, which can also be
used to connect headphones.
TotalMix FX remembers all settings, and loads these automatically when the Babyface drivers
are loaded.
User's Guide Babyface © RME
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User's Guide Babyface © RME
User's Guide
Babyface
Installation and Operation – Windows
User's Guide Babyface © RME
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6. Hardware Installation
Connect computer and Babyface with the supplied USB cable. Turn on the computer. That‘s it.
Chapter 26.3 explains how to find the ideal USB port.
7. Driver and Firmware
7.1 Driver Installation
After the Babyface has been recognized, (see 6. Hardware Installation) the hardware assistant
finds a Babyface. Insert the RME Driver CD into your CD-ROM drive, and follow further instructions which appear on your computer screen. The driver files are located in the directory
\Babyface on the RME Driver CD.
Windows now installs the driver of the Babyface and
registers it as a new audio device in the system. After a
reboot, the symbols of TotalMix and Settings dialog will
appear in the task bar.
In case the Hardware Wizard does not show up automatically after connecting the Babyface, do not attempt to install the drivers manually! An installation of drivers for nonrecognized hardware can cause a blue screen when booting Windows!
In Windows 7 Microsoft removed the automatic start of the Driver Software Update dialog. Therefore this dialog has to be started manually after the failed driver installation. Hit the Windows
key, type 'Device Manager', start the Device Manager by selecting it from the list and hit Enter.
The device is shown with a yellow warning symbol. Usually it is already found in the correct
category, Sound, Video and Game Controller (Plug & Play detects a multimedia device). Right
click on the device and select 'Update Driver Software' from the context menu.
The dialog Update Driver Software appears. Now follow the instructions given below.
Possible reasons why a Babyface is not found automatically:
•
The USB port is not active in the system (check the Device Manager)
•
The USB cable is not, or not correctly inserted into the socket
•
The Babyface does not receive any or not enough power. In this case please use the included dual cable. Plug both connectors from one end of the cable into the computer. If the
Babyface starts correctly the lowest green LED in the left band will flash, the In LED is constantly lit, the lowest one in the right band too.
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User's Guide Babyface © RME
7.2 Driver Update
When facing problems with the automatic driver update, the user-driven way of driver installation will work.
Under >Control Panel /System /Device Manager /Sound, Video and Game Controllers /RME
Babyface/Properties /Driver< you'll find the 'Update Driver' button.
XP: Select 'Install from a list or specific location (advanced)', click 'Next', select 'Don't
search I will choose the driver to install', click 'Next', then 'Have Disk'. Now point to the
driver update's directory.
Vista/7: Select 'Browse my computer for driver software', then 'Let me pick from a list of
device drivers from my computer', then 'Have Disk'. Now point to the driver update's directory.
This method also allows for the installation of older drivers than the currently installed ones.
7.3 De-installing the Drivers
A de-installation of the driver files is not necessary – and not supported by Windows anyway.
Thanks to full Plug & Play support, the driver files will not be loaded after the hardware has
been removed. If desired these files can then be deleted manually.
Unfortunately Windows Plug & Play methods do not cover the additional autorun entries of TotalMix, the Settings dialog, and the registration of the ASIO driver. These entries can be removed from the registry by a software de-installation request. This request can be found (like all
de-installation entries) in Control Panel, Add or Remove Programs (Vista/7: Programs and Features). Click on the entry 'RME Fireface USB'.
7.4 Firmware Update
The Flash Update Tool updates the firmware of the Babyface to the latest version. It requires an
already installed driver.
Start the program fut_usb.exe. The Flash Update
Tool displays the current revision of the Babyface's
firmware, and whether it needs an update or not. If
so, then simply press the 'Update' button. A
progress bar will indicate when the flash process is
finished (Verify Ok).
After the update the Babyface needs to be reset.
This is done by powering down the Babyface for a
short time.
Attention: the Babyface should not be switched off
for less than 5 seconds, because Windows
completely unloads the driver, which takes some
time to finish.
A reboot of the computer is not necessary.
When the update fails (status: failure), the unit's Safety BIOS will be used from the next boot on,
the unit stays fully functional. The flash process should then be tried again.
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8. Configuring the Babyface
8.1 Settings Dialog - General
Configuration of the Babyface is done via its own settings dialog. The panel 'Settings' can be
opened:
• by clicking on the fire symbol in the Task Bar's notification area
The mixer of the Babyface (TotalMix) can be opened:
• by clicking on the double arrow symbol in the Task Bar's notification area
The hardware of the Babyface offers a number of helpful, well thought-out practical functions
and options which affect how the card operates - it can be configured to suit many different
requirements.
The following is available in the Settings dialog:
•
•
•
•
•
•
Latency
Operation of the DSP
Configuration of the digital I/O
Current sample rate
Synchronization behaviour
State of input and output
Any changes made in the
Settings dialog are applied
immediately - confirmation (e.g.
by clicking on OK or exiting the
dialog) is not required.
However, settings should not be
changed during playback or
record if it can be avoided, as
this can cause unwanted noises.
Also, please note that even in
'Stop' mode, several programs
keep the recording and playback
devices open, which means that
any new settings might not be
applied immediately.
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User's Guide Babyface © RME
Buffer Size
The setting Buffer Size determines the latency between incoming and outgoing ASIO and WDM
data, as well as affecting system stability (see chapter 9.1 / 10).
Errors does not refer to buffer errors, but USB transmission errors. The display will be reset on
any start of a playback/record. More information can be found in chapter 26.3.
Options
DSP – EQ for Record
Switches the 3-band EQ and Low Cut of all input channels into the recording path. In case
Loopback has been activated the EQ and Low Cut of the Output channel is placed into the recording path. See also chapter 23.5.
Optical Out
The optical TOSLINK output can operate as ADAT or SPDIF output. The Channel Status is
fixed to Consumer state.
Note: The optical input detects the incoming format automatically.
SPDIF In
TMS activates the transmission of Channel Status data and Track Marker information from the
SPDIF input signal.
Clock Mode
Sample Rate
Sets the currently used sample rate. Offers a central and comfortable way of configuring the
sample rate of all WDM devices to the same value, as since Vista the audio software is no
longer allowed to set the sample rate. However, an ASIO program can still set the sample rate
by itself.
During record/playback the selection is greyed out, so no change is possible.
Clock Source
The unit can be configured to use its own clock (Internal = Master) or the digital input signal
(Optical = Slave). If the external source isn't available (Input Status No Lock), the unit will
change to the internal clock. The current clock source is displayed as Current.
Pitch
More information on Pitch is available in chapter 8.2.
Input Status
Indicates presence of a valid signal at the optical input (Lock, No Lock) and whether the signal
is synchronous (Sync). The third column shows the sample frequency detected by the hardware
(coarse recognition, 32 kHz, 44.1 kHz, 48 kHz etc.). In Clock Mode the clock reference is
shown. See also chapter 26.1.
The About tab includes information about the current driver version as well as the current firmware version of the Babyface.
User's Guide Babyface © RME
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8.2 Settings Dialog - Pitch
Usually soundcards and audio interfaces generate their internal clock (master mode) by a
quartz. Therefore the internal clock can be set to 44.1 kHz or 48 kHz, but not to a value in between. SteadyClock, RME's sensational Low Jitter Clock System, is based on a Direct Digital
Synthesizer (DDS). This superior circuitry can generate nearly any frequency with highest precision.
DDS has been implemented into the Babyface with regard to the needs of professional video
applications, as well as to maximum flexibility. The section Pitch includes both a list of typical
video frequencies (so called pull up/pull down at 0.1% and 4%) and a fader to freely change the
basic sample rate in steps of 1 Hz (!) over a range of +/- 5%.
The Pitch function requires the Babyface to be in clock mode Master (Internal)! The frequency setting will only be applied to this one specific Babyface!
Changing the sample rate during record/playback often results in a loss of audio, or brings
up warning messages of the audio software. Therefore the desired sample rate should be
set at least coarsely before starting the software.
Coarse
Coarse modification in steps of 50 Hz
is done by clicking with the mouse to
the left and right of the fader knob.
Fine
Fine modification in steps of 1 Hz is
done by using the left/right cursor
keys.
Reset
Ctrl key plus left mouse click.
Application examples
Pitch allows for a simultaneous change of speed and tune during record and playback. From
alignment to other sources up to creative effects – everything is possible.
Pitch enables you to intentionally de-tune the complete DAW. This way, the DAW can match
instruments which have a wrong or unchangeable tuning.
Pitch allows for the change of the sample rate of all WDM devices at the same time. Since Vista
this is no longer possible via the audio program, thus requires a manual reconfiguration of all
WDM devices. Changing the sample rate from the Settings dialog solves this problem. As the
change within the system requires some time, record/playback should not be started immediately, but only after at least 5 seconds after a change.
Tip: the current CPU load can be used to determine if the audio subsystem has finished the reconfiguration.
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User's Guide Babyface © RME
9. Operation and Usage
9.1 Playback
In the audio application being used, Babyface must be selected as output device. It can often
be found in the Options, Preferences or Settings menus, as Playback Device, Audio Devices,
Audio etc.
We recommend switching all system sounds off (via >Control Panel /Sound<). Also Babyface
should not be the Preferred Device for playback, as this could cause loss of synchronization
and unwanted noises. If you feel you cannot do without system sounds, you should consider
using the on-board sound device or buying a cheap Blaster clone and select this as Preferred
Device in >Control Panel /Multimedia /Audio< or >Control Panel /Sound /Playback<.
The screenshot shows a typical configuration dialog. After selecting a device, audio data is sent
to an analog or digital port, depending on which has been selected as playback device.
Increasing the number and/or size of audio buffers may prevent the audio signal from breaking
up, but also increases latency i.e. output is delayed. For synchronized playback of audio and
MIDI (or similar), be sure to activate the checkbox ‘Get position from audio driver’.
Note on Windows Vista/7:
Since Vista the audio application can no longer control the sample rate under WDM. Instead the
user has to work himself through numerous settings (up to 32 with a MADI card!), and to set the
sample rate to the same value per stereo device.
Therefore the driver of the Babyface includes a workaround: the sample rate can be set globally
for all WDM devices within the Settings dialog, see chapter 8.1.
User's Guide Babyface © RME
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9.2 DVD-Playback (AC-3/DTS)
AC-3 / DTS
When using popular DVD software players like WinDVD and PowerDVD, their audio data
stream can be sent to any AC-3/DTS capable receiver using the Babyface's SPDIF output. For
this to work, the WDM SPDIF device of the Babyface has to be selected in >Control Panel/
Sounds and Multimedia/ Audio< or >Control Panel/ Sound/Playback<. Also check 'use preferred
device only'.
The DVD software's audio properties now show the options 'SPDIF Out' or similar. When selecting it, the software will transfer the non-decoded digital multichannel data stream to the Babyface.
Note: This 'SPDIF' signal sounds like chopped noise at highest level. Try to avoid mixing and
routing the signal to your loudspeakers, as they might get damaged.
Multichannel
PowerDVD and WinDVD can also operate as software decoder, sending a DVD's multichannel
data stream directly to the analog outputs of the Babyface. For this to work select the WDM
playback device ’Loudspeaker’ of the Babyface in
XP: >Control Panel/ Sounds and Multimedia/ Audio<, and check 'Use only default devices'.
Additionally the loudspeaker setup, found under >Volume/ Speaker Settings/ Advanced< has to
be changed from Stereo to 5.1 Surround.
Vista/7: >Control Panel/ Sound/ Playback < as ‘Standard’. Additionally the loudspeaker setup,
found under >Configuration<, has to be changed from Stereo to 5.1 Surround.
PowerDVD's and WinDVD's audio properties now list several multichannel modes. If one of
these is selected, the software sends the decoded analog multichannel data to the Babyface.
TotalMix can then be used to play back via any desired output channels.
The typical channel assignment for surround playback is:
1 - Left
2 - Right
3 - Center
4 - LFE (Low Frequency Effects)
5 - SL (Surround Left)
6 - SR (Surround Right)
Note 1: Selecting the Babyface to be used as system playback device is against our recommendations, as professional interfaces should not be disturbed by system events. Make sure to
re-assign the selection after usage or to disable any system sounds (tab Sounds, scheme 'No
audio').
Note 2: The DVD player will be synced backwards from the Babyface. This means when using
AutoSync and/or word clock, the playback speed and pitch follows the incoming clock signal.
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User's Guide Babyface © RME
9.3 Notes on WDM
The driver offers one WDM streaming device per stereo pair, like Analog 3+4 (Babyface).
WDM Streaming is Microsoft's current driver and audio system, directly embedded into the operating system. WDM Streaming is hardly usable for professional music purposes, as all data is
processed by the so called Kernel Mixer, causing a latency of at least 30 ms. Additionally, WDM
can perform sample rate conversions unnoticed, cause offsets between record and playback
data, block channels unintentionally and much more.
Several programs do not offer any direct device selection. Instead they use the playback device
selected in Windows under
XP: <Control Panel/ Sounds and Multimedia/ Audio>
Vista/7: <Control Panel/ Sound/ Playback>
The program Sonar from Cakewalk is unique in many ways. Sonar uses the so called WDM
Kernel Streaming, bypassing the WDM mixer, thus achieves a similar performance to ASIO
(see below).
Because of the driver's multichannel streaming ability, Sonar not only finds the stereo device
mentioned above, but also the 8-channel interleaved devices, and adds the channel number at
the end:
Babyface Analog (1+2) 1/2 is the first stereo device
Babyface Analog (3+4) is the next stereo device
Babyface Analog (1+2) 3/4 are the channels 3/4 of the first 8-channel interleaved device.
It is not recommended to use these special interleaved devices. Also it is not possible to use
one stereo channel twice (the basic and the interleaved device).
Multi-Channel using WDM
The WDM Streaming device Loudspeaker (Analog 1+2) of the RME driver can operate as usual
stereo device, or as up to 8-channel device.
