!8pre Manual/Mac Page 1 Tuesday, October 12, 2010 5:52 PM
MOTU 8pre
™
User’s Guide for Mac OS X
1280 Massachusetts Avenue
Cambridge, MA 02138
Business voice: (617) 576-2760
Business fax: (617) 576-3609
Technical support: (617) 576-3066
Tech support fax: (617) 354-3068
Tech support email: techsupport@motu.com
Web site: www.motu.com
!8pre Manual/Mac Page 2 Tuesday, October 12, 2010 5:52 PM
SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS
CAUTION! READ THIS SAFETY GUIDE BEFORE YOU BEGIN INSTALLATION OR OPERATION. FAILURE TO COMPLY WITH SAFETY INSTRUCTIONS
COULD RESULT IN BODILY INJURY OR EQUIPMENT DAMAGE.
HAZARDOUS VOLAGES: CONTACT MAY CAUSE ELECTRIC SHOCK OR BURN. TURN OFF UNIT BEFORE SERVICING.
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR OTHER MOISTURE.
CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
WARNING: DO NOT PERMIT FINGERS TO TOUCH THE TERMINALS OF PLUGS WHEN INSTALLING OR REMOVING THE PLUG TO OR FROM THE OUTLET.
WARNING: IF NOT PROPERLY GROUNDED THE MOTU 8pre COULD CAUSE AN ELECTRICAL SHOCK.
The MOTU 8pre is equipped with a three-conductor cord and grounding type plug which has a grounding prong, approved by Underwriters' Laboratories and the Canadian Standards Association.This
plug requires a mating three-conductor grounded type outlet as shown in Figure A below. If the outlet you are planning to use for the MOTU 8pre is of the two prong type, DO NOT REMOVE OR ALTER
THE GROUNDING PRONG IN ANY MANNER. Use an adapter as shown below and always connect the grounding lug to a known ground. It is recommended that you have a qualified electrician
replace the TWO prong outlet with a properly grounded THREE prong outlet. An adapter as illustrated below in Figure B is available for connecting plugs to two-prong receptacles.
Figure A
Figure B
Grounding lug
Screw
3-prong plug
Make sure this is connected to
a known ground.
3-prong plug
Grounding prong
Two-prong receptacle
Properly grounded 3-prong outlet
Adapter
WARNING: THE GREEN GROUNDING LUG EXTENDING FROM THE ADAPTER MUST BE CONNECTED TO A PERMANENT GROUND SUCH AS TO A
PROPERLY GROUNDED OUTLET BOX. NOT ALL OUTLET BOXES ARE PROPERLY GROUNDED.
If you are not sure that your outlet box is properly grounded, have it checked by a qualified electrician. NOTE: The adapter illustrated is for use only if you already have a properly grounded two-prong
receptacle. Adapter is not allowed in Canada by the Canadian Electrical Code. Use only three wire extension cords which have three-prong grounding type plugs and three-prong receptacles which
will accept the MOTU 8pre plug.
IMPORTANT SAFEGUARDS
1. Read these instructions. All the safety and operating instructions should be read before operating the 8pre.
2. Keep these instructions.These safety instructions and the 8pre owner’s manual should be retained for future reference.
3. Heed all warnings. All warnings on the 8pre and in the owner’s manual should be adhered to.
4. Follow all Instructions. All operating and use instructions should be followed.
5. Do not use the 8pre near water.
6. Cleaning - Unplug the 8pre from the computer and clean only with a dry cloth. Do not use liquid or aerosol cleaners.
7. Ventilation - Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
8. Heat - Do not install the 8pre near any heat sources such as radiators, heat registers, stoves, or another apparatus (including an amplifier) that produces heat.
9. Overloading - Do not overload wall outlets and extension cords as this can result in a risk of fire or electrical shock.
10. Grounding - Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong.The wide blade
or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult and electrician for replacement of the obsolete outlet.
11. Power cord - Protect the 8pre power cord from being walked on or pinched by items placed upon or against them. Pay particular attention to cords and plugs, convenience receptacles, and the point where they exit from the 8pre.
12. Power switch - Install the 8pre so that the power switch can be accessed and operated at all times.
13. Disconnect - The main plug is considered to be the disconnect device for the 8pre and shall remain readily operable.
14. Accessories - Only use attachments/accessories specified by the manufacturer.
15. Placement - Use only with the cart, stand, tripod, bracket or table specified by the manufacturer, or sold with the 8pre.When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
16. Surge protection - Unplug the 8pre during lightning storms or when unused for long periods of time.
17. Servicing - Refer all servicing to qualified service personnel. Servicing is required when the 8pre has been damaged in any way, such as when a power-supply cord or plug is damaged, liquid has been spilled or objects have fallen
into the 8pre, the 8pre has been exposed to rain or moisture, does not operate normally, or has been dropped.
18. Power Sources - Refer to the manufacturer’s operating instructions for power requirements. Be advised that different operating voltages may require the use of a different line cord and/or attachment plug.
19. Installation - Do not install the 8pre in an unventilated rack, or directly above heat-producing equipment such as power amplifiers. Observe the maximum ambient operating temperature listed below.
20. Power amplifiers- Never attach audio power amplifier outputs directly to any of the unit’s connectors.
21. Replacement Parts - When replacement parts are required, be sure the service technician has used replacement parts specified by the manufacturer or have the same characteristics as the original part. Unauthorized substitutions
may result in fire, electric shock or other hazards.
22. Safety Check - Upon completion of any service or repairs to this MOTU 8pre, ask the service technician to perform safety checks to determine that the product is in safe operating conditions.
ENVIRONMENT
Operating Temperature: 10°C to 40°C (50°F to 104°)
TO REDUCE THE RISK OF ELECTRICAL SHOCK OR FIRE
Do not handle the power cord with wet hands. Do not pull on the power cord when disconnecting it from an AC wall outlet. Grasp it by the plug. Do not expose this apparatus to rain or moisture. Do not place objects containing liquids on it.
AC INPUT
100 - 240VAC ~ • 50 / 60Hz • 7 Watts.
!8pre Manual/Mac Page 0 Tuesday, October 12, 2010 5:52 PM
About the Mark of the Unicorn License Agreement and
Limited Warranty on Software
TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the
terms and conditions of the “click-wrap” license agreement presented to you when
you install the software. Using the software or this documentation indicates your
acceptance of the terms and conditions of that license agreement.
Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation.
Both the program and the documentation are protected under applicable copyright,
trademark, and trade-secret laws.Your right to use the program and the
documentation are limited to the terms and conditions described in the license
agreement.
Reminder of the terms of your license
This summary is not your license agreement, just a reminder of its terms.The actual
license can be read and printed by running the installation program for the software.
That license agreement is a contract, and clicking “Accept” binds you and MOTU to
all its terms and conditions. In the event anything contained in this summary is
incomplete or in conflict with the actual click-wrap license agreement, the terms of the
click-wrap agreement prevail.
YOU MAY: (a) use the enclosed program on a single computer; (b) physically transfer
the program from one computer to another provided that the program is used on only
one computer at a time and that you remove any copies of the program from the
computer from which the program is being transferred; (c) make copies of the
program solely for backup purposes.You must reproduce and include the copyright
notice on a label on any backup copy.
YOU MAY NOT: (a) distribute copies of the program or the documentation to others;
(b) rent, lease or grant sublicenses or other rights to the program; (c) provide use of
the program in a computer service business, network, time-sharing, multiple CPU or
multiple user arrangement without the prior written consent of MOTU; (d) translate,
adapt, reverse engineer, decompile, disassemble, or otherwise alter the program or
related documentation without the prior written consent of MOTU.
MOTU warrants to the original licensee that the disk(s) on which the program is
recorded be free from defects in materials and workmanship under normal use for a
period of ninety (90) days from the date of purchase as evidenced by a copy of your
receipt. If failure of the disk has resulted from accident, abuse or misapplication of the
product, then MOTU shall have no responsibility to replace the disk(s) under this
Limited Warranty.
THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF,
AND YOU HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH
EXPRESS AND IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES
OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE
LIABILITY OF MOTU PURSUANT TO THIS LIMITED WARRANTY SHALL BE
LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK(S), AND IN NO
EVENT SHALL MOTU OR ITS SUPPLIERS, LICENSORS, OR AFFILIATES BE
LIABLE FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, INCLUDING
BUT NOT LIMITED TO LOSS OF USE, LOSS OF PROFITS, LOSS OF DATA OR
DATA BEING RENDERED INACCURATE, OR LOSSES SUSTAINED BY THIRD
PARTIES EVEN IF MOTU HAS BEEN ADVISED OF THE POSSIBILITY OF
SUCH DAMAGES. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS
WHICH MAY VARY FROM STATE TO STATE. SOME STATES DO NOT ALLOW
THE LIMITATION OR EXCLUSION OF LIABILITY FOR CONSEQUENTIAL
DAMAGES, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU.
Update Policy
In order to be eligible to obtain updates of the program, you must complete and return
the attached Mark of the Unicorn Purchaser Registration Card to MOTU.
Copyright Notice
Copyright © 2006 by Mark of the Unicorn, Inc. All rights reserved. No part of this
publication may be reproduced, transmitted, transcribed, stored in a retrieval system,
or translated into any human or computer language, in any form or by any means
whatsoever, without express written permission of Mark of the Unicorn, Inc., 1280
Massachusetts Avenue, Cambridge, MA, 02138, U.S.A.
Limited Warranty on Hardware
Mark of the Unicorn, Inc. and S&S Research (“MOTU/S&S”) warrant this equipment
against defects in materials and workmanship for a period of NINETY (90) DAYS
from the date of original retail purchase. This warranty applies only to hardware
products; MOTU software is licensed and warranted pursuant to separate written
statements.
If you discover a defect, first write or call Mark of the Unicorn at (617) 576-2760 to
obtain a Return Merchandise Authorization Number. No service will be performed on
any product returned without prior authorization. MOTU will, at its option, repair or
replace the product at no charge to you, provided you return it during the warranty
period, with transportation charges prepaid, to Mark of the Unicorn, Inc., 1280
Massachusetts Avenue, MA 02138.You must use the product’s original packing
material for in shipment, and insure the shipment for the value of the product. Please
include your name, address, telephone number, a description of the problem, and
the original, dated bill of sale with the returned unit and print the Return Merchandise
Authorization Number on the outside of the box below the shipping address.
This warranty does not apply if the equipment has been damaged by accident,
abuse, misuse, or misapplication; has been modified without the written permission
of MOTU, or if the product serial number has been removed or defaced.
ALL IMPLIED WARRANTIES, INCLUDING IMPLIED WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE
LIMITED IN DURATION TO NINETY (90) DAYS FROM THE DATE OF THE
ORIGINAL RETAIL PURCHASE OF THIS PRODUCT.
THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE
AND IN LIEU OF ALL OTHERS, ORAL OR WRITTEN, EXPRESS OR IMPLIED.
No MOTU/S&S dealer, agent, or employee is authorized to make any modification,
extension, or addition to this warranty.
MOTU/S&S ARE NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR
CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF
WARRANTY, OR UNDER ANY LEGAL THEORY, INCLUDING LOST PROFITS,
DOWNTIME, GOODWILL, DAMAGE OR REPLACEMENT OF EQUIPMENT
AND PROPERTY AND COST OF RECOVERING REPROGRAMMING, OR
REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH
MOTU/S&S PRODUCTS.