An 8-channel playback using the Windows Media Player requires the speaker setup 7.1 Surround. Configure as follows:
XP: >Control Panel /Sounds and Multimedia /Audio /Volume /Speaker Settings /Advanced <
Vista/7: >Control Panel /Sound /Playback /Loudspeaker /Configure <
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9.4 Channel Count under WDM
The Babyface’s ADAT optical interface offers sample rates of up to 192 kHz using a standard
ADAT recorder. For this to work single-channel data is spread to two or four ADAT channels
using the Sample Multiplexing technique. This reduces the number of available ADAT channels
from 8 to 4 or 2 per ADAT port.
Whenever the Babyface changes into Double Speed (88.2/96 kHz) or Quad Speed mode
(176.4/192 kHz) all devices no longer available vanish automatically.
WDM Stereo device
Babyface Analog (1+2)
Babyface Analog (3+4)
Babyface AS (1+2)
Babyface ADAT (3+4)
Babyface ADAT (5+6)
Babyface ADAT (7+8)
Double Speed
Babyface Analog (1+2)
Babyface Analog (3+4)
Babyface AS (1+2)
Babyface ADAT (3+4)
Babyface ADAT (5+6)
Babyface ADAT (7+8)
Quad Speed
Babyface Analog (1+2)
Babyface Analog (3+4)
Babyface AS (1+2)
Babyface ADAT (3+4)
Babyface ADAT (5+6)
Babyface ADAT (7+8)
Note: Under Vista/7 the analog outputs 1/2 show up as Loudspeaker.
9.5 Multi-client Operation
RME audio interfaces support multi-client operation. This means several programs can be used
at the same time. Also ASIO and WDM can be used simultaneously. The use of multi-client
operation requires to follow two simple rules:
•
Multi-client operation requires identical sample rates!
I.e. it is not possible to use a software with 44.1 kHz and another one with 48 kHz.
•
Different software can not use the same playback channels at the same time.
If for example Cubase uses channels 1/2, this playback pair can't be used in WaveLab, no matter if ASIO or WDM. However, this is no limitation at all, because TotalMix allows for any output
routing, and therefore a playback of multiple software on the same hardware outputs. Note that
identical inputs can be used at the same time, as the driver simply sends the data to all applications simultaneously.
ASIO-Multiclient
RME audio interfaces support ASIO multi-client operation. It is possible to use more than one
ASIO software at the same time. Again the sample rate has to be identical, and each software
has to use its own playback channels. Again the inputs can be used simultaneously.
RME's sophisticated tool DIGICheck is an exception to this rule. It operates like an ASIO host,
using a special technique to access playback channels already occupied. Therefore DIGICheck
is able to analyse and display playback data from any software, no matter which format the
software uses.
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9.6 Analog Recording
For recordings via the analog inputs the corresponding record device has to be chosen (Babyface Analog (x+x)).
Channels 1 and 2 of the Babyface have digitally controlled microphone
preamps of the highest quality. The digital control offers a gain setting
in steps of 3 dB within a range of 9 dB to 60 dB. The configuration is
done either directly at the unit via the rotary encoder, or via the Settings
panel of the input channels 1 and 2 in TotalMix, with the knob Gain.
The current gain is displayed in dB beside the knob.
In the lower range the knob jumps from 9 dB to 0 dB. This useful
additional setting provides line signal compatibility at up to +12 dBu at
the microphone input.
Above the knob Gain the inputs can be set separately to provide 48V
phantom power at the XLR connectors. Phantom power is required for
condenser microphones.
Input channel 2 can be switched to the TRS jack on the right side of the
Babyface. The Hi-Z instrument input has an input impedance of 470
kOhm. The input gain is controlled by the same knob, but the gain
range now starts at +9 dB.
It often makes sense to monitor the input signal or send it directly to the output. This can be
done at zero latency using TotalMix (see chapter 21).
An automated control of real-time monitoring can be achieved by Steinberg’s ASIO protocol
with RME’s ASIO drivers and any ASIO 2.0 compatible program. When 'ASIO Direct Monitoring'
has been switched on, the input signal is routed in real-time to the output whenever a recording
is started (punch-in).
9.7 Digital Recording
Unlike analog soundcards which produce empty wave files (or noise) when no input signal is
present, digital interfaces always need a valid input signal to start recording.
Taking this into account, RME added a
comprehensive I/O signal status display to
the Babyface, showing sample frequency,
lock and sync status in the Settings dialog,
and a status LED directly at the unit.
The sample frequency shown in the Settings
dialog is useful as a quick display of the
current configuration of the unit and the
connected external equipment. If no sample
frequency is recognized, it will read ‘No Lock’.
This way, configuring any suitable audio application for digital recording is simple. After connection the Babyface displays the current and external sample frequency. This parameter can then
be changed in the application’s audio attributes (or similar) dialog.
User's Guide Babyface © RME
21
9.8 Digital Connections
ADAT
The ADAT optical input of the Babyface is fully compatible with all ADAT optical outputs. RME's
unsurpassed Bitclock PLL prevents clicks and drop outs even in extreme varipitch operation,
and guarantees a fast and low jitter lock to the digital input signal. A usual TOSLINK cable is
sufficient for connection. More information on Double Speed (S/MUX) can be found in chapter
26.4.
ADAT In
Interface for a device sending an ADAT signal to the Babyface. Carries the channels 1 to 8.
When receiving a Double Speed signal, this input carries the channels 1 to 4, at Quad Speed
the inputs 1 and 2.
ADAT Out
Interface for a device receiving an ADAT signal from the Babyface. Transmits channels 1 to 8.
When sending a Double Speed signal, this port carries channels 1 to 4, at Quad Speed the
channels 1 and 2.
Note: To use the optical output as ADAT port set the option Optical to ADAT in the Settings
dialog.
SPDIF
The optical input automatically switches to SPDIF operation when such a signal is detected.
The audio information is then shown in TotalMix on the first two ADAT channels, AS 1 and AS
2.
Activating the option TMS in the Windows Settings dialog enables RME’s DIGICheck to analyze
the Channel Status of the input signal.
To send out SPDIF from the optical output, select the option Optical – SPDIF in the Settings
dialog. The output signal in TotalMix has to be present on the first ADAT channels, AS 1+2.
MIDI
Babyface offers one MIDI I/O via two 5-pin DIN jacks. The MIDI ports are added to the system
by the driver. Using MIDI capable software, these ports can be accessed under the name Babyface Midi. Using more than one Babyface, the operating system adds a consecutive number to
the port name, like Babyface MIDI (2) etc.
The MIDI ports support multi-client operation. A MIDI input signal can be received from several
programs at the same time. Even the MIDI output can be used by multiple programs simultaneously. However, due to the limited bandwidth of MIDI, this kind of application will often show
various problems.
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9.9 Clock Modes - Synchronization
In the digital world, all devices must be either Master (clock source) or Slave (clock receiver).
Whenever several devices are linked within a system, there must always be a single master
clock.
A digital system can only have one master! If the Babyface’s clock mode is set to 'Internal',
all other devices must be set to ‘Slave’.
The Babyface utilizes a very user-friendly, intelligent clock control, called AutoSync. Selecting
Optical as Clock Source, the system constantly scans the digital input for a valid signal. If any
valid signal is found, the Babyface switches from the internal quartz (Clock Mode – Current
Internal) to a clock extracted from the input signal (Clock Mode – Current ADAT or SPDIF). The
difference to a usual slave mode is that whenever the clock reference fails, the system will
automatically use its internal clock and operate in clock mode Master.
AutoSync guarantees that record and record-while-play will always work correctly. In certain
cases however, e.g. when the inputs and outputs of a DAT machine are connected directly to
the Babyface, AutoSync may cause feedback in the digital carrier, so synchronization breaks
down. To solve this problem switch the Babyface clock mode to Master (Clock Source – Internal).
In some situations changing the clock mode can not be avoided. Example: A CD player is connected to the SPDIF input. Try recording a few samples from the CD and you will be disappointed - few CD players can be synchronized. The samples will inevitably be corrupted, because the signal from the CD player is read with the clock from the Babyface, being out of sync.
In this case, the Clock Source should be set temporarily to SPDIF.
RME’s exclusive SyncCheck technology (first implemented in the Hammerfall) enables an easy
to use check and display of the current clock status. Input Status indicates whether there is a
valid signal (Lock, No Lock) for the optical input, or if there is a valid and synchronous signal
(Sync). In the field Clock Mode the clock reference is shown. See chapter 26.1.
Under WDM the Babyface will (has
to) set the sample rate. Therefore the
error shown to the right can occur. A
stable signal with a sample rate of 32
kHz is detected at the ADAT input
(Sync), but Windows audio had been
set to 44100 Hz before. The red color
of the text label signals the error
condition, and prompts the user to set
32000 Hz manually as sample rate.
Under ASIO the audio software sets
the sample rate, so that such an error
can not happen. If the input sample
rate is different then there will be no
Sync indication.
With RME’s AutoSync and SyncCheck, finally anyone can master this common source of error,
previously one of the most complex issues in the digital studio world.
User's Guide Babyface © RME
23
10. Operation under ASIO
10.1 General
Start the ASIO software and select ASIO Fireface USB as the audio I/O device or the audio
driver.
The Babyface supports ASIO Direct Monitoring (ADM).
The Babyface MIDI I/O can be used with both MME MIDI and DirectMusic MIDI.
10.2 Channel Count under ASIO
At a sample rate of 88.2 or 96 kHz, the ADAT optical input and output operates in S/MUX mode,
so the number of available channels is reduced from 8 to 4.
At a sample rate of 176.4 and 192 kHz, the ADAT optical input and output operates in S/MUX4
mode, so the number of available channels is limited to 2.
Note: When changing the sample rate range between Single, Double and Quad Speed the
number of channels presented from the ASIO driver will change too. This may require a reset of
the I/O list in the audio software.
Single Speed
Babyface Analog 1 to 4
Babyface AS 1 to 2
Babyface ADAT 3 to 4
Babyface ADAT 5 to 6
Babyface ADAT 7 to 8
Double Speed
Babyface Analog 1 to 4
Babyface AS 1 to 2
Babyface ADAT 3 to 4
Babyface ADAT 5 to 6
Babyface ADAT 7 to 8
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Quad Speed
Babyface Analog 1 to 4
Babyface AS 1 to 2
Babyface ADAT 3 to 4
Babyface ADAT 5 to 6
Babyface ADAT 7 to 8
10.3 Known Problems
If a computer does not provide sufficient CPU-power and/or sufficient USB-bus transfer rates,
then drop outs, crackling and noise will appear. Such effects can be avoided by using a higher
buffer setting/latency in the Settings dialog of the Babyface. Furthermore PlugIns should be
deactivated temporarily to make sure they do not cause these problems.
More information can be found in chapter 26.3.
Another common source of trouble is incorrect synchronization. ASIO does not support asynchronous operation, which means that the input and output signals not only have to use the
same sample frequency, but also have to be in sync. All devices connected to the Babyface
must be properly configured for Full Duplex operation. As long as SyncCheck (in the Settings
dialog) only displays Lock instead of Sync, the devices have not been set up properly!
The same applies when using more than one Babyface or Fireface UC - they all have to be in
sync. Else a periodically repeated noise will be heard.
The Babyface supports ASIO Direct Monitoring (ADM). Please note that not all programs support ADM completely or error-free. The most often reported problem is the wrong behaviour of
panorama in a stereo channel.
In case of a drift between audio and MIDI, or in case of a fixed deviation (MIDI notes placed
close before or behind the correct position), the settings in Cubase/Nuendo have to be
changed. At the time of print the option 'Use System Timestamp' should be activated. The
Babyface supports both MME MIDI and DirectMusic MIDI. It depends on the used application
which one will work better.
11. Using more than one Babyface
The current driver supports up to three Babyface or Fireface UC. All units have to be in sync,
i.e. have to receive valid digital sync information.
•
If one of the Babyfaces is set to clock mode Master, all others have to be set to clock mode
Slave, and have to be synced from the master, for example by feeding word clock. The
clock modes of all units have to be set up correctly in the Babyface Settings dialog.
•
If all units are fed with a synchronous clock, i.e. all units show Sync in their Settings dialog,
all channels can be used at once. This is especially easy to handle under ASIO, as the
ASIO driver presents all units as one.
Note: TotalMix is part of the hardware of each Babyface. Up to three mixers are available, but
these are separated and can't interchange data. Therefore a global mixer for all units is not
possible.
In real-world an operation of more than one Babyface makes no sense and is therefore not
actively supported by RME. The second unit would have to be synchronized using the optical
input. The result is an extension by only 2 analog record and 4 analog playback channels (plus 8
digital via ADAT Out). It makes much more sense to directly connect an 8-channel converter to
the ADAT I/O of one Babyface, adding full 8 channels of record and playback.
User's Guide Babyface © RME
25
12. DIGICheck Windows
The DIGICheck software is a unique utility developed for testing, measuring and analysing digital audio streams. Although this Windows software is fairly self-explanatory, it still includes a
comprehensive online help. DIGICheck 5.3 operates as multi-client ASIO host, therefore can be
used in parallel to any software, with both inputs and outputs (!). The following is a short summary of the currently available functions:
• Level Meter. High precision 24-bit resolution, 2/10/28 channels. Application examples: Peak
level measurement, RMS level measurement, over-detection, phase correlation measurement, dynamic range and signal-to-noise ratios, RMS to peak difference (loudness), long
term peak measurement, input check. Oversampling mode for levels higher than 0 dBFS.
Supports visualization according to the K-System.
• Hardware Level Meter for Input, Playback and Output. Reference Level Meter freely configurable, causing near zero CPU load, because calculated from the Babyface hardware.
• Vector Audio Scope. World wide unique Goniometer showing the typical afterglow of a
oscilloscope-tube. Includes Correlation meter and level meter.
• Surround Audio Scope. Professional Surround Level Meter with extended correlation
analysis, ITU weighting and ITU summing meter.
• Spectral Analyser. World wide unique 10-, 20- or 30-band display in analog bandpass filter
technology. 192 kHz-capable!
• Bit Statistics & Noise. Shows the true resolution of audio signals as well as errors and DC
offset. Includes Signal to Noise measurement in dB and dBA, plus DC measurement.
• Totalyser. Spectral Analyser, Level Meter and Vector Audio Scope in a single window.
• Channel Status Display. Detailed analysis and display of SPDIF and AES/EBU Channel
Status data.
• Global Record. Long-term recording of all channels at lowest system load.
• Completely multi-client. Open as many measurement windows as you like, on any channels and inputs or outputs!
To install DIGICheck, go to the \DIGICheck directory on the RME Driver CD and run setup.exe.
Follow the instructions prompted on the screen.
DIGICheck is constantly updated. The latest version is always available on our website
www.rme-audio.com, section Downloads / DIGICheck.
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13. Hotline – Troubleshooting
The newest information can always be found on our website www.rme-audio.com, section FAQ,
Latest Additions.
The input signal cannot be monitored in real-time
• ASIO Direct Monitoring has not been enabled within the DAW, and/or monitoring has been
disabled globally (TotalMix Options).
The 8 ADAT channels don’t seem to work
• The optical output has been switched to 'SPDIF'. As can be seen in the block diagram, all
channels and their assignments still exist, but the optical transmitter has been disconnected
from ADAT. The ADAT playback devices are still usable by routing and mixing them in TotalMix to other outputs.
Playback works, but record doesn’t
• Check that there is a valid signal at the input. If so, the current sample frequency is displayed in the Settings dialog.
• Check whether the Babyface has been selected as recording device in the audio application.
• Check whether the sample frequency set in the audio application (‘Recording properties’ or
similar) matches the input signal.
• Check that cables/devices have not been connected in a closed loop. If so, set the system’s
clock mode to Master.
Crackle during record or playback
• Increase the number and size of buffers in the ‘Settings’ dialog or in the application.
• Try different cables (coaxial or optical) to rule out any defects here.
• Check that cables/devices have not been connected in a closed loop. If so, set the system’s
clock mode to ‘Master’.
• Check the Settings dialog for displayed Errors.
Driver installation and Settings dialog/TotalMix work, but a playback or record is not possible
•
While recognition and control of the device are low bandwidth applications, playback/record
needs the full USB transmission performance. Therefore, defective USB cables with limited
transmission bandwidth can cause such errors.
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27
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User's Guide
Babyface
Installation and Operation – Mac OS X
User's Guide Babyface © RME
29
14. Hardware Installation
Connect computer and Babyface with the included USB cable. Mac OS X detects the new hardware as Babyface (serial number).
15. Driver and Firmware
15.1 Driver Installation
After the Babyface has been connected, (see 14. Hardware Installation) install the drivers from
the RME Driver CD. The driver files are located in the folder Babyface. Installation works automatically by a double-click on the file Fireface USB.pkg.
RME recommends downloading the latest driver version from the RME website. If done, the
procedure is as follows:
A double-click onto driver_usb_mac.zip expands the archive file to Babyface USB.pkg. Installation works automatically by a double-click on this file.
During driver installation the programs Fireface USB Settings and Fireface USB Mixer (TotalMix FX) are copied to the Applications folder. It is recommended to link these two programs
to the Dock so that they are always available.
Possible reasons why a Babyface is not found after driver installation:
•
The USB port is not active in the system (check in System Profiler, USB)
•
The USB cable is not, or not correctly inserted into the socket
•
The Babyface does not receive any or not enough power. In this case please use the included dual cable. Plug both connectors from one end of the cable into the computer. If the
Babyface starts correctly the lowest green LED in the left band will flash, the In LED is constantly lit, the lowest one in the right band too.
15.2 Driver Update
In case of a driver update it's not necessary to remove the old driver first, it will be overwritten
during the installation. In case of problems the driver files can be deleted manually by dragging
them to the trash bin:
/Applications/Fireface USB Mixer
/Applications/Fireface USB Settings
/System/Library/Extensions/FirefaceUSB.kext
/Users/username/Library/Preferences/Fireface USB folder
/Users/username/Library/Preferences/de.rme-audio.FirefaceUSBMixer.plist
/Users/username/Library/Preferences/de.rme-audio.TotalmixFX.plist
/Users/username/Library/Preferences/de.rme-audio.Fireface_USB_Settings.plist
/Library/LaunchAgents/de.rme-audio.firefaceUSBAgent.plist
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15.3 Firmware Update
The Flash Update Tool updates the firmware of the Babyface to the latest version. It requires an
already installed driver.
Start the program Babyface USB Flash. The Flash Update Tool displays the current revision of
the Babyface firmware, and whether it needs an update or not. If so, simply press the 'Update'
button. A progress bar will indicate when the flash process is finished (Verify Ok).
After the update the unit needs to be reset. This is done by powering down the Babyface for a
few seconds. A reboot of the computer is not necessary.
When the update fails (status: failure), the unit's second BIOS will be used from the next cold
boot on (Secure BIOS Technology). Therefore the unit stays fully functional. The flash process
should then be tried again on a different computer.
16. Configuring the Babyface
16.1 Settings Dialog
Configuring the Babyface is done via its own settings dialog. Start the program Fireface USB
Settings. The mixer of the Babyface (TotalMix FX) can be configured by starting the program
Fireface USB Mixer.
The Babyface’s hardware offers a number of helpful, well thought-out practical functions and
options which affect how the card operates - it can be configured to suit many different requirements. The following is available in the Settings dialog:
•
•
•
•
•
Operation of the DSP
Configuration of the digital I/O
Current sample rate
Synchronization behaviour
State of input and output
Any changes performed in the
Settings
dialog
are
applied
immediately - confirmation (e.g. by
exiting the dialog) is not required.
However, settings should not be
changed during playback or record
if it can be avoided, as this can
cause unwanted noises.
Use the drop down menu
Properties For to select the unit to
be configured.
On the right of it the current
firmware and driver version is
shown.
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31
Options
DSP – EQ for Record
Switches the 3-band EQ and Low Cut of all input channels into the recording path. In case
Loopback has been activated the EQ and Low Cut of the Output channel is placed into the recording path. See also chapter 23.5.
Optical Out
The optical TOSLINK output can operate as ADAT or SPDIF output. The Channel Status is
fixed to Consumer state.
Note: The optical input detects the incoming format automatically.
Clock Mode
Sample Rate
Used to set the current sample rate. This is the same setting as in the Audio MIDI Setup, just
added here for your convenience.
Clock Source
The unit can be configured to use its own clock (Internal = Master) or the digital input signal
(Optical = Slave). If the external source isn't available (Input Status No Lock), the unit will
change to the internal clock. The current clock source is displayed as Current.
Input Status
Indicates for the optical input whether there is a valid signal (Lock, No Lock), or if there is a valid
and synchronous signal (Sync). The third column shows the sample frequency detected by the
hardware (coarse recognition, 32 kHz, 44.1 kHz, 48 kHz etc.). In Clock Mode the clock reference is shown. See also chapter 26.1.
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16.2 Clock Modes - Synchronization
In the digital world, all devices must be either Master (clock source) or Slave (clock receiver)..
Whenever several devices are linked within a system, there must always be a single master
clock.
A digital system can only have one master! If the Babyface’s clock mode is set to 'Internal',
all other devices must be set to ‘Slave’.
The Babyface utilizes a very user-friendly, intelligent clock control, called AutoSync. Selecting
Optical as Clock Source, the system constantly scans the digital input for a valid signal. If any
valid signal is found, the Babyface switches from the internal quartz (Clock Mode – Current
Internal) to a clock extracted from the input signal (Clock Mode – Current ADAT or SPDIF). The
difference to a usual slave mode is that whenever the clock reference fails, the system will
automatically use its internal clock and operate in clock mode Master.
AutoSync guarantees that record and record-while-play will always work correctly. In certain
cases however, e.g. when the inputs and outputs of a DAT machine are connected directly to
the Babyface, AutoSync may cause feedback in the digital carrier, so synchronization breaks
down. To solve this problem switch the Babyface clock mode to Master (Clock Source – Internal).
In some situations changing the clock mode can not be avoided. Example: A CD player is connected to the SPDIF input. Try recording a few samples from the CD and you will be disappointed - few CD players can be synchronized. The samples will inevitably be corrupted, because the signal from the CD player is read with the clock from the Babyface, being out of sync.
In this case, the Clock Source should be set temporarily to SPDIF.
RME’s exclusive SyncCheck technology (first implemented in the Hammerfall) enables an easy
to use check and display of the current clock status. Input Status indicates whether there is a
valid signal (Lock, No Lock) for the optical input, or if there is a valid and synchronous signal
(Sync). In the field Clock Mode the clock reference is shown. See chapter 26.1.
In practice, SyncCheck provides the user with an easy way of checking whether all digital devices connected to the system are properly configured. With AutoSync and SyncCheck, finally
anyone can master this common source of error, previously one of the most complex issues in
the digital studio world.
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17. Mac OS X FAQ
17.1 Round about Driver Installation
The driver with the file suffix zip provided by RME is a compressed archive. Zip is directly supported by OS X, a double click on the file is all one needs to do.
The driver consists of a package file (pkg). A double click will start the OS X installer.
The actual audio driver appears as a kernel extension file. The installer copies it to >System/
Library/ Extensions<. Its name is FirefaceUSB.kext. It is visible in the Finder, allowing you to
verify date and driver version. Yet, in fact this again is a folder containing subdirectories and
files.
Nonetheless, this 'driver file' can be removed by simply dragging it to the trash bin. This can be
helpful in case a driver installation fails.
17.2 MIDI doesn't work
In some cases the applications do not show the MIDI port. The reason for this is usually visible
within the Audio MIDI Setup. It displays no RME MIDI device, or the device is greyed out and
therefore inactive. Mostly, removing the greyed out device and searching for MIDI devices again
will solve the problem.
The Babyface is class compliant. Therefore it comes without a driver. OS X recognizes it as
MIDI device and will be using it with the driver included in the operating system.
17.3 Repairing Disk Permissions
Repairing permission can solve problems with the installation process - plus many others. To do
this, launch Disk Utility located in Utilities. Select your system drive in the drive/volume list to
the left. The First Aid tab to the right now allows you to check and repair disk permissions.
17.4 Supported Sample Rates
RME's Mac OS X driver supports all sampling frequencies provided by the hardware. This includes 32 kHz and 64 kHz, and even 128 kHz, 176.4 kHz and 192 kHz.
But not any software will support all the hardware's sample rates. The hardware's capabilities
can easily be verified in the Audio MIDI Setup. Select Audio devices under Properties of:
and choose the Babyface. A click on Format will list the supported sample frequencies.
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17.5 Channel Count under Core Audio
At a sample rate of 88.2 or 96 kHz, the ADAT optical input and output operates in S/MUX mode,
so the number of available channels is reduced from 8 to 4.
At a sample rate of 176.4 and 192 kHz, the ADAT optical input and output operates in S/MUX4
mode, so the number of available channels is limited to 2.
It is not possible to change the number of Core Audio devices without a reboot of the computer.
Therefore whenever the Babyface changes into Double Speed (88.2/96 kHz) or Quad Speed
mode (176.4/192 kHz) all devices stay present, but become partly inactive.
Single Speed
Babyface Analog 1 to 4
Babyface AS 1 to 2
Babyface ADAT 3 to 4
Babyface ADAT 5 to 6
Babyface ADAT 7 to 8
Double Speed
Babyface Analog 1 to 4
Babyface AS 1 to 2
Babyface ADAT 3 to 4
Babyface ADAT 5 to 6
Babyface ADAT 7 to 8
Quad Speed
Babyface Analog 1 to 4
Babyface AS 1 to 2
Babyface ADAT 3 to 4
Babyface ADAT 5 to 6
Babyface ADAT 7 to 8
17.6 Various Information
The driver of the Babyface requires at least Mac OS 10.5, as special USB functions are used
that are not available in older versions of the operating system.
Via >System Preferences/ Audio-MIDI Setup< the hardware can be configured for the system
wide usage. Programs that don't support card or channel selection will use the device selected
as Standard-Input and Standard-Output. (Soundstudio, Mplayer, Amplitube etc.).
In the lower part of the window, the audio hardware's capabilities are shown and can be
changed in some cases. On the record side no changes are possible. Programs that don't support channel selection will always use channels 1/2, the first stereo pair. To access other inputs,
use the following workaround with TotalMix: route the desired input signal to output channels
1/2. In the channel settings of outputs 1/2 activate Loopback. Result: the desired input signal is
now available at input channel 1/2, without further delay/latency.
Use Speaker Setup to freely configure the playback to all available channels. Even multichannel playback (Surround, DVD Player) can be set up this way.
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18. Using more than one Babyface
OS X supports the usage of more than one audio device within an audio software. This is done
via the Core Audio function Aggregate Devices, which allows to combine several devices into
one. All units have to be in sync, i.e. have to receive valid sync information via a digital input
signal.
•
If one of the Babyfaces is set to clock mode Master, all others have to be set to clock mode
Slave, and have to be synced from the master by feeding ADAT or SPDIF. The clock
modes of all units have to be set up correctly in the Babyface Settings dialog.
•
If all units are fed with a synchronous clock, i.e. all units show Sync in their Settings dialog,
all channels can be used at once.
Note: TotalMix is part of the hardware of each Babyface. Up to three mixers are available, but
these are separated and can't interchange data. Therefore a global mixer for all units is not
possible.
In real-world an operation of more than one Babyface makes no sense and is therefore not
actively supported by RME. The second unit would have to be synchronized using the optical
input. The result is an extension by only 2 analog record and 4 analog playback channels (plus
8 digital via ADAT Out). Much more sense makes the direct connection of an 8-channel converter to the ADAT I/O of one Babyface, adding full 8 channels of record and playback.
19. DIGICheck Mac
The DIGICheck software is a unique utility developed for testing, measuring and analysing digital audio streams. Although this Windows software is fairly self-explanatory, it still includes a
comprehensive online help. DIGICheck 0.6 operates in parallel to any software, showing all
input data. The following is a short summary of the currently available functions:
• Level Meter. High precision 24-bit resolution, 2/10/28 channels. Application examples: Peak
level measurement, RMS level measurement, over-detection, phase correlation measurement, dynamic range and signal-to-noise ratios, RMS to peak difference (loudness), long
term peak measurement, input check. Oversampling mode for levels higher than 0 dBFS.