Some states do not allow the exclusion or limitation of implied warranties or liability for
incidental or consequential damages, so the above limitation or exclusion may not
apply to you. This warranty gives you specific legal rights, and you may have other
rights which vary from state to state.
Digital Performer, AudioDesk, MOTU, Mark of the Unicorn and the unicorn silhouette
logo are trademarks of Mark of the Unicorn, Inc.
This equipment has been type 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 instruction manual,
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 interference to radio
or television equipment reception, which can be determined by turning the equipment off and on, the
user is encouraged to try to correct the interference by any combination of the following measures:
• Relocate or reorient the receiving antenna
• Increase the separation between the equipment and the receiver
• Plug the equipment into an outlet on a circuit different from that to which the receiver is connected
If necessary, you can consult a dealer or experienced radio/television technician for additional
assistance.
PLEASE NOTE: only equipment certified to comply with Class B (computer input/output devices,
terminals, printers, etc.) should be attached to this equipment, and it must have shielded interface
cables in order to comply with the Class B FCC limits on RF emissions.
WARNING: changes or modifications to this unit not expressly approved by the party
responsible for compliance could void the user's authority to operate the equipment.
!8pre Manual/Mac Page iii Tuesday, October 12, 2010 5:52 PM
Contents
5
Quick Reference: 8pre Front Panel
6
Quick Reference: 8pre Rear Panel
7
Quick Reference: MOTU Audio Setup
9
About the 8pre
13
Packing List and Macintosh System Requirements
15
Installing the 8pre Hardware
21
Installing the 8pre Mac OS X Software
25
MOTU Audio Setup
29
Front Panel Settings
31
Digital Performer
35
AudioDesk
39
Other Mac OS X Audio Software
45
Reducing Monitoring Latency
51
MOTU CueMix Console
59
MOTU SMPTE Setup
65
Troubleshooting
67
Index
III
Turn it to adjust headphone volume. In the LED section
to the right, the row of amber LEDs, second from the
top, provides general feedback regarding the
headphone level as you turn the knob.
Push in the knob twice (so that it clicks two times) and
then turn it to adjust the volume of the main outs on
the rear panel. In the LED section to the right, the
middle row of green LEDs, third from the bottom,
provides general feedback regarding the headphone
level as you turn the knob.
■
7
Push and hold the knob for 5 seconds to enter a mode
where you can change 2x optical input and output
(88.2 or 96kHz) to Type I (for 2x optical connection to
SMUX-compatible products) or Type II (for 2x optical
connection to MOTU products). The bottom LED in the
“1” or “2” column flashes. Turn the volume knob to
switch between Type I and II, respectively.
Push in and hold the knob for 3 seconds to enter a
mode where you can change the clock source. In this
mode, the CLOCK LED flashes, turn the knob to change
the clock mode. Push it again to exit clock mode.
8
3. These eight 5-segment meters show input signal level
for the mic/instrument XLR/combo inputs on the rear
panel.When you turn the volume knob, which is a digital
rotary encoder, the row of amber LEDs, second from the
top, provides general feedback regarding the headphone
level as you turn the knob. The scale goes from left to
right, where all LEDs are illuminated at full headphone
■
2. The VOLUME knob is a rotary encoder that can be pushed
as well as turned:
■
■
1. Each analog input has individual front panel controls,
including an input gain (trim) knob (approximately
40 dB of gain), 48 volt phantom power on/off switch (up
is on) and -20 dB pad switch (down is engaged).
9
1
5. The CLOCK LEDs indicate the current clock source and
sample rate. Choose 44.1, 48, 88.2 or 96kHz to operate
the 8pre under its own internal clock at the chosen
sample rate. To resolve the 8pre to another digital audio
device via connection to its optical input, choose either
optical in 1x (for 44.1 or 48 kHz) or optical in 2x (for 88.2
or 96 kHz). If you are resolving to optical at 2x, choose
Type II for MOTU products or Type I for third-party
products, as described earlier in item number 2.
4. When the 8pre is connected to computer via FireWire,
and the computer is turned on, the 8pre functions as an
audio interface. When the computer is off or not
connected, the 8pre functions as a digital-to-analog
converter. The Interface and Converter LEDs indicate
which mode the 8pre is in.
volume. The middle row of green LEDs (third from the
bottom) performance a similar role for the main out
volume adjustment.
6
2
Quick Reference: 8pre Front Panel
5
4
9. Flip the PAD switch down to apply a -20 dB reduction in
level. Flip it up to disengage the pad.
8. The 48V phantom power switches provide phantom
power for condenser microphones. Down is off; up is on.
7. These eight trim knobs provide approximately 40 dB of
gain for both the lo-Z XLR mic input and the hi-Z TRS
guitar/instrument input. Both inputs have preamps, so
you can plug just about anything into them: a microphone, a guitar, a synth. Use the trim knob and the
analog input level meters over in the metering section to
calibrate the input signal level. The meters cover both
the TRS and XLR input.
6. This is a standard quarter-inch stereo headphone jack.
From the factory, its output matches the main outs on
the rear panel. But it can be programmed to mirror any
other (optical) output pair. It can even be programmed
to serve as its own independent output. Use the volume
knob above to control its level.
3
!8pre Manual/Mac Page 5 Tuesday, October 12, 2010 5:52 PM
2
3
When the 8pre is slaving to its optical input, it resolves to the
input in the top row, even when operating at the 2x sample
rates (88.2 or 96 kHz).
When the 8pre is not connected directly to a computer (via
FireWire), the optical input is disabled and the eight optical
output channels mirror any incoming signal on the 8pre’s
eight XLR/TRS combo jack analog inputs. By connecting the
8pre to another device, such as another ADAT-optical
equipped interface or a digital mixer, you add an additional
eight mic inputs to your system.
When the 8pre is connected to a computer, these optical ports
provide digital input and output to and from the computer.
1. The two ADAT optical (“lightpipe”) ports in the top row
provide eight channels of digital input and output at 44.1 and
48 kHz. At the 2x sample rates (88.2 or 96 kHz), the top row
provides channels 1-4 (in and out) and the bottom row
provides channels 5-8 (in and out). When operating the
optical ports at a 2x sample rate, be sure to choose either Type
I or Type II operation, as explained in item 2. on the previous
page.
1
3. Connect the 8pre to the computer here using the standard
1394 FireWire cable provided with your 8pre. Use the second
FireWire port to daisy-chain up to four MOTU FireWire audio
interfaces to a single FireWire bus. You can also connect other
FireWire devices to daisy-chain them to the computer, with
the computer serving as the Firewire host.
2. Connect a MIDI device here using standard MIDI cables.
Connect the 8pre’s MIDI OUT port to the MIDI IN port on the
other device. Conversely, connect the 8pre’s MIDI IN port to
the MIDI OUT port on the other device. You can connect different devices to each port, such as a controller device to the IN
port and a sound module to the OUT port. You can also daisychain MIDI devices, but be sure to manage their MIDI
channels (so that they don’t receive or transmit on the same
channel).
When the 8pre is operating at the 1x sample rates (44.1 or 48
kHz), the optical output in the bottom row mirrors the
8-channel optical output in the top row, allowing you to send
the 8pre optical output to two different destinations in your
studio, if needed.
4
5. These eight XLR/TRS combo jack accepts either a mic cable or
a cable with a quarter-inch plug. Both the low-impedance
XLR jack and the high-impedance TRS jack are equipped with
40 dB of front-panel trim control. Each XLR (mic) input can be
supplied with 48V phantom power or -20 dB pad via its corresponding front-panel switches.
4. These two balanced, quarter-inch jacks serve as the 8pre’s
main outputs. You can connect them to a set of powered
studio monitors and then control the volume from the front
panel volume knob. To hear disk tracks in your audio software
on these main outs, assign the disk tracks (and master fader)
to these main outs (Main Out 1-2). You can also use CueMix
DSP to monitor live 8pre inputs here as well.
5
Quick Reference: 8pre Rear Panel
!8pre Manual/Mac Page 6 Tuesday, October 12, 2010 5:52 PM
!8pre Manual/Mac Page 7 Tuesday, October 12, 2010 5:52 PM
Quick Reference: MOTU Audio Setup
CHAPTER
Click the tabs to access general
MOTU interface settings or
settings specific to the 8pre (or
other connected interface.)
Determines the clock source for your 8pre. If
you’re just using the analog ins and outs, set
this to ‘Internal’. The other settings are for
digital transfers (via optical) or external
synchronization to other systems.
This menu lets you choose what you will
hear from the headphone jack.To mirror the
main outs, choose Main Out 1-2. Or you can
mirror any other output pair. To hear the
phones as their own independent output,
choose Phones 1-2.
Click the General tab to access these settings.
Check this option if you would like the MOTU
Audio Setup icon to appear in the application dock as soon as a MOTU interface is
detected (switched on, plugged in, etc.)
In standard Mac OS X fashion, MOTU Audio
Setup appears in the dock when you launch
it. If the Launch MOTU Audio Setup when
hardware becomes available option is checked
(as shown above), the icon appears as soon as
you switch on your 8pre interface. If you click
and hold on the dock icon (instead of clicking
it) or control-click, a menu of hardware
settings appears as shown to the right. You
can view and configure any hardware
settings from this menu, without opening the
console window.
Choose the global sample rate
for the system here.
Specifies the stereo input and
output pair when the 8pre is
chosen for Mac OS X audio I/O.
Lets you enable or disable the
optical input and/or output to
conserve FireWire bus
bandwidth. For details, see
“Optical input/output” on
page 27.
If you have a foot switch
connected to another MOTU
FireWire interface, these
settings let you map the foot
switch to any computer
keyboard key for both the up
and down position.This setting
does not apply to the 8pre,
which does not have a foot
switch input.
This button opens another
dialog that lets you assign your
own customized names to each
8pre input and output. For
example, if you have a lead
vocal mic plugged into input 1,
you could name it “Lead Vox”.
Your customized names then
appear in your host audio
application (if it supports Core
Audio input naming).
7
!8pre Manual/Mac Page 8 Tuesday, October 12, 2010 5:52 PM
8
!8pre Manual/Mac Page 9 Tuesday, October 12, 2010 5:52 PM
CHAPTER 1
About the 8pre
OVERVIEW
The 8pre is and audio interface that can operate in
two general modes: as a FireWire audio interface or
as an analog-to-digital converter.
With a standard 19-inch, single-space, rackmountable I/O form factor, the 8pre connects
directly to a computer via a standard FireWire
cable or to another interface via an ADAT optical
cable.
As a FireWire audio interface, the 8pre is a
complete computer-based hard disk recording
system for Mac OS X and Windows that offers eight
high-quality mic inputs and at any standard
sample rate up to 96kHz, plus one bank of ADAT
optical digital I/O that provides 8 channels of
digital I/O at any sample rate up to 96 kHz. At 88.2
or 96 kHz, a second bank of dedicated ADAT
optical jacks provide input and output on
channels 5-8.
When the 8pre is not connected to a computer via
FireWire, it operates as an analog-to-digital
converter. By connecting the 8pre’s optical ports to
another audio interface, digital mixer or other
digital audio system that supports 8-channel ADAT
optical I/O, the 8pre becomes as an 8-channel
analog to optical expansion interface that adds
eight high-quality mic inputs to the system.
The 8pre offers the following features:
■ Eight 24-bit analog combo XLR/TRS mic/
instrument inputs with preamps, each equipped
with individually switchable 20 dB pad and 48V
phantom power
■
Two 24-bit analog TRS main outputs
■ Eight-channel ADAT optical digital I/O at
sample rates up to 96 kHz
■
MIDI I/O
■
On-board SMPTE synchronization
■
Headphone jack
■
Main volume knob (for headphone + main outs)
■
Front-panel 5-segment input meters
■
Front-panel mode and clock status LEDs
■ No-latency analog to digital conversion from the
eight analog inputs to the eight ADAT optical
digital outputs
With its XLR/TRS combo jack inputs, mic
preamps, no-latency monitoring of live input and
synchronization capabilities, the 8pre is a
complete, portable “studio in a box” when used
with a Macintosh or Windows computer. The 8pre
system includes AudioDesk™, full-featured audio
workstation software for Mac OS that supports
both 16-bit and 24-bit recording.
THE 8PRE I/O REAR PANEL
The 8pre rear panel has the following connectors:
■ Two gold-plated, balanced +4dB quarter-inch
(TRS) analog outputs (with 24-bit 96kHz
converters)
■ Eight 24-bit analog combo XLR/TRS mic/
instrument inputs with preamps, each equipped
with individually switchable 20 dB pad, 48V
phantom power and 24-bit 96kHz converters
■ Two sets of ADAT optical ‘light pipe’ connectors
(8 channels of ADAT optical I/O at all supported
sample rates)
■
MIDI IN and MIDI OUT
9
!8pre Manual/Mac Page 10 Tuesday, October 12, 2010 5:52 PM
■
Two 6-pin FireWire jacks
16 inputs and 12 outputs
When operating as a FireWire audio interface, all
8pre inputs and outputs can be used simultaneously, for a total of 16 inputs and 12 outputs:
Connection
Input
Output
Mic preamps 24-bit 96kHz on XLR/TRS combo
8
-
Main outputs 24-bit 96kHz on bal/unbal TRS
-
stereo
Headphone output
-
stereo
ADAT optical digital (from 44.1 up to 96 kHz)
8
8
Total
16
12
All inputs and outputs are discrete. In other words,
using a mic input does not “steal” an input from the
ADAT optical I/O bank. The same is true for the
headphone outs and the main outs.
The two banks of ADAT optical ports provide eight
channels of input and output at 88.2 or 96 kHz. The
upper bank provides channels 1-4 and the lower
bank provides channels 5-8.
The headphone output can operate as an
independent output pair, or it can mirror any other
8pre output pair, such as the main outs.
Mic inputs with 48V phantom power
Eight rear-panel combo (XLR/TRS) jacks with
preamps, phantom power and 20 dB pad let you to
connect a microphone, guitar or any quarter-inch
input. The XLR jack serves as a low-impedance mic
input, and the TRS jack serves as a high-impedance
guitar/instrument input. Dedicated front-panel
trim knobs allow you to adjust each input independently. Defeatable 48V phantom power and 20dB
pad are supplied by convenient front panel
switches.
Converters
All eight analog inputs are equipped with 24-bit
96kHz, 64x oversampling A/D converters. The
main outs have 24-bit 128x oversampling D/A
converters. All audio is carried to the computer in a
24-bit data stream.
Main Outs
The main outs are equipped with 24-bit 128x
oversampling D/A converters and serve as
independent outputs for the computer. The main
outputs are on balanced TRS +4dB quarter-inch
jacks. Both of these jacks can also accept
unbalanced plugs.
Optical
The 8pre provides two banks of optical “lightpipe”
jacks that support the ADAT optical digital I/O
format. At 44.1 or 48 kHz, the upper bank provides
eight channels of 24-bit digital audio, and the lower
bank simply mirrors all 8 channels of the upper
bank.
At 88.2 or 96 kHz, the upper bank handles
channels 1-4 and the lower bank handles channels
5-8 via the industry Standard S/MUX (“Type I”)
protocol for third-party product or MOTU’s own
“Type II” protocol for connecting the 8pre
optically to any MOTU audio interface. For details,
see “Setting the 2x optical mode” on page 29.
MIDI I/O
The 8pre’s standard MIDI IN and MIDI OUT jacks
supply 16 channels of MIDI I/O to and from the
computer via the 8pre’s FireWire connection.
Timing accuracy can be sample-accurate with host
software that supports it.
1394 FireWire
The two 1394 FireWire jacks accept a standard
IEEE 1394 FireWire cable to connect the 8pre to a
FireWire-equipped Macintosh or Windows
computer. The second jack can be used to daisy
chain multiple interfaces — up to four MOTU
10
ABOUT THE 8PRE
!8pre Manual/Mac Page 11 Tuesday, October 12, 2010 5:52 PM
FireWire interfaces — on a single FireWire bus. It
can also be used to connect other FireWire devices
without the need for a FireWire hub.
On-board SMPTE synchronization
The 8pre can resolve directly to SMPTE time code
via any analog input, without a separate
synchronizer. The 8pre provides a DSP-driven
phase-lock engine with sophisticated filtering that
provides fast lockup times and sub-frame
accuracy.
The included MOTU SMPTE Setup™ software
provides a complete set of tools to generate SMPTE
for striping, regenerating or slaving other devices
to the computer. Like CueMix DSP, the synchronization features are cross-platform and compatible
with all audio sequencer software that supports the
ASIO2 sample-accurate sync protocol.
THE 8PRE FRONT PANEL
Preamp trims, 48V phantom power and pad
The 8pre front panel provides convenient,
individual trim control, 48-volt phantom power
switch and 20 dB pad switch for each analog input.
16-BIT AND 24-BIT RECORDING
The 8pre system handles all data with a 24-bit
signal path, regardless of the I/O format. You can
record and play back 16-bit or 24-bit audio files at
any supported sample rate via any of the 8pre’s
analog or digital inputs and outputs. 24-bit audio
files can be recorded with any compatible host
application that supports 24-bit recording.
AUDIODESK
AudioDesk is a full-featured, 24-bit audio
workstation software package included with the
8pre system (for Macintosh only). AudioDesk
provides multi-channel waveform editing,
automated virtual mixing, graphic editing of ramp
automation, real-time effects plug-ins with 32-bit
floating point processing, crossfades, support for
many third-party audio plug-ins, background
processing of file-based operations, sampleaccurate editing and placement of audio, and more.
DIGITAL PERFORMER
The 8pre system is fully integrated with MOTU’s
award-winning Digital Performer audio sequencer
software package.
Headphone output and main volume control
The 8pre front panel includes a quarter-inch stereo
headphone output jack and volume knob. The
volume knob also controls the rear-panel main
outs. Push the knob to toggle between them.
OTHER HOST AUDIO SOFTWARE
Metering section
The front panel of the 8pre displays input metering.
The five-segment input meters provide dedicated
multi-segment metering for their respective analog
inputs.
Regardless of what software you use with the 8pre,
the host computer determines the number of
tracks the software can record and play simultaneously, as well as the amount of real-time effects
processing you can apply to your mix. A faster
computer with more RAM and faster hard drives
will allow more simultaneous tracks and real-time
effects than a slower computer with less RAM and
slower hard drives. Today’s fastest computers can
typically play as many as 72 tracks or more.
The Mode lights indicate whether the interface is
currently operating as a FireWire audio interface or
an analog-to-optical converter.
The 8pre system includes a standard Mac OS X
CoreAudio driver for multichannel I/O with any
audio application that supports CoreAudio.
A COMPUTER-BASED SYSTEM
The Clock lights indicate the global sample rate and
clock source.
11
ABOUT THE 8PRE
!8pre Manual/Mac Page 12 Tuesday, October 12, 2010 5:52 PM
Standard third-party high-performance hard drive
solutions can also help you achieve higher track
counts.
12
ABOUT THE 8PRE
!8pre Manual/Mac Page 13 Tuesday, October 12, 2010 5:52 PM
CHAPTER 2
Packing List and
Macintosh System Requirements
PACKING LIST
PLEASE REGISTER TODAY!
The 8pre ships with the items listed below. If any of
these items are not present in your 8pre box when
you first open it, please immediately contact your
dealer or MOTU.
Please register your 8pre today. There are two ways
to register.
■
One 8pre I/O rack unit
■
One set of removable rack ears
■
One 6-pin to 6-pin IEEE 1394 “FireWire” cable
■
Power cord
■
One 8pre Mac/Windows manual
■
One AudioDesk Manual
■
One cross-platform CD-ROM
■
Product registration card
MACINTOSH SYSTEM REQUIREMENTS
The 8pre system requires the following Macintosh
system:
■ A G3/300Mhz Power Macintosh or faster
equipped with at least one FireWire port
■ At least 256 MB (megabytes) of RAM (512 MB
or more is recommended)
■
Mac OS X (version 10.3.9 or later)
■
A large hard drive (preferably at least 20 GB)
■
Visit www.motu.com to register online
OR
■ Fill out and mail the included product
registration card
As a registered user, you will be eligible to receive
technical support and announcements about
product enhancements as soon as they become
available. Only registered users receive these
special update notices, so please register today.
Be sure to do the same for the included AudioDesk
software, which must be registered separately. You
can do so online or by filling out and mailing the
included software registration card found at the
beginning of your AudioDesk manual. Please be
sure to register AudioDesk as well, so that you will
be eligible to receive technical support and
announcements about AudioDesk software
enhancements as soon as they become available.
Thank you for taking the time to register your new
MOTU products!
13
!8pre Manual/Mac Page 14 Tuesday, October 12, 2010 5:52 PM
14
PACKING LIST AND MACINTOSH SYSTEM REQUIREMENTS
!8pre Manual/Mac Page 15 Tuesday, October 12, 2010 5:52 PM
CHAPTER 3
Installing the 8pre Hardware
OVERVIEW
CONNECT THE 8PRE TO YOUR COMPUTER
Here’s an overview for installing the 8pre:
1 Plug one end of the 8pre FireWire cable
(included) into the FireWire socket on the
computer as shown below in Figure 3-1.
Connect the 8pre to your computer . . . . . . . . . . . . . . . . . 15
Connect the 8pre to the computer.
Connect audio inputs and outputs . . . . . . . . . . . . . . . . . . 16
2 Plug the other end of the FireWire cable into the
8pre I/O as shown below in Figure 3-1.
Make optical and analog connections as desired.
Connect MIDI gear. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Connect a controller, synth or control surface.
Operating the 8pre as an interface. . . . . . . . . . . . . . . . . . . 18
An example setup for computer-based mixing/FX.
Operating the 8pre as a converter . . . . . . . . . . . . . . . . . . . 19
An example setup for a mixer-based studio.
Syncing optical devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Figure 3-1: Connecting the 8pre to the computer.
15
!8pre Manual/Mac Page 16 Tuesday, October 12, 2010 5:52 PM
CONNECT AUDIO INPUTS AND OUTPUTS
The 8pre audio interface has the following audio
input and output connectors:
8 combo XLR/quarter-inch analog mic/guitar/
instrument inputs
■
■
2 balanced, +4 dB quarter-inch TRS main outs
■
2 pair of ADAT optical (“Lightpipe”) in/out
Here are a few things you should keep in mind as
you are making these connections to other devices.
Mic/guitar/instrument inputs
Connect a microphone, guitar or other similar
instrument to any XLR/quarter-inch combo jack
input on the rear panel. If your microphone
requires phantom power, move the 48V phantom
power switch on the front panel to the up position
(enabled). Use the trim knobs on the front panel to
adjust the input level as needed for each input. The
trim knob provides approximately 40 dB of gain.
Use the input level meters on the front panel
(labeled Analog In) to calibrate the level. These
meters register for both the XLR and TRS input.