Supports visualization according to the K-System.
• Hardware Level Meter for Input, Playback and Output. Reference Level Meter freely configurable, causing near zero CPU load, because calculated from the Babyface hardware.
• Vector Audio Scope. World wide unique Goniometer showing the typical afterglow of a
oscilloscope-tube. Includes Correlation meter and level meter.
• Surround Audio Scope. Professional Surround Level Meter with extended correlation
analysis, ITU weighting and ITU summing meter.
• Spectral Analyser. World wide unique 10-, 20- or 30-band display in analog bandpass filter
technology. 192 kHz-capable!
• Totalyser. Spectral Analyser, Level Meter and Vector Audio Scope in a single window.
• Completely multi-client. Open as many measurement windows as you like, on any channels and inputs or outputs!
To install DIGICheck, go to the \DIGICheck directory on the RME Driver CD and run the installer. Follow the instructions prompted on the screen.
DIGICheck is constantly updated. The latest version is always available on our website
www.rme-audio.com, section Downloads / DIGICheck.
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20. Hotline – Troubleshooting
The newest information can always be found on our website www.rme-audio.com, section FAQ,
latest Additions.
The unit and drivers have been installed correctly, but playback does not work:
• Is Babyface listed in the System Profiler? (Vendor ID 2613).
• Has Babyface been selected as current playback device in the audio application?
The 8 ADAT channels don’t seem to work
• The optical output has been switched to 'SPDIF'. As can be seen in the block diagram, all
channels and their assignments still exist, but the optical transmitter has been disconnected
from ADAT. The ADAT playback devices are still usable by routing and mixing them in TotalMix to other outputs.
Playback works, but record doesn’t:
• Check that there is a valid signal at the input. If so, the current sample frequency is displayed in the Settings dialog.
• Check whether the Babyface has been selected as recording device in the audio application.
• Check whether the sample frequency set in the audio application (‘Recording properties’ or
similar) matches the input signal.
• Check that cables/devices have not been connected in a closed loop. If so, set the system’s
clock mode to ‘Master’.
Crackle during record or playback:
• Increase the number and size of buffers in the application.
• Try different cables (coaxial or optical) to rule out any defects here.
• Check that cables/devices have not been connected in a closed loop. If so, set the system’s
clock mode to ‘Master’.
Possible causes for a Babyface not working
•
•
The USB cable is not, or not correctly inserted into the socket
Not enough power. Use the special dual USB power cable.
Driver installation and Settings dialog/TotalMix work, but a playback or record is not possible
•
While recognition and control of the device are low bandwidth applications, playback/record
needs the full USB transmission performance. Therefore, defective USB cables with limited
transmission bandwidth can cause such an error scheme.
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User's Guide Babyface © RME
User's Guide
Babyface
TotalMix FX
User's Guide Babyface © RME
39
21. Routing and Monitoring
21.1 Overview
The Babyface includes a powerful digital real-time mixer, the Babyface mixer, based on RME’s
unique, sample-rate independent TotalMix technology. It allows for practically unlimited mixing
and routing operations, with all inputs and playback channels simultaneously, to any hardware
outputs. TotalMix FX adds 3-band parametric equalizer, low cut, echo and reverb.
Here are some typical applications for TotalMix:
• Setting up delay-free submixes (headphone mixes). The Babyface allows for up to 6 fully
independent stereo submixes. On an analog mixing desk, this would equal 12 Aux sends.
• Unlimited routing of inputs and outputs (free utilisation, patchbay functionality).
• Distributing signals to several outputs simultaneously. TotalMix offers state-of-the-art splitter
and distributor functions.
• Simultaneous playback of different programs via a single stereo output. The ASIO multiclient driver supports the usage of several programs at the same time, but only on different
playback channels. TotalMix provides the means to mix and monitor these on a single stereo
output.
• Mixing of the input signal to the playback signal (complete ASIO Direct Monitoring). RME is
not only the pioneer of ADM, but also offers the most complete implementation of the ADM
functions.
• Integration of external devices. Use TotalMix to insert external effects devices, be it in the
playback or in the record path. Depending on the current application, the functionality equals
insert or effects send and effects return, for example as used during real-time monitoring
when adding some reverb to the vocals.
Every single input channel, playback channel and hardware output features a Peak and RMS
level meter, calculated in hardware. These level displays are very useful to determine the presence and routing destinations of the audio signals.
For a better understanding of the TotalMix mixer you should know the following:
• As shown in the block diagram (next page), the record signal usually stays un-altered. TotalMix does not reside within the record path, and does not change the record level or the
audio data to be recorded (exceptions: EQ for Record and Loopback mode).
• The hardware input signal can be passed on as often as desired, even with different levels.
This is a big difference to conventional mixing desks, where the channel fader always controls the level for all routing destinations simultaneously.
• The level meters of input and playback channels are connected pre-fader, to be able to visually monitor where a signal is currently present. The level meters of the hardware outputs are
connected post-fader, thus displaying the actual output level.
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21.2 The User Interface
The visual design of the TotalMix mixer is a result of its capability to route hardware inputs and
software playback channels to any hardware output. The Babyface has 10 input channels, 12
software playback channels, and 12 hardware output channels:
TotalMix can be used in the above view (View Options 2 Rows). The input channel should be
placed above the corresponding output channel. However, the default is a vertical alignment in
three rows as known from an Inline desk, so that the row Software Playback equals the Tape
Return of a real mixing desk:
• Top row: Hardware inputs. The level shown is that of the input signal, i.e. fader independent.
Via fader and routing menu, any input channel can be routed and mixed to any hardware
output (bottom row).
• Middle row: Playback channels (playback tracks of the audio software). Via fader and routing
menu, any playback channel can be routed and mixed to any hardware output (bottom row).
• Bottom row: Hardware outputs. Here, the total level of the output can be adjusted. This may
be the level of connected loudspeakers, or the level of any submix.
Usage: simply click on the hardware output channel where you want to have an audio signal.
This channel turns brighter, means it is selected as current submix. Now move the faders up
from all sources - input and playback channels - that you want to hear at the submix output.
The following chapters explain step by step all functions of the user interface.
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21.3 The Channels
A single channel can be switched between mono and stereo mode. The mode is set in the
channel settings. Hardware Outputs are always stereo.
Channel name. The name field is the preferred place to select a channel by a mouse click. A
double click opens a dialog to assign a different name. The original name will be shown when
activating the option O-Names in the View Options.
Panorama. Routes the input signal freely to the left and right routing destination
(lower label, see below). The level reduction in center position is -3 dB.
Mute and Solo. Input channels and playback channels each have a mute and
solo button.
Numerical level display. Shows the current RMS or Peak level, updated twice
per second. OVR means overload. The setting Peak/RMS is changed in the View
Options.
Level meter. The meter shows both peak values (zero attack, 1 sample is
enough for a full scale display) by means of a yellow line, and mathematically
correct RMS values by means of a green bar. The RMS display has a relatively
slow time constant, so that it shows the average loudness quite well. Overs are
shown in red at the top of the bar. In the Preferences dialog (F2) the Peak Hold
time, the over detection and the RMS reference can be set.
Fader. Determines the gain/level of the signal routed to the current routing destination (lower
label). Please note that this fader is not the fader of the channel, but only the fader of the current routing. Compared to a standard mixing desk TotalMix does not have a channel fader, but
only Aux Sends, as many as there are hardware outputs. Therefore TotalMix can create as
many different Submixes as there are hardware outputs. This concept is understood best in the
Submix View, but more on that later.
Below the fader the Gain is shown in a numerical display field, according to the current fader
position. The fader can be:
¾
dragged with the left mouse button pressed
¾
moved by the mouse wheel
¾
set to 0 dB and −∞ by a double click. The same
happens with a single click plus held down Ctrl key.
¾
adjusted in fine mode by mouse drag and mouse wheel
when holding the Shift key down
A Shift-click on a fader adds the fader to the temporary
fader group. All faders now marked yellow are ganged, and
move simultaneously in a relative way. The temporary fader
group is deleted by a click on the F symbol in the upper right
of the window.
The arrow symbol at the bottom minimizes the channel width to that of the level meters. Another click maximizes it again. A mouse click with held Ctrl key causes all channels to the right
to enlarge and minimize at once.
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The lowest field shows the current routing target. A mouse click
opens the routing window to select a routing target. The list shows all
activated routings of the current channel by arrows in front of the
listed entries, the current one is shown in bold letters.
An arrow is only shown with an activated routing. A routing is seen as
activated when audio data is sent. As long as the fader is set to −∞
the current routing will be shown in bold letters, but not have an arrow
in the front.
Trim Gain. After a click on the double arrow one channel’s faders are all synchronized. Instead
of changing only a single routing the fader affects all the channel’s active routings. For a better
overview the faders currently not visible are indicated by orange triangles beside the fader path.
When moving the fader the triangles also move to a new position, equalling the faders new
settings.
Note that the fader button is set to the highest routing gain of all routings so that best control is
offered. The gain (fader knob position) of the currently active routing (the submix selected in the
third row) is shown as white triangle.
Background: TotalMix has no fixed channel fader. In case of the Babyface there
are 6 stereo Aux sends, shown alternately as single fader within the channel strip.
The high number of Aux sends enables multiple and fully independent routings.
In some cases it is necessary to synchronize the gain changes of these routings.
An example is the Post fader function, where a change of the singer’s volume shall
be performed identical to the volume change of the signal sent to the reverb
device, so that the reverb level keeps its relation to the original signal. Another
example is the signal of a guitar that is routed to different submixes, means
hardware outputs, which gets much too loud during the solo part, and therefore
needs to be reduced in volume on all outputs simultaneously. After a click on the
Trim button this can be done easily and with a perfect overview.
As all channel’s routings change simultaneously when Trim is active, this mode
basically causes the same behaviour as a trim pot within the input channel,
affecting the signal already before the mixer. That’s how this function got its name.
In the View Options / Routing the function Trim Gains can be globally switched on and off for all
channels. The global Trim mode is recommended when using TotalMix FX as live mixing desk.
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A click on the tool symbol opens the channel’s Settings panel with differing elements. For example the Option Inst exists only in input channel 2, and the ADAT channels do not offer the
phantom power option.
Stereo. Switches the channel to mono or stereo mode.
48V. Activates phantom power at the corresponding input. Serves as
power supply for high quality condenser mics. This option should stay
off with other sources to prevent failure by spikes.
Inst. Switches input 2 from XLR (breakout cable) to the TRS jack at the
unit.
Gain. Sets the gain for both analog inputs. The knob can be adjusted by
dragging the mouse or by the mouse wheel. This also works when the
mouse has been moved over the two gain displays. Then the gain can
be changed separately for left and right channel, even when the
channel is in stereo mode.
Width. Setting the stereo width. 1.00 equals full stereo, 0.00 mono, 1.00 swapped channels.
FX Send. Setting the level of the signal sent to the FX bus which feeds
Echo and Reverb. The current setting is also visible with closed channel settings, because knob
and small fader are always synchronized. To make this function as useful as possible FX Send
is locked to the highest submix, thus imitating the Aux Post Fader function of a standard mixing
desk. When moving the big fader both knob and small fader will also move. This way the reverb
signal will always have the same relation to the dry signal.
The level of the signal sent to the effects can be controlled by the FX In level meters of the FX
window. It becomes visible after a click on FX in the View Options.
MS Proc. Activates M/S processing within the stereo channel. Monaural information is sent to
the left channel, stereo information to the right.
Phase L. Inverts the phase of the left channel by 180°.
Phase R. Inverts the phase of the right channel by 180°.
Note: the functions Width, MS Proc, Phase L and Phase R affect all routings of the respective
channel.
Besides Stereo/Mono, Phase L und Phase R the settings of the
Hardware Outputs have further options:
FX Return. The effect signal (Echo and Reverb) is mixed to the
respective hardware output by the duo knob/small fader.
Loopback. Sends the output data to the driver as record data. The
corresponding submix can be recorded then. This channel’s hardware
input sends its data only to TotalMix, no longer to the recording
software.
Another difference to the input and playback channels is the Cue button
instead of Solo. A click on Cue sends the respective Hardware Output’s
audio to the Main Out. With this any hardware output can be controlled
and listened to through the monitoring output very conveniently.
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A click on EQ opens the Equalizer panel. It is available in all input and output channels, and
affects all routings of the respective channel (pre fader). The panel includes a low cut and a 3band parametric equalizer which can be activated separately.
Lo Cut. Activated by the button Lo Cut. The slope of the high-pass filter is adjustable between
6, 12, 18 and 24 dB per octave. The cut-off point (-3 dB) is adjustable between 20 Hz and 500
Hz.
EQ. Activated by the EQ button.
Type. Band 1 and 3 can operate in peak (bell) or shelf
(shelving) mode. The middle band is fixed to peak mode.
Gain. All three bands can change their amplitude
(amplification) between +20 dB to -20 dB.
Freq. The center frequency of the filter is adjustable. Band
1: 20 Hz to 10 kHz, Band 2: 100 Hz to 20 kHz, Band 3: 500
Hz to 20 kHz. While in peak mode the center frequency is
adjusted, in shelf mode the cut-off point (-3 dB) will be
changed.
Q. The Quality factor of the filter is adjustable from 0.7
(wide) to 5.0 (narrow).
The frequency graphics give a precise overview of the filter results. Overlapping filters influence
each other. This can be used to achieve more than 20 dB amplitude, or to generate difficult
frequency response optimizations.
Preset. Settings of the EQ and the Low Cut
can be stored, loaded, and copied between
channels at any time. A click on Preset opens
a menu with several entries:
¾
Recall: Presets stored before by the user
can be selected and loaded
¾
Save to: There are 16 storage places
available (EQ Preset 1 to 16)
¾
Import: Loads a previously stored TM EQ
file (.tmeq)
¾
Export: Stores the current state as TM
EQ file (.tmeq)
¾
Factory: Includes 14 examples for the
creative use of Low Cut and Equalizer
¾
Reset: Resets the Low Cut and EQ to
have zero influence (Gain 0 dB)
¾
Rename: The EQ Presets 1 to 16 can be renamed. The changes will be shown in both lists
Recall and Save to.