If a line level signal is still too hot with the trim
turned all the way down, engage (flip down) the
20dB pad switch on the front panel.
Main outs
The main outputs serve as independent outputs.
The main out volume is controlled by the volume
knob on the front panel. Push the knob to toggle
between phone and main out volume control. In a
standard studio configuration, the main outs are
intended for a pair of studio monitors, but they can
also be used as additional outputs for any purpose.
Optical
The 8pre provides 8-channel digital input and
output at 44.1, 48, 88.2 and 96 kHz. The 8pre rear
panel provides two sets of ADAT optical
(“lightpipe”) connectors: an top row and a bottom
row.
Reminder: optical goes OUT to IN and IN to OUT.
Input and output are independent. For example,
you could connect ADAT optical input from your
digital mixer and connect the output to an audio
interface connected to your computer.
Optical operation at 44.1 or 48 kHz
When connected to an ADAT “lightpipe”
compatible device, the two optical connectors in
the top row provide eight channels of digital input
and output at 44.1 and 48 kHz.
In addition, when operating the 8pre at a 1x sample
rate (either 44.1 or 48 kHz), optical output is
duplicated on the second (lower) optical output.
This lets you send the 8pre’s 8-channel ADAT
optical output to two separate destinations in your
studio, if needed.
Optical operation at 88.2 or 96 kHz
When operating the 8pre at the 2x sample rates
(88.2 or 96 kHz), the top row of optical connectors
provides channels 1-4 (in and out) and the bottom
row provides channels 5-8 (in and out) when
connected to another optical device that supports
88.2/96 kHz optical sample rates.
When operating the optical ports at a 2x sample
rate, be sure to choose either Type I or Type II
operation, as explained in “Setting the 2x optical
mode” on page 29.
Using optical I/O when operating the 8pre as an
audio interface
When the 8pre is connected to a computer
(Figure 3-4 on page 18), these optical ports
provide digital input and output to and from the
computer.
Using optical I/O to operate the 8pre as an
8-channel expander
When the 8pre is not connected directly to a
computer via FireWire, the optical input is disabled
and the eight optical output channels mirror any
incoming signal on the 8pre’s eight XLR/TRS
16
INSTALLING THE 8PRE HARDWARE
!8pre Manual/Mac Page 17 Tuesday, October 12, 2010 5:52 PM
combo jack analog inputs. By connecting the 8pre
optical output to another device, such as another
ADAT-optical equipped interface or a digital
mixer, you add an additional eight mic inputs to
your system, as demonstrated in Figure 3-5 on
page 19. This can be done at any sample rate up to
96 kHz.
To set the sample rate (or clock mode) when
operating as an 8-channel optical expander, see
“Setting the clock source in converter mode” on
page 29.
CONNECT MIDI GEAR
Connect your MIDI device’s MIDI IN jack to the
8pre’s MIDI OUT jack (Connection A below).
Conversely, connect the MIDI device’s MIDI OUT
jack to the 8pre’s MIDI IN jack (Connection B).
Connecting additional gear with MIDI THRUs
If you need to connect several pieces of MIDI gear,
run a MIDI cable from the MIDI THRU of a device
already connected to the 8pre to the MIDI IN on
the additional device as shown below in Figure 3-3.
The two devices then share the 8pre’s MIDI OUT
port. This means that they share the same set of 16
MIDI channels, too, so try to do this with devices
that receive on only one MIDI channel (such as
effects modules) so their receive channels don’t
conflict with one another.
8pre
rear panel
MIDI
OUT
MIDI Device
MIDI
IN
8pre
rear panel
MIDI
THRU
MIDI
OUT
MIDI
cables
MIDI
IN
MIDI IN
Connection A
MIDI Device
MIDI MIDI
IN OUT
MIDI
cable
Connection B
Additional device
Figure 3-3: Connecting additional devices with MIDI THRU ports.
Figure 3-2: Connecting a MIDI device to the 8pre.
One-way MIDI connections
MIDI devices that do not receive MIDI data, such
as a dedicated keyboard controller, guitar
controller, or drum pad, only need Connection B
shown in Figure 3-2. Similarly, devices that never
send data, such as a sound module, only need
Connection A. Make both connections for any
device that needs to both send and receive MIDI
data.
17
INSTALLING THE 8PRE HARDWARE
!8pre Manual/Mac Page 18 Tuesday, October 12, 2010 5:52 PM
OPERATING THE 8pre AS AN INTERFACE
Here is a typical studio setup for using the 8pre as
an audio interface. All mixing and processing can
be done in the computer with audio software.
During recording, you can use the 8pre’s CueMix™
DSP no-latency monitoring to listen to what you
are recording via the main outs, headphone outs,
or any other output pair. You can control
monitoring from the included MOTU CueMix
Console software.
headphones
8pre front
panel
monitors
mic
other inputs
(mics, guitars, etc.)
Mac
FireWire
8pre back
panel
Optical
In Out
Optical
Out
Optical
In
guitar
(with or without an amp)
Digital mixer
MIDI IN/OUT
quarter-inch
analog outs
synthesizer
Figure 3-4: A typical 8pre studio setup.
18
INSTALLING THE 8PRE HARDWARE
!8pre Manual/Mac Page 19 Tuesday, October 12, 2010 5:52 PM
OPERATING THE 8pre AS A CONVERTER
As explained earlier in “Using optical I/O to
operate the 8pre as an 8-channel expander” on
page 16, the 8pre can serve as an 8-channel analogto-digital converter when disconnected from the
computer and instead connected to another device
equipped with an ADAT optical input. For
example, you could connect the 8pre optical output
to the optical input on a MOTU audio interface,
such as the 828, 828mkII, Traveler, 896, 896HD or
UltraLite. The 8pre then serves as an 8-channel
expander that adds an additional 8 mic inputs to
the interface. The benefit of connecting the 8pre in
this manner (instead of as another FireWire
interface) is that you can seamlessly integrate the
8pre’s inputs into the on-board no-latency CueMix
monitor mixing in the interface, since the 8pre’s
inputs are fed into CueMix via the interface’s
optical inputs.
If the device to which you are connecting the 8pre
supports 2x optical sample rates (88.2 or 96 kHz),
you’ll need to use both banks of connectors as
discussed in “Optical operation at 88.2 or 96 kHz”
on page 16.
Mac
USB2
828mkII-USB
(UltraFast USB 2
audio interface)
ADAT optical In
other inputs
(mics, guitars, etc.)
mic
ADAT optical Out
8pre rear panel
quarter-inch
analog outs
guitar
(with or without an amp)
synthesizer
Figure 3-5: Using the 8pre as an optical converter.
19
INSTALLING THE 8PRE HARDWARE
!8pre Manual/Mac Page 20 Tuesday, October 12, 2010 5:52 PM
SYNCING OPTICAL DEVICES
The word optical is our short-hand way of referring
to any device that connects to the 8pre via an
optical cable. An example is an audio interface with
optical connectors on it. There are many other
devices that fall into this category, including digital
mixers, digital effects processors, synthesizers and
many more.
When connecting optical devices, make sure that
their digital audio clock is phase-locked (in sync
with) the 8pre. There are two ways to do this:
■
Slave the optical device to the 8pre
■
Slave the 8pre to the optical device
Two banks of optical
The 8pre has two banks of optical connectors: a top
row and a bottom row:
When you are operating at the 1x sample rates
(44.1 or 48 kHz), use the top two connectors.
When you are operating at the 2x sample rates,
(88.2 or 96 kHz), use both sets of connectors. The
top row provides channels 1-4 and the bottom row
provides channels 5-8, as indicated by the blue
labeling on the rear panel (Figure 3-7).
Setting the clock source
In ADAT optical clock mode (as demonstrated in
the right-hand diagram below), the 8pre always
resolves to the optical input in the top row, even
during 88.2 or 96 kHz operation. So be sure to
connect the device that is the ADAT optical clock
master to the 8pre’s optical input in the top row.
Optical bank mirroring
When the 8pre is operating at the 1x sample rates
(44.1 or 48 kHz), the optical output in the bottom
row mirrors the 8-channel optical output in the top
row.
Figure 3-7: Two optical banks.
8pre Clock Source setting =
Internal, or any clock source
setting except Optical. The optical
device slaves to the 8pre (via its
optical cable connection).
8pre
ADAT Optical OUT
With this setup, in MOTU Audio
Setup, choose the Optical clock
source setting. The 8pre slaves to
the optical device via their optical
cable connection.
Audio interface
or other optical
device
ADAT Optical IN
Audio interface
or other optical
device
ADAT Optical OUT
ADAT Optical IN
8pre
8pre Clock Source setting = optical
Figure 3-6: Two setups for synchronizing an optical device with the 8pre.
20
INSTALLING THE 8PRE HARDWARE
!8pre Manual/Mac Page 21 Tuesday, October 12, 2010 5:52 PM
CHAPTER 4
Installing the 8pre Mac OS X
Software
OVERVIEW
Software installation for Mac OS X . . . . . . . . . . . . . . . . . . . 21
MOTU CueMix Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
AudioDesk workstation software . . . . . . . . . . . . . . . . . . . . 23
SOFTWARE INSTALLATION FOR MAC OS X
Install the 8pre software as follows:
1 Insert the MOTU Audio Installer disc and
launch the installer.
2 Follow the directions that the installer gives you.
What does the OS X installer do?
The installer checks the computer to make sure it
satisfies the minimum system requirements for
your MOTU interface. If so, the installer proceeds
with the OS X installation. Drivers are installed,
along with MOTU Audio Setup, MOTU CueMix
Console, and several other applications,
summarized in the following table:
The 8pre CoreAudio driver
CoreAudio is a term that refers to the software
technology built into Mac OS X that provides all of
its standardized audio features. More specifically,
we use CoreAudio to refer to Mac OS X’s standard
audio driver model. A CoreAudio driver allows the
8pre to establish audio input and output with any
Mac OS X CoreAudio-compatible software.
Once the 8pre’s CoreAudio driver has been
successfully installed (by the installer), and you
have chosen it for use in your host audio software,
the 8pre will appear as a choice for audio inputs
and outputs in your software.
All MOTU audio hardware, including our PCI
systems, Firewire interfaces and USB interfaces,
ship with CoreAudio drivers that allow them to
operate successfully with virtually all Mac OS X
audio software.
Software component
Location
Purpose
For more information
MOTU FireWire Audio driver.kext
/System/Library/
Extensions
Provides 8pre multi-channel audio input and
output with all Mac OS X audio software
“The 8pre CoreAudio
driver” on page 21
MOTU MIDI driver.kext
/System/Library/
Extensions
Provides 8pre MIDI input and output for all
Mac OS X MIDI software
“CoreMIDI and Audio
MIDI Setup” on page 22
MOTU MIDI driver.plugin
/System/Library/
Audio/MIDI Drivers
Provides 8pre MIDI input and output for all
Mac OS X MIDI software
“CoreMIDI and Audio
MIDI Setup” on page 22
MOTU Audio Setup
Applications folder
Provides access to all of the settings in the 8pre
and other MOTU interfaces. Required for
8pre operation.
chapter 5, “MOTU Audio
Setup” (page 25)
MOTU CueMix Console
Applications folder
Gives you complete control over the 8pre’s
CueMix DSP feature, which provides nolatency monitoring and mixing of live inputs
through your 8pre system.
chapter 11, “MOTU CueMix Console” (page 51)
MOTU SMPTE Setup
Applications folder
Provides access to the 8pre system’s SMPTE
time code sync features.
chapter 12, “MOTU SMPTE
Setup” (page 59)
AudioDesk
Applications folder
Provides complete multi-track recording,
mixing and processing. Optional.