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Notes on the EQ Presets
Copy between channels: The EQ Preset menu of all channels is identical. If an EQ setup is
stored via Save to on one of the 16 storage places, it is then also available in any other channel
via Recall.
Copy between Snapshots: The Presets are not saved in Snapshots, therefore do not change
when a different Snapshot is loaded. Presets are saved in Workspaces and also loaded with
these.
Copy between Workspaces: is done by the export and import function of the Preset menu.
Important and useful Presets should always be saved as TM EQ file, so that they can not get
lost even on accidental overwrite.
21.4 Section Control Room
In the section Control Room the menu Assign is used to
define the Main Out which is used for listening in the studio.
For this output the functions Dim, Recall, Mono, Talkback
and Mute FX are automatically applied. On the unit the keys
Recall and Dim (push on the rotary encoder) also follow this
assignment.
Additionally the channel will be shifted from the Hardware
Outputs into the Control Room section, and renamed Main.
The same happens when assigning Main Out B or the
Phones. The original name can be displayed by the function
O-Names in the View Options at any time.
Phones 1 and 2 will have dim (set in Settings) and a special
routing applied when Talkback is activated. Also putting
them beside the Main Out increases the overview within the
output section greatly.
Dim. The volume will be reduced by the amount set in the Settings dialog (F3).
Recall. Sets the gain value defined in the Settings dialog. Can also be set at the unit by holding
the key Recall down for two seconds.
Mono. Mixes left and right channel. Useful to check for mono compatibility and phase problems.
Talkback. A click on this button will dim all signals on the Phones outputs by an amount set up
in the Preferences dialog. At the same time the control room's microphone signal (source defined in Preferences) is sent to the Phones. The microphone level is adjusted with the channel's
input fader.
Speak. B. Switches playback from Main Out to Main Out B. The faders of the channels Main
and Speaker B can be ganged via Link.
Mute FX. Mutes Reverb and Echo on the
Main Out, to hear the mix without those
effects.
Assign. Allows to define the Main Out, Main
Out B, and up to two Phones outs. The
choice is limited to AN 1/ 2, AN 3/ 4 and AS
1/2, as at 192 kHz the other ADAT channels
are not available anymore.
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21.5 The Control Strip
The Control Strip on the right side is a fixed element. It combines different functions that are
either required globally, or constantly used, and therefore should not be hidden in a menu.
Device selection. Select the unit to be controlled in case more than one is
installed on the computer.
DSP Meter. Shows the DSP load caused by activated EQs and Low Cuts.
The DSP of the Babyface has been designed so that an overload can not
occur. The display therefore is for information purposes only.
Undo / Redo. With the unlimited Undo and Redo changes of the mix can be
undone and redone, at any time. Undo/Redo does not cover graphical
changes (window size, position, channels wide/narrow etc.), and also no
changes to the Presets. The accidental overwrite of an EQ Preset can not be
made undone.
Undo/Redo also operates across Workspaces. Therefore a completely
differently set up mixer view can be loaded via Workspace, and with a single
click on Undo the previous internal mixer state is returned – but the new
mixer view stays.
Global Mute Solo Fader.
Mute. Global Mute operates in a pre fader style, muting all currently activated routings of the
channel. As soon as any Mute button is pressed, the Mute Master button lights up in the Control
Strip area. With this button all selected mutes can be switched off and on again. One can comfortably set up a mute group or activate and deactivate several mute buttons simultaneously.
Solo. As soon as any Solo button is pressed, the Solo Master button lights up in the Control
Strip area. With this button all selected Solos are switched off and on again. Solo operates as
Solo-in-Place, post fader style, as known from common mixing desks. A typical limitation for
mixing desks, Solo working only globally and only for the Main Out, does not exist in TotalMix.
Solo is always activated for the current submix only.
Fader. A Shift-click on a fader adds the fader to the temporary fader group. All faders now
marked yellow are ganged, and move simultaneously in a relative way. The temporary fader
group is deleted by a click on the F symbol.
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View Options. This area combines different functions of routing, the level meters and the mixer view.
Routing
¾
Submix: The Submix view (default) is the preferred view and delivers
the quickest overview, operation and understanding of TotalMix. The
click on one of the Hardware Output channels selects the respective
submix, all other outputs are darkened. At the same time all routing fields
are set to this channel. With Submix view, it is very easy to generate a
submix for any output: select the output channel, adjust the fader and
pans of first and second row – finished.
¾
Free: The Free view is for advanced users. It is used to edit several
submixes simultaneously, without the need to change between them.
Here one works with the routings fields of the input and playback
channels only, which then show different routing destinations.
¾
Trim Gains. Activates all Trim buttons on all channels. TotalMix thus
behaves like a conventional, simple mixing desk. Each fader affects all
active routings of the channel simultaneously, as if the fader were a trimpot in the hardware input.
Level Meter
¾
Pre FX – Post FX. Switches all level meters before (pre) or after (post) the effects. Level
changes by these can be easily checked using this feature. Additionally the input signal can
be checked for overloads. It is recommended to use Post FX as default setting, as the extreme reduction of a signal by LC/EQ is very seldom. Also all over displays of all level meters operate both pre and post, efficiently preventing overloads going unnoticed.
¾
RMS Level. The numerical level display in the channels displays peak or RMS.
Mixer Setup
¾
2 Rows. Switches the mixer view to 2 rows. Hardware Inputs and Software Playbacks are
placed side by side. This view saves a lot of space, especially in height.
¾
O-Names. Display of the original names of channels when they had been renamed by the
user.
¾
FX. Opens the window to set up the effects Reverb and Echo.
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Snapshots. Snapshots include all mixer settings, but no graphical elements like window positions, window size, number of windows, visible EQs or Settings, scroll states, Presets etc. Only
the state wide/narrow of the channels is registered. Moreover the Snapshot is only temporarily
stored. Loading a Workspace causes the loss of all stored Snapshots, when these all had not
been saved before in a Workspace, or separately via File / Save Snapshot as. Via File / Load
Snapshot the mixer states can be loaded individually.
8 different mixes can be stored under individual names in the Snapshot
section. A click on any of the 8 buttons loads the corresponding Snapshot. A
double click on the name field opens the dialog Input Name to edit the name.
As soon as the mixer state is changed the button starts flashing. A click on
Store lets all buttons flash, whereby the last loaded one, the base of the
current state, flashes inversely. The storage finishes by clicking the desired
button (means storage place). The storage process is exited by another click
on the flashing Store button.
The area Snapshots can be minimized by a click on the arrow in the title bar.
Groups. The area Groups provides 4 storage places each for fader, mute and
solo groups. The groups are valid per Workspace, being active and usable in
all 8 Snapshots. But with this they are also lost when loading a new
workspace, in case they have not been saved before in a different
Workspace.
Note: The Undo function will help in case of an accidental overwrite or
deletion of the groups.
TotalMix uses flashing signals to guide you through the group setup. After a click on Edit and
click on the desired storage place all desired functions for this group have to be activated or
selected. The storage process is finished by another click on Edit.
When setting up a fader group make sure to not add faders that are at the most top or most
lowest position, except all faders of that group have this position.
The Mute groups operate – other than the global mute – exclusively for the current routing. This
way you can not mute signals on all outputs unintentionally. Instead signals can be muted on
specific submixes by the push of a button.
A solo group operates exactly like the global solo, signals outside the current routing are not
affected.
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21.6 Reverb and Echo
A click on FX in the View Options / Mixer Setup brings up the Output FX panel. Here all parameters for the effects Reverb and Echo are adjusted.
The Babyface uses a DSP engine within its FPGA for all the calculations of all the EQs and Low
Cuts, in parallel to the DSP engine for TotalMix. However, Reverb and Echo are calculated on
the host CPU, means the computer. On current computers, this will not cause any noticeable
CPU load.
The transmission of the stereo signal FX Send to the computer and the
effects signal FX Out back to the Babyface is done by two invisible ASIO
channels. The delay (latency) generated by this method is of no
consequence for the offered effects reverb and echo. But it is still taken
into account for the adjustment of the Reverb PreDelay. The lowest
value depends on the currently chosen buffer size (see Settings dialog,
chapter 8.1).
Reverb. Activated by the On button.
Type. Lists different reverb algorithms for selection. Available are:
¾
Rooms 1-4. Reverb based on impulse responses with different
tonal colors. Room 1 and 2 sound dry and small, Room 3 and 4
brilliant and a bit bigger.
¾
Envelope. Reverb out of single echoes plus feedback, where the
volume course (envelope) is freely adjustable.
¾
Gated. Simpler version of the Envelope reverb for cut reverb
effects.
¾
Classic. Classic multi-tap reverb with feedback, generating both the
typical sound and the very long reverb times.
Settings for Room 1-4
PreDelay. Delay of the reverb signal. Adjustable from the current buffer
size (some milliseconds) up to 999 ms.
Low Cut. High-pass filter before the reverb generation, removes low
frequency signals which should not cause a reverb sound. Adjustable
from 20 Hz up to 500 Hz.
High Cut. Low-pass filter after the reverb generation. A reduction of the treble often lets the
reverb sound more natural. Adjustable from 5 kHz up to 20 kHz.
Room Scale. Determines the size of the room, thus changing density and length of the reverb
effect. Adjustable from 0.5 up to 2.0.
Smooth. Softens the reverb effect, affects stereo width, density and sound colour. Adjustable
from 0 up to 100.
Width. Adjusts the stereo width of the reverb signal from 100 (stereo) to 0 (mono).
Volume. Adjusts the level of the reverb effects signal sent to the FX return bus.
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Special Settings for Envelope and Gated
Attack. Length of time for the volume increase of the reverb signal. Also called rise time. Adjustable from 5 ms up to 400 ms.
Hold. Length of time for the fixed volume part of the reverb signal. Adjustable from 5 ms up to
400 ms.
Release. Length of time for the volume decrease of the reverb signal. Adjustable from 5 ms up
to 400 ms.
Special Settings for Classic
Reverb Time. Sets the duration of the reverb referenced to a volume drop of 20 dB. Adjustable
from 0.1 s up to 9.9 s.
High Damp. Sets the treble damping over time for the reverb signal. In principle, this is a lowpass filter. Because of the operation principle of the Classic reverb it shows a slightly different
behaviour. Adjustable from 5 kHz up to 20 kHz.
Echo. Activated by the On button.
Type. Lists different echo algorithms for selection. Available are:
¾
Stereo Echo. Separated echo generators on left and right channel. As a result the echo
follows the sound source within the stereo field.
¾
Stereo Cross. Echo generator on left and right channel with cross coupled feedback which
is only working for the stereo parts of the input signal. In case the input signal is only left or
right the Stereo Cross acts exactly like the Pong Echo.
¾
Pong Echo. Generates an echo that jumps between left and right channel, independent
from the source signal’s stereo position.
Settings
Delay Time. Sets the delay time for the first echo.
Feedback. Feedback to produce further echoes.
Width. Adjusts the stereo width of the echo signal from 100 (stereo) to 0 (mono).
Volume. Adjusts the level of the echo effects signal sent to the FX return bus.
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Preset. Settings of the Reverb and the Echo can be stored, loaded, and copied between channels at any time. A click on Preset opens a menu with several entries:
¾
Recall: Presets stored before by the user
can be selected and loaded
¾
Save to: There are 16 storage places
available (Reverb/Echo Preset 1 to 16)
¾
Import: Loads a previously stored TM FX
Reverb file (.tmrv) or a TM FX Echo file
(.tmeo)
¾
Export: Stores the current state as TM FX
Reverb file (.tmrv) or as TM FX Echo file
(.tmeo)
¾
Factory: Includes 10 examples for the
configuration of the Reverb
¾
Reset: Resets the Reverb or Echo
¾
Rename: The Presets 1 to 16 can be renamed. The changes will be shown in both lists
Recall and Save to.
21.7 Preferences
The dialog Preferences can be opened
via the Options menu or directly via F2.
Level Meters
¾ Full scale samples for OVR.
Number of consecutive samples to
trigger an over detection (1 to 10).
¾ Peak Hold Time. Hold time of the
peak value. Adjustable from 0.1 up to
9.9 s.
¾ RMS +3 dB. Shifts the RMS value by
+3 dB, so that full scale level is
identical for Peak and RMS at 0
dBFS.
Mixer
¾ FX Send follows highest Submix. Locks the FX Send knob to the channel fader. As
TotalMix supports multiple routings per channel, a definition is needed which fader (only
one is visible) is the one that FX Send will follow. This is always the one with the highest
fader position, means the highest gain.
¾ Center Balance/Pan when changing Mono/Stereo. When switching a stereo channel into
two mono channels the pan-pots are set fully left and right. This option will set them to center instead.
Snapshots
¾ Do not load Main volume/balance. The values stored in the Snapshot are not loaded for
the Main Out, so the current setting is not changed.
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21.8 Settings
The dialog Settings can be opened via the Options menu or directly via F3.
Talkback
¾ Input. Selects the input channel of the
Talkback signal (microphone in control room).
Default: None.
¾ Dim. Amount of attenuation of the signals
routed to the Phones in dB.
Listenback
¾ Input. Selects the input channel of the
Listenback signal (microphone in recording
room). Default: None.
¾ Dim. Amount of attenuation of the signals
routed to the Main Out in dB.
Main Out
¾ Recall. User defined listening volume,
activated by the Recall button at the unit or in
TotalMix.
¾ Dim. Amount of attenuation for the Main Out
in dB, activated by the rotary encoder at the
unit or in TotalMix.
MIDI Remote Control
¾ MIDI In. Input where TotalMix receives MIDI
Remote data.
¾ MIDI Out. Output where TotalMix sends MIDI
Remote data.
¾ Disable MIDI in background. Deactivates
MIDI Remote Control as soon as another
application is in the focus, or when TotalMix
has been minimized.
Mackie Control Options
¾ Enable Protocol Support. When disabled
TM FX will only react on the Control Change
commands of chapter 24.5.
¾ Map Stereo to 2 Mono Channels. One fader
controls one (mono) channel. Should be disabled when stereo channels are used.