AudioDesk User Guide
AudioDesk Demo Project
Anywhere you want
Provides a multi-track mix that you can open,
play, and mix in AudioDesk. Optional.
AudioDesk User Guide
21
!8pre Manual/Mac Page 22 Tuesday, October 12, 2010 5:52 PM
CoreMIDI and Audio MIDI Setup
CoreMIDI is the “under-the-hood” portion of Mac
OS X that handles MIDI services for MIDI
hardware and software. CoreMIDI provides many
universal MIDI system management features,
including MIDI communication between your
8pre interface and all CoreMIDI compatible
software.
Audio MIDI Setup is a utility included with
Mac OS X that allows you to configure your 8pre
interface for use with all CoreMIDI compatible
applications. Audio MIDI Setup provides:
A “virtual” studio on your Mac that graphically
represents your MIDI hardware setup and that is
shared by all CoreMIDI-compatible programs
■
■ A simple, intuitive list of your MIDI devices
whenever you need it in any CoreMIDI-compatible
program
Launching Audio MIDI Setup
1 Make sure your 8pre interface is connected and
turned on.
Figure 4-1: The 8pre interface as it appears in the MIDI tab of Audio
MIDI Setup.
Connecting MIDI devices to the 8pre
Once your 8pre interface appears in Audio MIDI
Setup, you are ready to add devices, indicate how
they are connected, and identify properties they
may have for particular purposes. This
information is shared with all CoreMIDI
compatible applications.
To add a device in Audio MIDI Setup:
1 Click Add Device.
2 Launch the Audio MIDI Setup utility.
This can usually be found in /Applications/
Utilities. If it has been moved, just search for Audio
MIDI Setup.
3 Confirm that the MIDI interface is present in the
MIDI Devices tab of Audio MIDI Setup.
If the interfaces does not appear, or if it is grayed
out, check your cable connections and click Rescan
MIDI.
Figure 4-2: Adding a MIDI device.
2 Drag on its input and output arrows to draw
connections to the 8pre that match its physical
connection.
22
INSTALLING THE 8PRE MAC OS X SOFTWARE
!8pre Manual/Mac Page 23 Tuesday, October 12, 2010 5:52 PM
MOTU CUEMIX CONSOLE
This program provides a mixing console that gives
you control over the 8pre’s no-latency CueMix DSP
features. For details, see chapter 11, “MOTU
CueMix Console” (page 51).
AUDIODESK WORKSTATION SOFTWARE
The MOTU audio installer places AudioDesk in
the Applications folder.
Figure 4-3: Connecting devices to the 8pre. In this example, a controller keyboard is connected to the 8pre’s MIDI IN, and a sound module
is connected to the 8pre MIDI OUT.
3 Double-click the device to make settings, such
as input and output channels, that further describe
the device.
AudioDesk is an advanced workstation software
package for the 8pre that lets you record, edit, mix,
process, bounce and master multi-track digital
audio recording projects. Advanced features
include real-time 32-bit effects processing, sampleaccurate synchronization with ADATs, 24-bit
recording, and much more. See the AudioDesk
manual included with your 8pre for details.
Figure 4-4: Device settings.
4 Repeat the above steps for each MIDI device
connected to the interface.
Figure 4-5: AudioDesk for Mac OS X.
5 When you are finished, quit Audio MIDI Setup.
Your configuration is automatically saved as the
default configuration, and it is shared with all
CoreMIDI-compatible software.
23
INSTALLING THE 8PRE MAC OS X SOFTWARE
!8pre Manual/Mac Page 24 Tuesday, October 12, 2010 5:52 PM
24
INSTALLING THE 8PRE MAC OS X SOFTWARE
!8pre Manual/Mac Page 25 Tuesday, October 12, 2010 5:52 PM
CHAPTER 5
MOTU Audio Setup
OVERVIEW
Accessing the 8pre settings. . . . . . . . . . . . . . . . . . . . . . . . . . 25
‘8pre’ tab Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Default Stereo Input/Output. . . . . . . . . . . . . . . . . . . . . . . . . 27
Optical input/output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
‘General’ tab settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Enable Pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Launch MOTU Audio Setup when hardware becomes
available . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Edit Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
ACCESSING THE 8PRE SETTINGS
There are several ways to access MOTU Audio
Setup settings:
■
Click the MOTU Audio Setup icon in the dock
Press on the MOTU Audio Setup dock icon to
open the menu shown below, or control-click it to
open the menu immediately
■
■ From within AudioDesk™ or Digital
Performer™, choose Setup menu>Configure Audio
System>Configure Hardware Driver (Note: this
dialog only provides access to basic settings such as
sample rate and clock source. For access to all
settings, use one of the techniques above.)
■ In Cubase SX or Nuendo, open the Device Setup
window, click VST Audiobay and choose MOTU
Audio from the Master ASIO Driver menu. Then
click the MOTU Audio item in the list and click the
Control Panel button.
8pre tab settings
The 8pre tab provides settings that apply to a
specific 8pre interface. If you have several 8pres (or
other MOTU audio interfaces) connected, you’ll
see a separate tab for each one.
General tab settings
The General tab provides settings that apply
globally to all connected MOTU interfaces.
25
!8pre Manual/Mac Page 26 Tuesday, October 12, 2010 5:52 PM
‘8PRE’ TAB SETTINGS
Sample Rate
Choose the desired Sample Rate for recording and
playback. The 8pre can operate at 44.1 (the
standard rate for compact disc audio), 48, 88.2 or
96 kHz. Make absolutely sure that all of the devices
connected digitally to the 8pre match the 8pre’s
sample rate. Also make sure that your Digital
Timepiece, MIDI Timepiece AV or other digital
audio synchronizer matches it as well.
☛
Mismatched sample rates cause distortion and
crackling. If you hear this sort of thing, check the
sample rate settings in your hardware and here in
MOTU Audio Setup.
Clock Source
The Clock Source determines the digital audio
clock that the 8pre will use as its time base. The
following sections briefly discuss each clock source
setting.
Internal
Use the Internal setting when you want the 8pre to
operate under its own digital audio clock. For
example, you may be in a situation where all you
are doing is playing tracks off hard disk in your
digital audio software on the computer. In a
situation like this, you most often don’t need to
reference an external clock of any kind.
ADAT optical
The ADAT optical clock source setting refers to the
clock provided by the 8pre’s optical input, when it
is connected to an ADAT optical device. This
setting can be used to slave the 8pre directly to the
optical input connection. In this scenario, the
ADAT Optical clock source setting lets you slave the
8pre to the other device via its digital connection to
the 8pre.
☛
The 8pre has two banks of optical connectors:
a top row (for 8-channel operation at 44.1 or 48
kHz) and a bottom row (for channels 5-8 at 88.2 or
Figure 5-1: MOTU Audio Setup gives you access to all of the settings in the 8pre hardware.
26
MOTU AUDIO SETUP
!8pre Manual/Mac Page 27 Tuesday, October 12, 2010 5:52 PM
96 kHz). In ADAT optical clock mode, the 8pre
always resolves to the optical input in the top row,
even during 88.2 or 96 kHz operation. So be sure to
connect the ADAT optical clock master to the
optical input in the top row.
If the ADAT Optical setting does not appear in the
menu, it means that the 8pre’s optical input is
currently turned off. Choose the ADAT optical
format from the Optical input menu (Figure 5-1 on
page 26).
For further details about this setting, see “Syncing
optical devices” on page 20.
SMPTE
Choose this setting to resolve the 8pre directly to
SMPTE time code (LTC) being received via any
analog input. For details, see chapter 12, “MOTU
SMPTE Setup” (page 59).
Macintosh built-in
Choose this setting to resolve the 8pre to your
Mac’s built-in audio. Doing so will ensure that
audio streams playing back from or recorded by
the 8pre will not drift apart from audio streams
simultaneously played or recorded by the Mac’s
built-in mic, speakers or audio output.
Other audio devices (drivers)
The MOTU FireWire Audio Driver has the ability
to resolve to other Core Audio drivers. Doing so
will ensure that audio streams playing back from or
recorded by the 8pre will not drift apart from audio
streams simultaneously played or recorded by the
other devices.
Default Stereo Input/Output
In the System Preferences window, Mac OS X lets
you choose third-party hardware such as the 8pre
for your Macintosh sound input and output. The
system input and output can be used for alert
sounds and general audio I/O for applications like
iTunes, iMovie, etc.
Figure 5-2: The Mac OS X sound preferences let you use the 8pre for
general stereo audio input and output for your Mac.
The Default Stereo Input and Default Stereo Output
settings in MOTU Audio Setup (Figure 5-1 on
page 26) let you specify the stereo input and output
on the 8pre to be used when it is chosen as the
audio I/O device in the system preferences.
Optical input/output
The Optical input and Optical output settings let
you enable or disable the optical ports. For
example, when operating the 8pre as an audio
interface, you can conserve FireWire bus
bandwidth by disabling the optical ports when
they are not in use. This frees up the FireWire bus
for other devices that may also be connected to the
bus (such as additional interfaces).
27
MOTU AUDIO SETUP
!8pre Manual/Mac Page 28 Tuesday, October 12, 2010 5:52 PM
Phones
The Phones setting lets you choose what you will
hear from the headphone jack. Choose Main
Outs 1-2 if you’d like the headphone output to
match the main outs. Choose Phones 1-2 if you
would like the headphones to serve as their own
independent output, which you can access as an
independent output destination in your host audio
software and as an output destination for the four
on-board CueMix DSP mix busses.
‘GENERAL’ TAB SETTINGS
Enable Pedal
This setting applies to other MOTU FireWire audio
interfaces, but it does not apply to the 8pre.
Launch MOTU Audio Setup when hardware
becomes available
Check this option if you would like the MOTU
Audio Setup icon to appear in the application dock
as soon as a MOTU interface is detected (switched
on, plugged in, etc.)
Edit Channel Names
Click the Edit Channel Names button to open the
Channel Names window (Figure 5-3). This
window lets you edit the names of the 8pre inputs
and outputs, as they appear in your host audio
software. For example, when you click on a menu
that displays the 8pre inputs (or outputs), you will
see the names you specify in this window (e.g.
“vocal mic”, “lead guitar”, etc.), instead of the
default generic names (“Analog 1”, “Analog 2”,
etc.)
Figure 5-3: The Edit Channel Names window.
Figure 5-4: 8pre channel names as they appear in Digital Performer.
☛
Not all Mac OS X audio software supports
channel names. If not, you’ll see generic port
names in your host audio software.
28
MOTU AUDIO SETUP
!8pre Manual/Mac Page 29 Tuesday, October 12, 2010 5:52 PM
CHAPTER 6
Front Panel Settings
OVERVIEW
The VOLUME knob is a rotary encoder that can be
pushed as well as turned. By pushing it repeatedly,
or by pushing and holding it in for varying
amounts of time, you can adjust several 8pre
settings as described in the following sections.
Figure 6-1: The VOLUME knob is a push-button rotary encoder.
Except where noted, all of the features described in
this chapter are available when the 8pre is
operating as either an audio interface or an optical
converter.
ADJUSTING HEADPHONE VOLUME
Turn the VOLUME knob to adjust headphone
volume. In the Analog In LED section to the right,
the row of amber LEDs, second from the top,
provides general feedback regarding the
headphone level as you turn the knob.
right, the middle row of green LEDs, third from the
bottom, provides general feedback regarding the
headphone level as you turn the knob.