¾ Submix Selection in Input/Playback Row. Enables a selection of the submix when in first
row, without having to change to the third row first. However, when using both mono and
stereo channels first and third row usually do not match anymore, so the selection often becomes unclear this way.
¾ Enable full LCD support. Activates full Mackie Control LCD support with eight channel
names and eight volume/pan values.
¾ Send User defined Names. Channel names defined by the user will be sent to the remote
device via MIDI and – if supported – shown in its display.
¾ Send Level Messages. Activates the transmission of the level meter data.
Note: When MIDI Out is set to NONE then TotalMix FX can still be controlled by Mackie Control
MIDI commands, but the 8-channel block is not marked as remote target.
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21.9 Hotkeys and Usage
TotalMix FX has many hotkeys and mouse/hotkey combinations to speed up and simplify the
usage.
The Shift key enables a fine-tuning of the gain with all faders and in the Matrix. On all knobs it
will speed up the setting.
A click on a fader with held down Shift key adds the fader to the temporary fader group.
A click in the fader path with held down Shift key will let the fader jump to 0 dB, at the next
click to −∞. Same function: Double click of the mouse.
Clicking on one of the Panorama or Gain knobs with held down Shift key lets the knob jump tp
center position. Same function: Double click of the mouse.
Clicking on one of the channel settings buttons (slim/normal, settings, EQ) with held down Shift
key lets all channels to the right change their state. For example all panels can be
opened/closed simultaneously.
A double click of the mouse on a knob or its numerical field opens the according Input Value
dialog. The desired value can then be set by keyboard.
Dragging the mouse from a parameter field increases (move up) or decreases (move down) the
value in the field.
Ctrl-N opens the dialog Function Select to open a new TotalMix window.
Ctrl-W opens the dialog File Open of the operating system to load a TotalMix Workspace file.
The key W starts the dialog Workspace Quick Select for a direct selection or storage of up to 30
Workspaces.
The key M switches the active window to Mixer view. The key X switches the active window to
Matrix view. Ctrl-M opens a new Mixer window, Ctrl-X opens a new Matrix window. Another
Ctrl-M or Ctrl-X closes the new window again.
F1 opens the online help. The Level Meter setup dialog can be opened with F2 (same as in
DIGICheck). The dialog Preferences is opened with F3.
Alt-F4 closes the current window.
Alt and number 1 to 8 (not on the numeric keypad!) will load the corresponding Snapshot.
The right mouse button selects a Hardware Output. At the same time a context menu is displayed having these options:
Clear Submix. Deletes the whole submix of the selected output. All inputs and playbacks of this
routing will be set to −∞.
Copy Submix. Copies the whole submix of the selected output into memory. All input and playback faders from that routing will be included.
Paste Submix. Writes the previously copied submix on to the now selected output.
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21.10 Menu Options
Deactivate Screensaver: When active (checked) any activated Windows screensaver will be
disabled temporarily.
Always on Top: When active (checked) the TotalMix window will always be on top of the Windows desktop.
Note: This function may result in problems with windows containing help text, as the TotalMix
window will even be on top of those windows, so the help text isn't readable.
Enable MIDI Control: Activates external MIDI control of the TotalMix mixer. In Mackie Protocol
mode the channels which are currently under MIDI control are indicated by a colour change of
the name field.
Submix linked to MIDI control. The 8-channel group follows the currently selected submix,
means Hardware Output, when a different submix is chosen on the remote as well as when
doing this in TotalMix. When using multiple windows it can be useful to deactivate this feature
for specific windows. The view will not change then.
Preferences: Opens a dialog box to configure several functions of the level meters and the
mixer. See chapter 21.7.
Settings. Opens a dialog box to configure several functions like Talkback, Listenback, Main Out
and the MIDI Remote Control. See chapter 21.8.
Reset Mix. Offers several options to reset the mixer state:
¾
Straight playback with all to Main Out. All Playback channels are routed 1:1 to the Hardware Outputs. Simultaneously all playbacks are mixed down to the Main Out. The faders in
the third row are not changed.
¾
Straight Playback. All Playback channels are routed 1:1 to the Hardware outputs. The
faders in the third row are not changed.
¾
Clear all submixes. Deletes all submixes.
¾
Clear channel effects. Switches off all EQs, Low Cuts, Reverb, Echo and Stereo Width
and sets their knobs to default position.
¾
Reset output volumes. All faders of the third row will be set to 0 dB, Main and Speaker B
to -10 dB.
¾
Reset channel names. Removes all names assigned by the user.
¾
Total Reset. Playback routing 1:1 with mixdown to Main Out. Switches off all other functions.
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22. The Matrix
22.1 Overview
The mixer window of TotalMix looks and operates similar to mixing desks, as it is based on a
conventional stereo design. The matrix display presents a different method of assigning and
routing channels, based on a single channel or monaural design. The matrix view of the Babyface has the look and works like a conventional patchbay, adding functionality way beyond
comparable hardware and software solutions. While most patchbays will allow you to connect
inputs to outputs with just the original level (1:1, or 0 dB, as known from mechanical patchbays),
TotalMix allows you to use a freely definable gain value per crosspoint.
Matrix and TotalMix are different ways of displaying the same processes. Because of this both
views are always fully synchronized. Each change in one view is immediately reflected in the
other view as well.
22.2 Elements of the Matrix View
The visual design of the TotalMix Matrix is mainly determined by the architecture of the Babyface system:
¾ Horizontal labels. All hardware outputs
¾ Vertical labels. All hardware inputs. Below are all
playback channels.
¾ Green 0.0 dB field. Standard 1:1 routing
¾ Black field with number. Shows the current gain
value as dB
¾ Blue field. This routing is muted
¾ Brown field. Phase 180° (inverted)
¾ Dark grey field. No routing.
To maintain overview when the window size has been reduced, the labels are floating. They
won't leave the visible area when scrolling.
22.3 Operation
Using the Matrix is a breeze. It is very easy to indentify the current crosspoint, because the
outer labels light up in orange according to the mouse position.
¾ If input 1 is to be routed to output 1, use the mouse and click one time on crosspoint In 1 /
AN 1 with held down Ctrl key. Two green 0.0 dB field pop in, another click removes them.
¾ To change the gain (equals the use of a different fader position, see simultaneous display of
the mixer view), drag the mouse up or down, starting from the gain field. The value within
the field changes accordingly. The corresponding fader in the mixer view is moving simultaneously, in case the currently modified routing is visible.
¾ On the right side is the Control Strip from the mixer window, adapted to the Matrix. The button for the temporary fader group is missing as well as all View options, as they don’t make
sense here. Instead the button Mono Mode lets you decide whether all the actions performed in the Matrix are valid for two channels or just one.
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The Matrix not always replaces the mixer view, but it significantly enhances the routing capabilities and - more important - is a brilliant way to get a fast overview of all active routings. It shows
you in a glance what's going on. And since the Matrix operates monaural, it is very easy to set
up specific routings with specific gains.
23. Tips and Tricks
23.1 ASIO Direct Monitoring (Windows)
Programs that support ADM (ASIO Direct Monitoring - Samplitude, Sequoia, Cubase, Nuendo
etc.) send control commands to TotalMix. This is directly shown by TotalMix. When a fader is
moved in the ASIO host the corresponding fader in TotalMix will move too. TotalMix reflects all
ADM gain and pan changes in real-time.
But: the faders only move when the currently activated routing (the selected submix) corresponds to the routing in the ASIO host. The Matrix on the other hand will show any change, as it
shows all possible routings in one view.
23.2 Copy a Submix
TotalMix allows you to copy complete submixes to other outputs. In case a complex submix is
need with only a few changes on a different output, the whole submix can be copied to that
output. Right click with the mouse on the original submix output, means Hardware Output. In
the context menu select Copy Submix. Then right click on the new submix output, choose Paste
Submix in the context menu. Now fine tune the submix.
23.3 Delete a Submix
The easiest and quickest way to delete complex routings is by selection of the according output
channel in the mixer view by a right mouse click, and selection of the menu entry Clear Submix.
As TotalMix FX includes an unlimited undo the delete process can be undone without any problem.
23.4 Doubling the Output Signal
If a mix should be sent out via two different hardware outputs, the most elegant way is to use a
permanently activated Cue. Set up the mixdown on the routing to the Main Out, use Copy Submix to copy the final mix to the other output, then activate Cue on this other output. The output
signal, and with this the complete mixdown, will then be played back from two stereo outputs
simultaneously – the Main Out and the other Hardware Output. Even better: the faders of both
outputs are still active, so the signal level can be adjusted individually.
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23.5 Recording a Submix - Loopback
TotalMix includes an internal loopback function, from the Hardware Outputs to the recording
software. Instead of the signal at the hardware input, the signal at the hardware output is sent to
the record software. This way, submixes can be recorded without an external loopback cable.
Also the playback from a software can be recorded by another software.
The function is activated by the Loopback button in the Settings panel of the Hardware Outputs. In loopback mode, the signal at the hardware input of the corresponding channel is no
longer sent to the recording software, but still passed through to TotalMix. Therefore TotalMix
can be used to route this input signal to any hardware output. Using the subgroup recording, the
input can still be recorded on a different channel.
As each of the 6 stereo hardware outputs can be routed to the record software, and none of
these hardware inputs get lost, TotalMix offers an overall flexibility and performance not rivalled
by any other solution.
The risk of feedbacks, a basic problem of loopback methods, is low, because the feedback can
not happen within the mixer, only when the audio software is switched into monitoring mode.
The block diagram shows how the software's input signal is played back, and fed back from the
Hardware Output to the software input.
The block diagram also shows why with activated Loopback the EQ of the Hardware Output is
now within the record path. The setting DSP – EQ for Record is still working and can be used to
activate/deactivate LC/EQ here as well.
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Recording a Software's playback
In real world application, recording a software's output with another software will show the following problem: The record software tries to open the same playback channel as the playback
software (already active), or the playback one has already opened the input channel which
should be used by the record software.
This problem can easily be solved. First make sure that all rules for proper multi-client operation
are met (not using the same record/playback channels in both programs). Then route the playback signal via TotalMix to a hardware output in the range of the record software, and activate
Loopback for recording.
Mixing several input signals into one record channel
In some cases it is useful to record several sources into only one track. For example when using two microphones recording instruments and loudspeakers, TotalMix' Loopback mode saves
an external mixing desk. Simply route/mix the input signals to the same output (third row), then
redefine this output into a record channel via Loopback. This way any number of input channels
from different sources can be recorded into one single track.
23.6 MS Processing
The mid/side principle is a special positioning technique for microphones, which results in a mid
signal on one channel and a side signal on the other channel. These information can be transformed back into a stereo signal quite easily. The process sends the monaural mid channel to
left and right, the side channel too, but phase inverted (180°) to the right channel. For a better
understanding: the mid channel represents the function L+R, while the side channel represents
L-R.
During record the monitoring needs to be done in
'conventional' stereo. Therefore TotalMix also offers the
functionality of a M/S-decoder. Activation is done in the
Settings panel of the Hardware Input and Software Playback
channels via the MS Proc button.
The M/S-Processing automatically operates as M/S encoder or decoder, depending on the
source signal format. When processing a usual stereo signal, all monaural information will be
shifted into the left channel, all stereo information into the right channel. Thus the stereo signal
is M/S encoded. This yields some interesting insights into the mono/stereo contents of modern
music productions. Additionally some very interesting methods of manipulating the stereo base
and generating stereo effects come up, as it is then very easy to process the side channel with
Low Cut, Expander, Compressor or Delay.
The most basic application is the manipulation of the stereo width: a change of the level of the
side channel allows to manipulate the stereo width from mono to stereo up to extended.
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24. MIDI Remote Control
24.1 Overview
TotalMix can be remote controlled via MIDI. It is compatible to the widely spread Mackie Control
protocol, so TotalMix can be controlled with all hardware controllers supporting this standard.
Examples are the Mackie Control, Tascam US-2400 or Behringer BCF 2000.
Additionally, the stereo output faders (lowest row) which are set up as Main Out in the Control
Room section can also be controlled by the standard Control Change Volume via MIDI channel 1. With this, the main volume of the Babyface is controllable from nearly any MIDI equipped
hardware device.
MIDI Remote Control always operates in View Submix mode, even when the View Option Free
is currently selected in TotalMix FX.
24.2 Mapping
TotalMix supports the following Mackie Control surface elements*:
Element:
Meaning in TotalMix:
Channel faders 1 – 8
Master fader
SEL(1-8) + DYNAMICS
V-Pots 1 – 8
pressing V-Pot knobs
volume
Main Monitor channel's faders
Activate Trim mode
pan
pan = center
CHANNEL LEFT or REWIND
CHANNEL RIGHT or FAST FORWARD
BANK LEFT or ARROW LEFT
BANK RIGHT or ARROW RIGHT
ARROW UP or Assignable1/PAGE+
ARROW DOWN or Assignable2/PAGE-
move one channel left
move one channel right
move eight channels left
move eight channels right
move one row up
move one row down
EQ
PLUGINS/INSERT
STOP
PLAY
PAN
Master Mute
Master Solo
Dim Main Out
Talkback
Mono Main Out
FLIP
DYN
MUTE Ch. 1 – 8
SOLO Ch. 1 – 8
SELECT Ch. 1 – 8
REC Ch. 1 – 8
RECORD
Speaker B
TrimGains
Mute
Solo
Select
select output bus (Submix)
Recall
F1 - F8
F9
F10 - F11
load Snapshot 1 - 8
select Main Out
select Cue Phones 1 - 2
*Tested with Behringer BCF2000 Firmware v1.07 in Mackie Control emulation for Steinberg mode and with Mackie
Control under Mac OS X.
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24.3 Setup
Open the Preferences dialog (menu Options or F3). Select the MIDI Input and MIDI Output port
where your controller is connected to.
When no feedback is needed select NONE as MIDI Output.
Check Enable MIDI Control in the Options menu.
24.4 Operation
The channels being under Mackie MIDI control are indicated by a colour change of the name
field, black turns to brown.
The 8-fader block can be moved horizontally and vertically, in steps of one or eight channels.
In Submix View mode, the current routing destination (output bus) can be selected via REC Ch.
1 – 8. This equals the selection of a different output channel in the lowest row by a mouse click
when in Submix View. In MIDI operation it is not necessary to jump to the lowest row to perform
this selection. This way even the routing can be easily changed via MIDI.
Full LC Display Support: This option in Preferences (F3) activates complete Mackie Control
LCD support with eight channel names and eight volume/pan values. When Full LC Display
Support is turned off, a brief information about the first fader of the block (channel and row) is
sent. This brief information is also available on the LED display of the Behringer BCF2000.
Tip for Mac OS X users: LC Xview (www.opuslocus.com) provides an on-screen display emulating the hardware displays of a Logic/Mackie Control, for use with controllers that can emulate
a Logic/Mackie Control but do not have a display. Examples include the Behringer BCF2000
and Edirol PCR-series.
Disable MIDI in Background (menu Options, Settings) disables the MIDI control as soon as
another application is in the focus, or in case TotalMix has been minimized. This way the hardware controller will control the main DAW application only, except when TotalMix is in the foreground. Often the DAW application can be set to become inactive in background too, so that
MIDI control is switched between TotalMix and the application automatically when switching
between both applications.
TotalMix also supports the 9th fader of the Mackie Control. This fader (labelled Master) will control the stereo output fader (lowest row) which is set up as Main Out in the Control Room section.
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24.5 MIDI Control
The hardware output set up as Main Out can be controlled by the standard Control Change
Volume via MIDI channel 1. With this, the main volume of the Babyface is controllable from
nearly any MIDI equipped hardware device.
Even if you don't want to control all faders and pans, some buttons are highly desirable to be
available in 'hardware'. These are mainly the Talkback and the Dim button, and the monitoring
options (listen to Phones submixes). Fortunately a Mackie Control compatible controller is not
required to control these buttons, as they are steered by simple Note On/Off commands on
MIDI channel 1.
The notes are (hex / decimal / keys):
Dim: 5D / 93 / A 6
Mono: 2A / 42 / #F 2
Talkback: 5E / 94 / #A 6
Recall: 5F / 95 / H 6
Speaker B: 32 / 50 / D3
Cue Main Out: 3E / 62 / D 4
Cue Phones 1: 3F / 63 / #D 4
Cue Phones 2: 40 / 64 / E 4
Snapshot 1: 36 / 54 / #F 3
Snapshot 2: 37 / 55 / G 3
Snapshot 3: 38 / 56 / #G 3
Snapshot 4: 39 / 57 / A 3
Snapshot 5: 3A / 58 / #A 3
Snapshot 6: 3B / 59 / B 3
Snapshot 7: 3C / 60 / C 4
Snapshot 8: 3D / 61 / #C 4
Trim Gains: 2D / 45 / A 2
Master Mute: 2C / 44 / #G2
Master Solo: 2B / 43 / G2
Furthermore all faders of all three rows can be controlled via simple Control Change commands. The format for the Control Change commands is:
Bx yy zz
x = MIDI channel
yy = control number
zz = value
The first row in TotalMix is addressed by MIDI channels 1 up to 4, the middle row by channels 5
up to 8 and the bottom row by channels 9 up to 12.
16 Controller numbers are used: 102 up to 117 (= hex 66 to 75). With these 16 Controllers (=
faders) and 4 MIDI channels each per row, up to 64 faders can be controlled per row (as required by the HDSPe MADI).
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Examples for sending MIDI strings:
- Set input 1 to 0 dB: B0 66 68
- Set input 5 to maximum attenuation: B1 6A 0
- Set playback 1 to maximum: B4 66 7F
- Set Output 3 to 0 dB: B8 68 68
Note: Sending MIDI strings requires to use programmer's logic for the MIDI channel, starting
with 0 for channel 1 and ending with 15 for channel 16.
Further functions:
- Trim Gains On: BC 66 xx (BC = MIDI channel 13, xx = any value)
- Trim Gains Off: BC 66 xx or select a submix
Select submix (fader) in third row:
- channel 1/2: BC 68/69 xx
- channel 3/4: BC 6A/6B xx
etc.
24.6 Loopback Detection
The Mackie Control protocol requires feedback of the received commands, back to the hardware controller. So usually TotalMix will be set up with both a MIDI input and MIDI output. Unfortunately any small error in wiring and setup will cause a MIDI feedback loop here, which then
completely blocks the computer (the CPU).
To prevent the computer from freezing, TotalMix sends a special MIDI note every 0.5 seconds
to its MIDI output. As soon as it detects this special note at the input, the MIDI functionality is
disabled. After fixing the loopback, check Enable MIDI Control under Options to reactivate the
TotalMix MIDI.
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User's Guide
Babyface
Technical Reference
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25. Technical Specifications
25.1 Analog
AD, Microphone/Line 1-2
• Input: XLR, electronically balanced
• Input impedance: 2 kOhm
• Resolution: 24 bit
• Signal to Noise ratio (SNR): 108 dB RMS unweighted, 111 dBA
• Frequency response @ 44.1 kHz, -0.1 dB: 5 Hz – 20.6 kHz
• Frequency response @ 96 kHz, -0.5 dB: 5 Hz – 45.3 kHz
• Frequency response @ 192 kHz, -1 dB: 5 Hz - 90 kHz
• THD: < -100 dB, < 0.001 %
• THD+N: < -98 dB, < 0.0012 %
• Channel separation: > 110 dB
• Gain range: 0 dB, +9 up to +60 dB
• Maximum input level XLR, Gain 0 dB: +12 dBu
• Maximum input level XLR, Gain 60 dB: -48 dBu
• CLIP LED: 0 dBFS
• SIG LED: -52 dBFS
AD, Instrument In 2
As Microphone/Line 1-2, but:
• Input: 6.3 mm TRS jack, unbalanced
• Input impedance: 470 kOhm
• Maximum input level TRS, Gain 9 dB: +12 dBu
• Maximum input level TRS, Gain 60 dB: -39 dBu
DA, Line Out 1-2
• Resolution: 24 bit
• Dynamic range (DR): 112 dB, 115 dBA @ 44.1 kHz (unmuted)
• Frequency response @ 44.1 kHz, -0.5 dB: 5 Hz - 22 kHz
• Frequency response @ 96 kHz, -0.5 dB: 5 Hz – 45 kHz
• Frequency response @ 192 kHz, -1 dB: 5 Hz - 80 kHz
• THD: - 104 dB, 0.00063 %
• THD+N: -100 dB, 0.001 %
• Channel separation: > 110 dB
• Output: XLR balanced
• Output impedance: 75 Ohm
• Output level balanced at 0 dBFS: +15 dBu
• Output level unbalanced at 0 dBFS: +9 dBu
DA, Phones 3/4
As DA Line Out, but:
• Output: 6.3 mm TRS jack, unbalanced
• Output impedance: 30 Ohm
• Output level at 0 dBFS: +7 dBu
25.2 MIDI
•
•
•
•
1 x MIDI I/O via breakout cable with 2 x 5-pin DIN jacks
Galvanically isolated by optocoupled input
Hi-speed mode: Jitter and response time typically below 1 ms
Separate 128 byte FIFOs for input and output
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25.3 Digital
•
•
•
•
•
•
•
•
Clocks: Internal, ADAT In, SPDIF In
Low Jitter Design: < 1 ns in PLL mode, all inputs
Internal clock: 800 ps Jitter, Random Spread Spectrum
Jitter suppression of external clocks: > 30 dB (2.4 kHz)
Effective clock jitter influence on AD and DA conversion: near zero
PLL ensures zero dropout, even at more than 100 ns jitter
Digital Bitclock PLL for trouble-free varispeed ADAT operation
Supported sample rates: 28 kHz up to 200 kHz
25.4 Digital Inputs
ADAT Optical
• 1 x TOSLINK
• Standard: 8 channels 24 bit, up to 48 kHz
• Double Speed (S/MUX): 4 channels 24 bit 96 kHz
• Quad Speed (S/MUX4) : 2 channels 24 bit 192 kHz
• Bitclock PLL ensures perfect synchronisation even in varispeed operation
• Lock Range: 31.5 kHz – 50 kHz
• Jitter when synced to input signal: < 1 ns
• Jitter suppression: > 30 dB (2.4 kHz)
SPDIF optical
• 1 x optical, according to IEC 60958
• Accepts Consumer and Professional format
• Lock Range: 27 kHz – 200 kHz
• Jitter when synced to input signal: < 1 ns
• Jitter suppression: > 30 dB (2.4 kHz)
25.5 Digital Outputs
ADAT optical
• 1 x TOSLINK
• Standard: 8 channels 24 bit, up to 48 kHz
• Double Speed (S/MUX): 4 channels 24 bit 96 kHz
• Quad Speed (S/MUX4) : 2 channels 24 bit 192 kHz
SPDIF optical
• 1 x optical, according to IEC 60958
• Format Consumer (SPDIF) according to IEC 60958
• Sample rate 28 kHz up to 200 kHz
25.7 General
•
•
•
•
•
•
•
Power supply: USB bus power or external power supply
Typical power consumption: 3.6 Watts
Current at 12 Volt operating voltage: 300 mA (3.6 Watts)
Dimensions (WxHxD): 100 x 25 x 160 mm (4.0" x 1.0" x 6.3")
Weight: 0.5 kg ( 1.1 lbs)
Temperature range: +5° up to +50° Celsius (41° F up to 122°F)
Relative humidity: < 75%, non condensing
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26. Technical Background
26.1 Lock and SyncCheck
Digital signals consist of a carrier and the data. If a digital signal is applied to an input, the receiver has to synchronize to the carrier clock in order to read the data correctly. To achieve this,
the receiver uses a PLL (Phase Locked Loop). As soon as the receiver meets the exact frequency of the incoming signal, it is locked. This Lock state remains even with small changes of
the frequency, because the PLL tracks the receiver's frequency.
If an ADAT or SPDIF signal is applied to the Babyface, the corresponding input LED starts
flashing. The unit indicates LOCK, i. e. a valid input signal (in case the signal is also in sync, the
LED is constantly lit, see below).
Unfortunately, LOCK does not necessarily mean that the received signal is correct with respect
to the clock which processes the read out of the embedded data. Example [1]: The Babyface is
set to 44.1 kHz internally (clock mode Master), and a mixing desk with ADAT output is connected to input ADAT. The corresponding LED will show LOCK immediately, but usually the
mixing desk's sample rate is generated internally (also Master), and thus slightly higher or lower
than the Babyface's internal sample rate. Result: When reading out the data, there will frequently be read errors that cause clicks and drop outs.
In order to display those problems optically at the device, the Babyface includes SyncCheck®.
It checks all clocks used for synchronicity. If they are not synchronous to each other (i.e. absolutely identical) the SYNC LED flashes. In case they are completely synchronous the LED is
constantly lit. In the above example the user would have noticed quickly that the LED kept on
flashing after connecting the mixing desk.
The same information is presented in the Babyface's Settings dialog. In the status display Input
State the state of the input clock is decoded and shown as simple text (No Lock, Lock, Sync).
In practice, SyncCheck allows for a quick overview of the correct configuration of all digital devices. So one of the most difficult and error-prone topics of the digital studio world finally becomes easy to handle.
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26.2 Latency and Monitoring
The term Zero Latency Monitoring was introduced by RME in 1998 for the DIGI96 series of
audio cards. It stands for the ability to pass-through the computer's input signal at the interface
directly to the output. Since then, the idea behind has become one of the most important features of modern hard disk recording. In the year 2000, RME published two ground-breaking
Tech Infos on the topics Low Latency Background, which are still up-to-date: Monitoring, ZLM
and ASIO, and Buffer and Latency Jitter, both found on the RME website.
How much Zero is Zero?
From a technical view there is no zero. Even the analog pass-through is subject to phase errors, equalling a delay between input and output. However, delays below certain values can
subjectively be claimed to be a zero-latency. This applies to analog routing and mixing, and in
our opinion also to RME's Zero Latency Monitoring. The term describes the digital path of the
audio data from the input of the interface to its output. The digital receiver of the Babyface can't
operate un-buffered, and together with TotalMix and the output via the transmitter, it causes a
typical delay of 3 samples. At 44.1 kHz this equals about 68 µs (0.000068 s), at 192 kHz only
15 µs. The delay is valid for ADAT and SPDIF in the same way.
Oversampling
While the delays of digital interfaces can be disregarded altogether, the analog inputs and outputs do cause a significant delay. Modern converter chips operate with 64 or 128 times oversampling plus digital filtering, in order to move the error-prone analog filters away from the audible frequency range as far as possible. This typically generates a delay of one millisecond. A
playback and re-record of the same signal via DA and AD (loopback) then causes an offset of
the newly recorded track of about 2 ms. The exact delays of the Babyface are:
Sample frequency kHz
44.1
48
88.2 96
AD (43.2 x 1/fs) ms
0.98
0.9
0.49 0.45
AD (38.2 x 1/fs) ms
DA (28 x 1/fs) ms
0.63
176.4
192
0.22
0.2
0.58 0.32 0.29 0.16
0.15
Buffer Size (Latency)
Windows: This option found in the Settings dialog defines the size of the buffers for the audio
data used in ASIO and WDM (see chapter 10).
Mac OS X: The buffer size is defined within the application. Only some do not offer any setting.
For example iTunes is fixed to 512 samples.
General: A setting of 64 samples at 44.1 kHz causes a latency of 1.5 ms, for record and playback each. But when performing a digital loopback test no latency/offset can be detected. The
reason is that the software naturally knows the size of the buffers, therefore is able to position
the newly recorded data at a place equalling a latency-free system.
AD/DA Offset under ASIO and OS X: ASIO (Windows) and Core Audio (Mac OS X) allow for the
signalling of an offset value to correct buffer independent delays, like AD- and DA-conversion or
the Safety Buffer described below. An analog loopback test will then show no offset, because
the application shifts the recorded data accordingly. Because in real world operation analog
record and playback is unavoidable, the drivers include an offset value matching the Babyface
converter delays.