Figure 6-3: When you adjust main out volume, the top-most green
row of LEDs, third from the bottom, provides feedback as you turn the
rotary encoder.
SETTING THE 2X OPTICAL MODE
Push and hold the knob for 5 seconds to enter a
mode where you can change 2x optical input and
output (88.2 or 96kHz) to Type I (for 2x optical
connection to SMUX-compatible products) or
Type II (for 2x optical connection to MOTU
products). The bottom LED in the “1” or “2”
column flashes. Turn the volume knob to switch
between Type I and II, respectively.
Figure 6-4: Setting the optical mode.
Figure 6-2: When you adjust headphone volume, the amber row of
LEDs (second from the top) provides feedback as you turn the rotary
encoder.
ADJUSTING MAIN OUT VOLUME
Push in the knob twice (so that it clicks two times)
and then turn it to adjust the volume of the main
outs on the rear panel. In the LED section to the
SETTING THE CLOCK SOURCE IN
CONVERTER MODE
When the 8pre is operating as an optical converter
(when it is not connected to a computer via
Firewire), push in and hold the VOLUME knob for
3 seconds to enter a mode where you can change
the clock source. In this mode, the CLOCK LED
29
!8pre Manual/Mac Page 30 Tuesday, October 12, 2010 5:52 PM
flashes, turn the knob to change the clock mode.
Push it again to confirm the current clock setting
exit clock mode.
30
FRONT PANEL SETTINGS
!8pre Manual/Mac Page 31 Tuesday, October 12, 2010 5:52 PM
CHAPTER 7
Digital Performer
OVERVIEW
This chapter provides a brief overview of Digital
Performer’s basic I/O and synchronization
operation with the 8pre hardware.
Setting up your system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The 8pre settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Be sure you have enough voices . . . . . . . . . . . . . . . . . . . . .
Trimming the mic/instrument inputs . . . . . . . . . . . . . . . .
Working with 8pre inputs and outputs . . . . . . . . . . . . . .
24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI I/O via the 8pre MIDI ports . . . . . . . . . . . . . . . . . . . . .
Processing live inputs with plug-ins . . . . . . . . . . . . . . . . .
Syncing to SMPTE time code. . . . . . . . . . . . . . . . . . . . . . . . .
Exchanging projects with AudioDesk. . . . . . . . . . . . . . . .
31
31
32
32
33
33
33
33
33
33
SETTING UP YOUR SYSTEM
As described in chapter 4, “Installing the 8pre Mac
OS X Software” (page 21), the Digital Performer
and MOTU 8pre software installers will properly
install and update everything for you.
If you are using a MIDI Timepiece AV or Digital
Timepiece for synchronization, be sure they are
present in Audio MIDI setup.
THE 8PRE SETTINGS
Choose the 8pre as your audio input output device
by choosing Configure Audio System> Configure
Hardware Driver from the Setup menu. This
window shows some of the 8pre settings, such as
sample rate and clock source, but to access all of the
8pre settings, open MOTU Audio Setup, as shown
in Figure 5-1 on page 26.
Figure 7-1: Choose Setup menu> Configure Audio System> Configure
Hardware Driver to open the dialog shown above and access the
8pre CoreAudio driver. To access the rest of the 8pre settings, open
MOTU Audio Setup.
For complete details about the 8pre settings, see
chapter 5, “MOTU Audio Setup” (page 25). The
following sections provide a brief explanation of
each 8pre setting for use with Digital Performer.
Sample rate
Choose the desired overall sample rate for the 8pre
system and Digital Performer. Newly recorded
audio in Digital Performer will have this sample
31
!8pre Manual/Mac Page 32 Tuesday, October 12, 2010 5:52 PM
rate. Imported audio or soundbites in existing files
that do not match this sample rate will be displayed
in the Soundbites window with a red ‘X’ on its
move handle to indicate that it cannot be played.
Clock Source
This setting is very important because it
determines which audio clock the 8pre will follow.
If you do not have any digital audio connections to
your 8pre (you are using the analog inputs and
outputs only), and you will not be slaving Digital
Performer to external SMPTE time code, choose
Internal.
If you have digital audio devices connected to the
8pre, or if you are not sure about the clock source of
your setup, be sure to read “Syncing optical
devices” on page 20 and “Clock Source” on
page 26.
If you are slaving the 8pre and Digital Performer to
SMPTE time code via the 8pre itself, choose
SMPTE and follow the directions in “Setting up for
SMPTE time code sync” on page 62.
Buffer Size
The Buffer Size setting can be used to reduce the
delay — or monitoring latency — that you hear
when live audio is patched through your 8pre
hardware and Digital Performer. For example, you
might have MIDI instruments, samplers,
microphones, and so on connected to the analog
inputs of the 8pre. If so, you will often be mixing
their live input with audio material recorded in
Digital Performer. See chapter 10, “Reducing
Monitoring Latency” (page 45) for complete
details.
Optical input and output
To make a 8pre optical input or output available in
Digital Performer, choose ADAT from the optical
input and/or output menu. If you won’t be using
the optical connectors, turn them off. Note: this
settings can only be accessed in the MOTU Audio
Setup application.
Phones
This 8pre setting lets you choose what you’ll hear
from the headphone jack. For example, if you
choose Main Outs 1-2, the headphones will
duplicate the main outs. Or you can choose any
other output pair. If you choose Phones, this setting
makes the headphone jack serve as its own
independent output pair. As a result, you’ll see
Phones 1-2 as an additional audio destination in
Digital Performer’s audio output menus. Note: this
settings can only be accessed in the MOTU Audio
Setup application.
BE SURE YOU HAVE ENOUGH VOICES
If you are using Digital Performer 5.0 or higher,
you can skip this section, as DP5 provides
automatic voice allocation.
If you are using Digital Performer 4.61 or earlier, go
to the Setup menu and choose Configure Audio
System >Configure Studio Settings. Then check to
make sure you have enough mono and stereo audio
voices to cover the 16 channels of input and 12
channels of output provided by your 8pre —
although the number of channels may depend on
how your 8pre is configured:
■
8 channels for analog input and output
■ Zero or 8 channels for optical, depending on
whether you have optical turned on or off
For example, if you are using analog only, you only
need 8 voices. If you are using analog and optical,
you need 16 voices.
TRIMMING THE MIC/INSTRUMENT INPUTS
The 8pre mic/instrument inputs provide trim
knobs on the front panel. To calibrate an audio
input:
32
DIGITAL PERFORMER
!8pre Manual/Mac Page 33 Tuesday, October 12, 2010 5:52 PM
1 Record-enable a track in Digital Performer.
2 Choose the desired 8pre mic input for the track.
3 Open the Audio Monitor or Meter Bridge
window.
4 As you feed signal to the input, adjust the input’s
corresponding trim knob on the front panel of the
8pre until peaks in the level meter are as high as
possible without clipping (hitting zero dB).
WORKING WITH 8PRE INPUTS AND
OUTPUTS
Once you’ve enabled the MOTU FireWire Audio
driver as explained earlier in “The 8pre settings” on
page 31, 8pre audio inputs and outputs will appear
in Digital Performer’s audio input and output
menus. If you don’t see the optical inputs and/or
outputs, check MOTU Audio Setup to make sure
they are turned on. If you don’t plan to use the
optical input or output, turn it off to conserve
computer bandwidth.
Phones 1-2
If you’ve chosen to treat the 8pre headphones as an
independent output, you’ll see Phones 1-2 in
Digital Performer’s output menus. Audio tracks
assigned to this output pair will be heard on the
headphone jack only. For further explanation, see
“Phones” on page 28.
Mix1 1-2
In Digital Performer’s audio input menus, you’ll see
an 8pre input called Mix1 1-2. This input source
delivers the output of CueMix DSP “MIX1” (the
first mix bus of the four on-board no-latency
monitor mixes in the 8pre) back to your computer.
This input serves, for example, as a convenient way
for you to record the 8pre’s MIX1 monitor mix
back into Digital Performer (for reference and
archiving purposes). Further, if you are sending
audio from Digital Performer to the same output
pair as MIX1, you can choose to either include or
exclude the audio from the computer in the stream
being sent back to Digital Performer. For details on
how to do this, see “Mix1 Return Includes
Computer” on page 55.
☛
Warning: the Mix1 1-2 input can cause
feedback loops! DO NOT assign this input to a
track that shares the same 8pre output pair as
MIX1.
24-BIT OPERATION
Your 8pre hardware fully supports Digital
Performer’s 24-bit recording capabilities, including
both analog and digital 24-bit recording. If you
would like to record and play back 24-bit audio
files, go to the Setup menu, choose Configure Audio
System> Sample Format, and choose 24-bit
recording as the sample format. This setting is
saved with the Digital Performer project.
MIDI I/O VIA THE 8PRE MIDI PORTS
Once you’ve followed the procedure for enabling
the 8pre’s MIDI features as explained in “Software
installation for Mac OS X” on page 21, the 8pre
MIDI ports will appear as a input source and
output destination in Digital Performer’s MIDI I/O
menus.
PROCESSING LIVE INPUTS WITH PLUG-INS
If you patch a live input (such as MIDI synthesizer)
through a plug-in effect in Digital Performer, you
might hear a slight delay. There are several ways to
reduce this delay. For details, see chapter 10,
“Reducing Monitoring Latency” (page 45).
SYNCING TO SMPTE TIME CODE
Digital Performer can run under its own transport
control or slave to SMPTE time code via the 8pre.
For details, see “Resolving DP or AudioDesk to
SMPTE time code” on page 63.
EXCHANGING PROJECTS WITH AUDIODESK
Digital Performer can exchange projects with
AudioDesk. To open an AudioDesk project in
Digital Performer, open it in same way you would a
33
DIGITAL PERFORMER
!8pre Manual/Mac Page 34 Tuesday, October 12, 2010 5:52 PM
DP project. To export a project to AudioDesk, use
DP’s Save As command and choose the AudioDesk
2.0 file format.
34
DIGITAL PERFORMER
!8pre Manual/Mac Page 35 Tuesday, October 12, 2010 5:52 PM
CHAPTER 8
AudioDesk
OVERVIEW
This chapter provides a brief overview of
AudioDesk’s basic I/O and synchronization
operation with the 8pre hardware. For complete
information about all of AudioDesk’s powerful
workstation features, see the AudioDesk manual
included with your MOTU 8pre system.
Setting up your system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The 8pre settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Be sure you have enough voices . . . . . . . . . . . . . . . . . . . . .
24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI I/O via the 8pre MIDI ports . . . . . . . . . . . . . . . . . . . . .
Processing live inputs through plug-ins . . . . . . . . . . . . .
Syncing to SMPTE time code. . . . . . . . . . . . . . . . . . . . . . . . .
Exchanging projects with Digital performer . . . . . . . . .
AudioDesk and MIDI sequencing . . . . . . . . . . . . . . . . . . . .
35
35
36
37
37
37
37
37
38
SETTING UP YOUR SYSTEM
As described in chapter 4, “Installing the 8pre Mac
OS X Software” (page 21), the AudioDesk and
MOTU 8pre software installers will properly install
and update everything for you.
If you are using a MIDI Timepiece AV or Digital
Timepiece for synchronization, be sure they are
present in Audio MIDI setup.
THE 8PRE SETTINGS
Choose the 8pre as your audio input output device
by choosing Configure Audio System> Configure
Hardware Driver from the Setup menu. This
window shows some of the 8pre settings, such as
sample rate and clock source, but to access all of the
8pre settings, open MOTU Audio Setup, as shown
in Figure 5-1 on page 26.
Figure 8-1: Choose Setup menu> Configure Audio System> Configure
Hardware Driver to open the dialog shown above and access the
8pre CoreAudio driver. To access the rest of the 8pre settings, open
MOTU Audio Setup.
For complete details about the 8pre settings, see
chapter 5, “MOTU Audio Setup” (page 25). The
following sections provide a brief explanation of
each 8pre setting for use with AudioDesk.
35
!8pre Manual/Mac Page 36 Tuesday, October 12, 2010 5:52 PM
Sample rate
Choose the desired overall sample rate for the 8pre
system and AudioDesk. Newly recorded audio in
AudioDesk will have this sample rate. Imported
audio or soundbites in existing files that do not
match this sample rate will be displayed in the
Soundbites window with a red ‘X’ on its move
handle to indicate that it cannot be played.
Clock Source
This setting is very important because it
determines which audio clock the 8pre will follow.
If you do not have any digital audio connections to
your 8pre (you are using the analog inputs and
outputs only), and you will not be slaving
AudioDesk to external SMPTE time code, choose
Internal.
If you have digital audio devices connected to the
8pre, or if you are not sure about the clock source of
your setup, be sure to read “Syncing optical
devices” on page 20 and “Clock Source” on
page 26.
If you are slaving the 8pre and AudioDesk to
SMPTE time code via the 8pre itself, choose
SMPTE and follow the directions in “Setting up for
SMPTE time code sync” on page 62.
Buffer Size
The Buffer Size setting can be used to reduce the
delay — or monitoring latency — that you hear
when live audio is patched through your 8pre
hardware and AudioDesk. For example, you might
have MIDI instruments, samplers, microphones,
and so on connected to the analog inputs of the
8pre. If so, you will often be mixing their live input
with audio material recorded in AudioDesk. See
chapter 10, “Reducing Monitoring Latency”
(page 45) for complete details.
Optical input and output
To make a 8pre optical input or output available in
AudioDesk, choose ADAT from the optical input
and/or output menu. If you won’t be using the
optical connectors, turn them off. Note: this
settings can only be accessed in the MOTU Audio
Setup application.
Phones
This 8pre setting lets you choose what you’ll hear
from the headphone jack. For example, if you
choose Main Outs 1-2, the headphones will
duplicate the main outs. Or you can choose any
other output pair. If you choose Phones, this setting
makes the headphone jack serve as its own
independent output pair. As a result, you’ll see
Phones 1-2 as an additional audio destination in
AudioDesk’s audio output menus. Note: this
settings can only be accessed in the MOTU Audio
Setup application.
BE SURE YOU HAVE ENOUGH VOICES
Go to the Setup menu and choose Configure Audio
System> Configure Studio Size. Then check to make
sure you have enough mono and stereo audio
voices to cover the 16 channels of input and 12
channels of output provided by your 8pre —
although the number of channels may depend on
how your 8pre is configured:
■
8 channels for analog input and output
■ Zero or 8 channels for optical, depending on
whether you have optical turned on or off
For example, if you are using analog only, you only
need 8 voices. If you are using analog and optical,
you need 16 voices.
TRIMMING THE MIC/INSTRUMENT INPUTS
The 8pre mic/instrument inputs provide trim
knobs on the front panel. To calibrate an audio
input:
1 Record-enable a track in AudioDesk.
36
AUDI O DE SK
!8pre Manual/Mac Page 37 Tuesday, October 12, 2010 5:52 PM
2 Choose the desired 8pre mic input for the track.
3 Open the Audio Monitor window.
4 As you feed signal to the input, adjust the input’s
corresponding trim knob on the front panel of the
8pre until peaks in the level meter are as high as
possible without clipping (hitting zero dB).
WORKING WITH 8PRE INPUTS AND
OUTPUTS
Once you’ve enabled the MOTU FireWire Audio
driver as explained earlier in “The 8pre settings” on
page 35, 8pre audio inputs and outputs will appear
in AudioDesk’s audio input and output menus. If
you don’t see the optical inputs and/or outputs,
check MOTU Audio Setup to make sure they are
turned on. If you don’t plan to use the optical input
or output, turn it off to conserve computer
bandwidth.
Phones 1-2
If you’ve chosen to treat the 8pre headphones as an
independent output, you’ll see Phones 1-2 in
AudioDesk’s output menus. Audio tracks assigned
to this output pair will be heard on the headphone
jack only. For further explanation, see “Phones” on
page 36.
Mix1 1-2
In AudioDesk’s audio input menus, you’ll see an
8pre input called Mix1 1-2. This input source
delivers the output of CueMix DSP “MIX1” (the
first mix bus of the four on-board no-latency
monitor mixes in the 8pre) back to your computer.
This input serves, for example, as a convenient way
for you to record the 8pre’s MIX1 monitor mix
back into AudioDesk (for reference and archiving
purposes). Further, if you are sending audio from
AudioDesk to the same output pair as MIX1, you
can choose to either include or exclude the audio
from the computer in the stream being sent back to
AudioDesk. For details on how to do this, see
“Mix1 Return Includes Computer” on page 55.
☛
Warning: the Mix1 1-2 input can cause
feedback loops! DO NOT assign this input to a
track that shares the same 8pre output pair as
MIX1.
24-BIT OPERATION
Your 8pre hardware fully supports AudioDesk’s 24bit recording capabilities, including both analog
and digital 24-bit recording. If you would like to
record and play back 24-bit audio files, go to the
Setup menu, choose Configure Audio System>
Sample Format, and choose 24-bit recording as the
sample format. This setting is saved with the
AudioDesk project.
MIDI I/O VIA THE 8PRE MIDI PORTS
Once you’ve followed the procedure for enabling
the 8pre’s MIDI features as explained in “Software
installation for Mac OS X” on page 21, the 8pre
MIDI ports will appear as a input source and
output destination in AudioDesk’s MIDI I/O
menus.
PROCESSING LIVE INPUTS THROUGH
PLUG-INS
If you patch a live input (such as MIDI synthesizer)
through a plug-in effect in AudioDesk, you might
hear a slight delay. There are several ways to reduce
this delay. For details, see chapter 10, “Reducing
Monitoring Latency” (page 45).
SYNCING TO SMPTE TIME CODE
AudioDesk can run under its own transport
control or slave to SMPTE time code via the 8pre.
For details, see “Resolving DP or AudioDesk to
SMPTE time code” on page 63.
EXCHANGING PROJECTS WITH DIGITAL
PERFORMER
To open AudioDesk Version 2 (or Version 1) files in
Digital Performer, just use DP’s Open command.
(No conversion is required beforehand in
AudioDesk.) To export a Digital Performer project
to AudioDesk, use Save As in Digital Performer’s
37
A UD I O D ES K
!8pre Manual/Mac Page 38 Tuesday, October 12, 2010 5:52 PM
File menu and choose the AudioDesk 2.0 file
format. Then open the resulting AudioDesk 2.0
document in AudioDesk.
AUDIODESK AND MIDI SEQUENCING
AudioDesk can play audio as a background
application, allowing you to run a sequencer at the
same time in the foreground. However, there is no
way to continuously synchronize — or resolve — a
sequencer with AudioDesk, so the two programs
will eventually drift out of sync, even if you manage
to start them at the same time. If you’d like to do
integrated MIDI sequencing, your best bet is
Digital Performer, which offers pretty much all of
the same features as AudioDesk, along with
powerful, state-of-the-art MIDI sequencing. Talk
to your authorized MOTU dealer for details about
upgrading from AudioDesk to Digital Performer.
38
AUDI O DE SK
!8pre Manual/Mac Page 39 Tuesday, October 12, 2010 5:52 PM
CHAPTER 9
Other Mac OS X Audio Software
OVERVIEW
PREPARING MIDI INPUT AND OUTPUT
The 8pre provides multichannel audio and MIDI
input and output for all Mac OS X audio
applications, including Apple’s Logic Pro, Logic
Express, SoundTrack Pro and GarageBand. Other
third-party software applications are also
supported, such as Ableton Live, Propellerhead
Reason, Steinberg Cubase and others.
If you will be using the 8pre’s MIDI input and
output ports, be sure to follow the procedure in
“Preparing MIDI input and output” on page 39.
Installing the 8pre Mac OS X drivers . . . . . . . . . . . . . . . . .
Preparing MIDI input and output . . . . . . . . . . . . . . . . . . . .
Run MOTU Audio Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Choosing the MOTU FireWire CoreAudio driver . . . . .
Audio Input and output names . . . . . . . . . . . . . . . . . . . . . .
Number of channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Processing live inputs with plug-ins . . . . . . . . . . . . . . . . .
39
39
39
40
43
44
44
RUN MOTU AUDIO SETUP
Before you run your host audio software, launch
MOTU Audio Setup to configure your 8pre
hardware. MOTU Audio Setup lets you configure
your audio interface, and it lets you enable the
desired inputs and outputs. Only enabled inputs
and outputs will be available to your software, so
this is an important step. For complete details see
chapter 5, “MOTU Audio Setup” (page 25).
INSTALLING THE 8PRE MAC OS X DRIVERS
To install the 8pre’s Mac OS X audio and MIDI
drivers, just run the installer on the MOTU Audio
installer CD as detailed in chapter 4, “Installing the
8pre Mac OS X Software” (page 21).
Figure 9-1: MOTU Audio Setup.
For complete details about the 8pre settings, see
chapter 5, “MOTU Audio Setup” (page 25). The
following sections provide a brief explanation of
each 8pre setting for use with Logic and other Mac
OS X audio software.
39
!8pre Manual/Mac Page 40 Tuesday, October 12, 2010 5:52 PM
Sample rate
Choose the desired overall sample rate for the 8pre
system and your host audio software. Newly
recorded audio will have this sample rate.
Clock Source
This setting is very important because it
determines which audio clock the 8pre will follow.
If you do not have any digital audio connections to
your 8pre (you are using the analog inputs and
outputs only), and you will not be slaving your host
software to external SMPTE time code, choose
Internal.
be a menu there that lets you choose among
various drivers that may be in your system. Choose
the MOTU 8pre from this menu.
Logic Pro and Logic Express
In Logic Pro and Logic Express, go to the
Preferences window, click the Audio tab, click the
Drivers tab and click the Core Audio tab as shown
in Figure 9-2. Choose the MOTU 8pre from the
Driver menu. For information about the I/O Buffer
Size setting, see “Adjusting the audio I/O buffer” on
page 47.
If you have digital audio devices connected to the
8pre, or if you are not sure about the clock source of
your setup, be sure to read “Syncing optical
devices” on page 20 and “Clock Source” on
page 26.
Optical input and output
To make a 8pre optical input or output available in
your host software, choose ADAT from the optical
input and/or output menu. If you won’t be using
the optical connectors, turn them off.
Phones
This 8pre setting lets you choose what you’ll hear
from the headphone jack. For example, if you
choose Main Outs 1-2, the headphones will
duplicate the main outs. Or you can choose any
other output pair. If you choose Phones, this setting
makes the headphone jack serve as its own
independent output pair. As a result, you’ll see
Phones 1-2 as an additional audio destination in
your host audio software’s audio output menus.
Figure 9-2: Enabling the 8pre in Logic Pro or Logic Express.