Therefore, in a digital loopback test a negative offset of about 3 ms occurs. This is no real
problem, because this way of working is more than rare, and usually the offset can be compensated manually within the application. Additionally, keep in mind that even when using the digital
I/Os usually at some place an AD- and DA-conversion is involved (no sound without...).
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69
Note: Cubase and Nuendo display the latency values signalled from the driver separately for
record and playback. The values do not exactly equal the buffer size (for example 3 ms at 128
samples), instead a higher value is shown, including the time needed for the AD/DA-conversion.
Playback shows an even higher value – see Safety Buffer.
Safety Buffer
An additional small Safety Buffer on the playback side has proven to be very efficient and useful. The Babyface uses a fixed additional buffer of 32 samples, which is added to the current
buffer size. The main advantage is the ability to use lowest latency at highest CPU loads. Furthermore, the fixed buffer does not add to the latency jitter (see Tech Info), the subjective timing
is extraordinary.
Core Audio's Safety Offset
Under OS X, every audio interface has to use a so called Safety Offset on record and playback,
otherwise Core Audio won't operate click-free. The Babyface uses a Safety Offset of 16 samples. This offset is signalled to the system, and the software can calculate and display the total
latency of buffer size plus AD/DA offset plus 2 x Safety Offset plus Safety Buffer for the current
sample rate.
26.3 USB Audio
USB audio is in several ways different from PCI based audio interfaces. A Babyface can
achieve a performance similar to a PCI or PCI Express card when used with an optimal PC.
Low CPU load and click-free operation even at 48 samples buffer size are indeed possible on
current computers. However, using older computers a simple stereo playback will begin to
cause a CPU load of more than 30%.
A computer blocked for a short time – no matter if ASIO or WDM – will lose one or more data
packets. Such problems can only be solved by increasing the buffer size (and with this the latency).
The Babyface features a unique data
checking,
detecting
errors
during
transmission via USB and displaying them
in the Settings dialog.
Additionally the Babyface provides a special mechanism to continue recording and playback in
case of drop-outs, and to correct the sample position in real-time.
Like any audio interface the Babyface should have a data transmission to the computer as undisturbed as possible. The easiest way to guarantee this is to connect it to its own bus, which
should be no big problem as most USB 2.0 interfaces are a double bus design. A check in the
Device Manager can be done as follows:
¾
¾
¾
Connect the Babyface to a USB port
Start the Device Manager, View set to Devices by Connection
Select ACPI x86-based PC, Microsoft ACPI-Compliant System, expand PCI Bus
This branch normally includes two entries of a USB2 Enhanced Host Controller. A USB Root
Hub can be seen, which then connects all USB devices, including the Babyface. By reconnecting to a different port this view immediately shows at which of the two controllers the Babyface
is connected. With multiple devices it can also be checked if they are connected to the same
controller.
Furthermore this information can be used to operate an external USB drive without disturbing
the Babyface, by simply connecting the drive to the other controller.
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Especially with notebooks it can happen that all internal devices and all the sockets/ports are
connected to the same controller, with the second controller not used at all. In that case all devices have to use the same bus and interfere with each other.
26.4 DS - Double Speed
When activating the Double Speed mode the Babyface operates at double sample rate. The
internal clock 44.1 kHz turns to 88.2 kHz, 48 kHz to 96 kHz. The internal resolution is still 24 bit.
Sample rates above 48 kHz were not always taken for granted, and are still not widely used
because of the CD format (44.1 kHz) dominating everything. Before 1998 there were no receiver/transmitter circuits available that could receive or transmit more than 48 kHz. Therefore a
work-around was used: instead of two channels, one AES line only carries one channel with its
odd and even samples being distributed to the former left and right channels. By this, you get
the double amount of data, i. e. also double sample rate. Of course in order to transmit a stereo
signal two AES/EBU ports are necessary then.
This transmission mode is called Double Wire in the professional studio world, and is also
known as S/MUX (Sample Multiplexing) in connection with the ADAT format.
Not before February 1998, Crystal shipped the first 'single wire' receiver/transmitters that could
also work with double sample rate. It was then possible to transmit two channels of 96 kHz data
via one AES/EBU port.
But Double Wire is still far from being dead. On one hand, there are still many devices which
can't handle more than 48 kHz, e. g. digital tape recorders. But also other common interfaces
like ADAT or TDIF are still using this technique.
Because the ADAT interface does not allow for sampling frequencies above 48 kHz (a limitation
of the interface hardware), the Babyface automatically uses Sample Multiplexing in DS mode.
One channel's data is distributed to two channels according to the following table:
Analog In
DS Signal
Port
1
1/2
ADAT
2
3/4
ADAT
3
5/6
ADAT
4
7/8
ADAT
5
-
6
-
7
-
8
As the transmission of double rate signals is done at standard sample rate (Single Speed), the
ADAT output still delivers 44.1 kHz or 48 kHz.
26.5 QS – Quad Speed
Due to the small number of available devices that use sample rates up to 192 kHz, but even
more due to a missing real world application (CD...), Quad Speed has had no broad success so
far. An implementation of the ADAT format as double S/MUX results in only two channels per
optical output. There are few devices using this method.
In Quad Speed mode the Babyface automatically uses Sample Multiplexing. One channel's
data is distributed to four channels according to the following table:
Analog In
DS Signal
Port
1
1/2/3/4
ADAT
2
5/6/7/8
ADAT
3
-
4
-
5
-
6
-
7
-
8
-
As the transmission of quad rate signals is done at standard sample rate (Single Speed), the
ADAT output still delivers 44.1 kHz or 48 kHz.
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71
26.6 Noise Level in DS / QS Mode
The outstanding signal to noise ratio of the Babyface's AD-converters can be verified even without expensive test equipment, by using record level meters of various software. But when activating the DS and QS mode, the displayed noise level will rise from -109 dB to -104 dB at 96
kHz, and –82 dB at 192 kHz. This is not a failure. The software measures the noise of the whole
frequency range, at 96 kHz from 0 Hz to 48 kHz (RMS unweighted), at 192 kHz from 0 Hz to 96
kHz.
When limiting the measurement range from 20 Hz to 20 kHz (so called audio bandpass) the
value would be -110 dB again. This can be verified with RME's DIGICheck. The function Bit
Statistic & Noise measures the noise floor by Limited Bandwidth, ignoring DC and ultrasound.
The reason for this behaviour is the noise shaping technology of the analog to digital converters. They move all noise and distortion to the inaudible higher frequency range, above 24 kHz.
That’s how they achieve their outstanding performance and sonic clarity. Therefore the noise is
slightly increased in the ultrasound area. High-frequency noise has high energy. Add the doubled (quadrupled) bandwidth, and a wideband measurement will show a significant drop in
SNR, while the human ear will notice absolutely no change in the audible noise floor.
26.7 SteadyClock
The SteadyClock technology of the Babyface guarantees an excellent performance in all clock
modes. Thanks to a highly efficient jitter suppression, the AD- and DA-conversion always operates on highest sonic level, being completely independent from the quality of the incoming clock
signal.
SteadyClock has been originally developed
to gain a stable and clean clock from the
heavily jittery MADI data signal (the embedded MADI clock suffers from about 80 ns
jitter). Using the Babyface's input signals
SPDIF and ADAT, you'll most probably
never experience such high jitter values. But
SteadyClock is not only ready for them, it
would handle them just on the fly.
Common interface jitter values in real world
applications are below 10 ns, a very good
value is less than 2 ns.
The screenshot shows an extremely jittery
SPDIF signal of about 50 ns jitter (top
graph, yellow). SteadyClock turns this signal into a clock with less than 2 ns jitter (lower graph,
blue). The signal processed by SteadyClock is of course not only used internally, but also used
to clock the digital output. Therefore the refreshed and jitter-cleaned signal can be used as reference clock without hesitation.
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27. Diagrams
27.1 Block Diagram Babyface
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73
27.2 Connector Pinouts
TRS jack analog instrument input
The ¼" TRS jack of the instrument input is wired according to international standards:
Tip = + (hot), Ring = GND, Sleeve = GND.
XLR Connectors
The servo-balanced input circuitry allows to use monaural TS jacks (unbalanced) with no loss
in level. This is the same as when using a TRS-jack with ring connected to ground.
The electronic output stage does not operate servo-balanced! When connecting unbalanced equipment, make sure pin 3 of the XLR output is not connected. A connection to
ground will cause higher THD (distortion)!
TRS Phones jack
The analog output 3/4 is accessible
through a stereo ¼" TRS jack. This
allows a direct connection of headphones. In case the output should operate as Line output, an adapter TRS
plug to RCA phono plugs, or TRS plug
to TS plugs is required.
The pin assignment follows international standards. The left channel is
connected to the tip, the right channel
to the ring of the TRS jack/plug.
15-pin D-type connector and XLR breakout cable
Pin
1
2
3
4
5
Name
Line In Left Line In Right +
Line Out Right +
MIDI Out (5)
MIDI In (4)
Pin
6
7
8
9
10
Name
Line In Left +
Line Out Left Line Out Right GND/Shell
MIDI In (5)
Pin
11
12
13
14
15
Name
Line In Right Line Out Left +
Phones Left
Phones Right
MIDI Out (4)
15-pin D-type connector and RCA/phono breakout cable
Pin
1
2
3
4
5
74
Name
GND/Shell
Line In Right +
Line Out Right +
MIDI Out (5)
MIDI In (4)
Pin
6
7
8
9
10
Name
Line In Left +
n.c.
n.c.
GND/Shell
MIDI In (5)
Pin
11
12
13
14
15
User's Guide Babyface © RME
Name
GND/Shell
Line Out Left +
Phones Left
Phones Right
MIDI Out (4)
User's Guide
Babyface
Miscellaneous
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75
28. Accessories
There are several items available for the Babyface:
Part Number
Description
Optical cable for SPDIF and ADAT operation:
OK0050
OK0100
OK0200
OK0300
OK0500
OK1000
Optical cable, TOSLINK, 0.5 m (1.6 ft)
Optical cable, TOSLINK, 1 m (3.3 ft)
Optical cable, TOSLINK, 2 m (6.6 ft)
Optical cable, TOSLINK, 3 m (9.9 ft)
Optical cable, TOSLINK, 5 m (16.4 ft)
Optical cable, TOSLINK, 10 m (33 ft)
NTCARDBUS
Power supply for Babyface. Robust and light-weight switching power supply,
100 V-240 V AC, 12 V 2 A DC.
BF-BAGBK
BF-BOCMKH
BF-BOXLRMKH
BF-EXT13
Bag for Babyface
Breakout cable RCA (phono)
Breakout cable XLR
Extension cable 1.3 m (4.6 ft)
29. Warranty
Each individual Babyface undergoes comprehensive quality control and a complete test before
shipping. The usage of high grade components should guarantee a long and trouble-free operation of the unit.
If you suspect that your product is faulty, please contact your local retailer.
Audio AG grants a limited manufacturer warranty of 6 months from the day of invoice showing
the date of sale. The length of the warranty period is different per country. Please contact your
local distributor for extended warranty information and service. Note that each country may
have regional specific warranty implications.
In any case warranty does not cover damage caused by improper installation or maltreatment replacement or repair in such cases can only be carried out at the owner's expense.
No warranty service is provided when the product is not returned to the local distributor in the
region where the product had been originally shipped.
Audio AG does not accept claims for damages of any kind, especially consequential damage.
Liability is limited to the value of the Babyface. The general terms of business drawn up by Audio AG apply at all times.
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30. Appendix
RME news, driver updates and further product information are available on our website:
http://www.rme-audio.com
Distributor: Audio AG, Am Pfanderling 60, D-85778 Haimhausen, Tel.: (49) 08133 / 91810
Trademarks
All trademarks, registered or otherwise, are the property of their respective owners. RME,
DIGICheck and Hammerfall are registered trademarks of RME Intelligent Audio Solutions.
SyncCheck, ZLM, DIGI96, SyncAlign, TMS, TotalMix, SteadyClock and Babyface are trademarks of RME Intelligent Audio Solutions. Alesis and ADAT are registered trademarks of Alesis
Corp. ADAT optical is a trademark of Alesis Corp. Microsoft, Windows XP and Windows Vista
are registered trademarks or trademarks of Microsoft Corp. Steinberg, Cubase and VST are
registered trademarks of Steinberg Media Technologies GmbH. ASIO is a trademark of
Steinberg Media Technologies GmbH.
Copyright © Matthias Carstens, 05/2011. Version 1.5
Current driver version: W: 0.981, Mac OS X: 1.56, Firmware 184
Although the contents of this User’s Guide have been thoroughly checked for errors, RME can
not guarantee that it is correct throughout. RME does not accept responsibility for any misleading or incorrect information within this guide. Lending or copying any part of the guide or the
RME Driver CD, or any commercial exploitation of these media without express written permission from RME Intelligent Audio Solutions is prohibited. RME reserves the right to change
specifications at any time without notice.
User's Guide Babyface © RME
77
31. Declaration of Conformity
CE
This device has been tested and found to comply with the limits of the European Council Directive on the approximation of the laws of the member states relating to electromagnetic compatibility according to RL2004/108/EG, and European Low Voltage Directive RL2006/95/EG.
FCC
This equipment has been tested and found to comply with the limits for a Class B digital device,
pursuant to Part 15 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 will not occur in a particular installation. If this equipment does
cause harmful interference to radio or television reception, which can be determined by turning
the equipment off and on, the user is encouraged to try to correct the interference by one or
more of the following measures:
- Reorient or relocate the receiving antenna.
- Increase the separation between the equipment and receiver.
- Connect the equipment into an outlet on a circuit different from that to which the receiver is
connected.
- Consult the dealer or an experienced radio/TV technician for help.
RoHS
This product has been soldered lead-free and fulfils the requirements of the RoHS directive.
Note on Disposal
According to the guide line RL2002/96/EG (WEEE – Directive on Waste
Electrical and Electronic Equipment), valid for all european countries,
this product has to be recycled at the end of its lifetime.
In case a disposal of electronic waste is not possible, the recycling can
also be done by Audio AG.
For this the device has to be sent free to the door to:
Audio AG
Am Pfanderling 60
D-85778 Haimhausen
Germany
Shipments not prepaid will be rejected and returned on the original sender's costs.
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