CHOOSING THE MOTU FIREWIRE
COREAUDIO DRIVER
Once you’ve made the preparations described so
far in this chapter, you’re ready to run your audio
software and enable the MOTU 8pre CoreAudio
driver. Check the audio system or audio hardware
configuration window in your software. There will
40
OTHER MAC OS X AUDIO SOFTWARE
!8pre Manual/Mac Page 41 Tuesday, October 12, 2010 5:52 PM
Soundtrack Pro
In Soundtrack Pro, access the preferences window,
click the Recording tab and choose MOTU 8pre
from the Input and Monitor menu as shown below
in Figure 9-3.
Live
In Ableton Live, access the preferences window and
click the Audio tab. Choose CoreAudio from the
Driver Type menu. Choose the MOTU 8pre from
the Input Audio Device and Output Audio Device
menus as shown below in Figure 9-5. For
information about the Buffer Size setting, see
“Adjusting the audio I/O buffer” on page 47.
Figure 9-3: Enabling the 8pre in Soundtrack Pro.
Garage Band
In Garage Band, go to the Audio/MIDI preferences
and choose MOTU 8pre from the Audio Output and
Audio Input menus as shown below in Figure 9-4.
For information about the Optimize for setting, see
“Adjusting the audio I/O buffer” on page 47.
Figure 9-5: Enabling the 8pre in Live.
Figure 9-4: Enabling the 8pre in Garage Band.
41
OTHER MAC OS X AUDIO SOFTWARE
!8pre Manual/Mac Page 42 Tuesday, October 12, 2010 5:52 PM
Reason
In Propellerhead Reason, go to the Preferences
window, choose Audio preferences from the menu
and choose MOTU 8pre from the Audio Card menu
as shown below in Figure 9-6. For information
about the Buffer Size setting, see “Adjusting the
audio I/O buffer” on page 47.
Cubase SX and Nuendo
Go to the Devices menu and choose Device Setup.
Click the VST Audiobay item in the Devices list and
choose MOTU 8pre from the Master ASIO Driver
menu as shown below in Figure 9-7. Activate the
inputs and outputs within Cubase or Nuendo as
usual. For information about the Audio Buffer Size
setting, see “Adjusting the audio I/O buffer” on
page 47.
Figure 9-6: Enabling the 8pre in Reason.
Figure 9-7: Enabling the 8pre audio driver in Cubase SX.
Other audio software
For other audio applications, the procedure is
similar to that shown above. Consult your owner’s
manual for further information.
42
OTHER MAC OS X AUDIO SOFTWARE
!8pre Manual/Mac Page 43 Tuesday, October 12, 2010 5:52 PM
AUDIO INPUT AND OUTPUT NAMES
The 8pre CoreAudio driver supplies text string
labels for its inputs and outputs to clearly identify
each one, but some applications do not display
these labels. For example, in Cubase SX, the 8pre
outputs are numbered like this:
Outputs are similarly listed in the same order as
follows:
Output
Channels
List
position Comment
Main outs
2
1-2
-
Phones
2
3-4
-
ADAT
8 (at all supported sample
rates)
5-12
If the optical bank is
set to None, then no
ADAT outputs are
displayed.
As an example, ADAT output channels 1-2 will be
listed as channels 5-6.
Figure 9-8: Some applications number the 8pre inputs and outputs,
but don’t display which outputs they refer to.
Most programs will likely address this issue in
future updates. In the meantime, here is how you
can identify each input and output. Inputs are
always listed in the same order as follows:
Input
Channels
List
position Comment
Analog
8
1-8
-
Mix1
2
9-10
See “The ‘Mix1’
input pair” below.
ADAT
8 (at all supported sample
rates)
11-18
If the optical bank is
set to None, then no
ADAT inputs are
displayed.
The ‘Mix1’ input pair
The Mix1 input pair delivers the output of CueMix
DSP “MIX1” (the first mix bus of the four on-board
no-latency monitor mixes in the 8pre) back to your
computer. This input serves, for example, as a
convenient way for you to record the 8pre’s MIX1
monitor mix back into your host audio software
(for reference and archiving purposes). Further, if
you are sending audio from your host audio
software to the same output pair as MIX1, you can
choose to either include or exclude the audio from
the computer in the stream being sent back to the
computer. For details on how to do this, see “Mix1
Return Includes Computer” on page 55.
☛
Warning: the Mix1 1-2 input can cause
feedback loops! DO NOT assign this input to a
track that shares the same 8pre output pair as
MIX1.
43
OTHER MAC OS X AUDIO SOFTWARE
!8pre Manual/Mac Page 44 Tuesday, October 12, 2010 5:52 PM
NUMBER OF CHANNELS
PROCESSING LIVE INPUTS WITH PLUG-INS
If your host audio software requires that you
specify the number of audio voices or channels you
will be using, be sure to choose enough channels to
cover the 16 inputs and 12 outputs provided by
your 8pre — although the number of channels may
depend on how your 8pre is configured:
If you patch a live input (such as MIDI synthesizer)
through a plug-in effect in your host software, you
might hear a slight delay. There are several ways to
reduce this delay. For details, see chapter 10,
“Reducing Monitoring Latency” (page 45).
■
8 channels for analog input and output
■ Zero or 8 channels for optical, depending on
whether you have optical turned on or off
For example, if you are using analog only, you only
need 8 voices. If you are using analog and optical,
you need 16 voices.
44
OTHER MAC OS X AUDIO SOFTWARE
!8pre Manual/Mac Page 45 Tuesday, October 12, 2010 5:52 PM
CHAPTER 10
Reducing Monitoring Latency
OVERVIEW
When operating the 8pre as an audio interface,
monitoring latency is that slight delay you hear
when you run an input signal through your host
audio software. For example, you might hear it
when you drive a live mic input signal through a
reverb plug-in running in your audio sequencer.
This delay is caused by the amount of time it takes
for audio to make the entire round trip through
your computer, from when it first enters an 8pre
input, passes through the 8pre hardware into the
computer, through your host audio software, and
then back out to an 8pre output.
Monitoring live input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Adjusting the audio I/O buffer . . . . . . . . . . . . . . . . . . . . . . . 47
Lower latency versus higher CPU overhead . . . . . . . . . . 48
Transport responsiveness . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Effects processing and automated mixing . . . . . . . . . . . 49
CueMix DSP hardware monitoring . . . . . . . . . . . . . . . . . . . 49
Two methods for controlling CueMix DSP. . . . . . . . . . . . 49
Using MOTU CueMix Console . . . . . . . . . . . . . . . . . . . . . . . . 49
Controlling CueMix DSP from your audio software . . 49
If you don’t need to process a live input with
plug-ins, the easiest way to avoid monitoring
latency is to use the 8pre’s CueMix DSP feature to
patch the input directly to your monitor outs via
the 8pre audio hardware. This is just like bussing
inputs to outputs in a digital mixer. For details, see
“CueMix DSP hardware monitoring” on page 49.
If you do need to process a live input with plug-ins,
or if you are playing virtual instruments live
through your 8pre audio hardware, you can
significantly reduce latency — and even make it
completely inaudible, regardless of what host audio
application software you use. This chapter explains
how.
It is important to note that monitoring delay has no
effect on when audio data is recorded to disk or
played back from disk. Actual recording and
playback is extremely precise.
☛
Monitoring latency does not occur when
operating the 8pre as an optical expander (in
converter mode).
45
!8pre Manual/Mac Page 46 Tuesday, October 12, 2010 5:52 PM
MONITORING LIVE INPUT
There are two ways to monitor live audio input
with an 8pre: 1) through the computer or 2) via
CueMix™ DSP hardware monitoring. Figure 10-1
below shows method 1, which allows you to add
effects processing such as reverb and guitar amp
effects via plug-ins in your audio software. See the
next section, “Adjusting the audio I/O buffer” for
details about how to reduce — and possibly
eliminate — the audible monitoring delay that the
computer introduces.
Figure 10-2 on page 47 shows how to use CueMix™
DSP hardware-based monitoring, which lets you
hear what you are recording with no monitoring
delay and no computer-based effects processing.
(You can add effects later, after you’ve recorded the
live input as a disk track.) See “CueMix DSP
hardware monitoring” later in this chapter for
details on how to use CueMix DSP with your audio
software, or with the included MOTU CueMix
Console software.
If the material you are recording is suitable, there is
a third way to monitor live input: use both methods
(Figure 10-1 and Figure 10-2) at the same time. For
example, you could route vocals to both the
computer (for a bit of reverb) and mix that
processed signal on the main outs with dry vocals
from CueMix DSP.
4. Mic signal (with plug-in
processing, if any) is routed
to the main outs (or other
outputs that you’ve specified
in the software).
1. Live input (from mic, guitar, etc.)
enters the MOTU interface.
3. Mic signal is
‘patched thru’ back to
the audio interface
with reverb or other
plug-in effects, if any.
2. Mic signal goes immediately to the computer (dry,
with no effects processing).
Mac
Figure 10-1: There are two ways to monitor live audio inputs with an 8pre: 1) through the computer or 2) via CueMix™ DSP hardware monitoring. This diagram shows method 1 (through the computer). When using this method, use your host software’s buffer setting to reduce the
slight delay you hear when monitoring the live input, but don’t lower it too much, or your computer might get sluggish.
46
REDUCING MONITORING LATENCY
!8pre Manual/Mac Page 47 Tuesday, October 12, 2010 5:52 PM
ADJUSTING THE AUDIO I/O BUFFER
A buffer is a small amount of computer memory
used to hold data. For audio interfaces like the
8pre, buffers are used for the process of
transferring audio data in and out of the computer.
The size of the buffers determines how much delay
you hear when monitoring live inputs through
your audio software: larger buffers produce more
delay; smaller buffers produce less.
Under Mac OS X, audio I/O buffer size is handled
by the host audio application (not the 8pre Core
Audio driver). Most audio software applications
provide an adjustable audio buffer setting that lets
you control the amount of delay you’ll hear when
monitoring live inputs or processing them with
software plug-ins. Below are a few examples.
Figure 10-3: In Digital Performer and AudioDesk, choose Setup
menu> Configure Audio System> Configure Hardware Driver to open
the dialog shown above and access the Buffer Size setting. Refer to
your Digital Performer or AudioDesk manual for information about
the Host Buffer Multiplier setting.
1. Live input (from mic, guitar, etc.)
enters the MOTU interface.
3. Mic signal is mixed with the
main outs, and you can control
the volume (relative to the rest
of the mix) with the mic’s fader
in CueMix Console.
2. CueMix™ DSP immediately
patches the live mic signal directly
to the main outs (or other output),
completely bypassing the computer
(dry, with no effects processing).
Figure 10-2: This diagram shows the signal flow when using CueMix™ DSP no-latency monitoring. Notice that this method does not allow you
to process the live input with plug-ins in your audio software while it is being monitored. You can, however, add effects later — after recording
the live input as a disk track. CueMix™ DSP lets you hear what you are recording with no delay and no computer-based effects.
47
REDUCING MONITORING LATENCY
!8pre Manual/Mac Page 48 Tuesday, October 12, 2010 5:52 PM
■ How responsive the transport controls are in
AudioDesk, Digital Performer or other audio
software
Figure 10-4: In Cubase SX or Nuendo, choose Devices menu> Device
Setup and click VST Audiobay to access the window above and the
Audio Buffer Size setting.
The buffer setting presents you with a trade-off
between the processing power of your computer
and the delay of live audio as it is being patched
through your software. If you reduce the size, you
reduce patch thru latency, but significantly increase
the overall processing load on your computer,
leaving less CPU bandwidth for things like realtime effects processing. On the other hand, if you
increase the buffer size, you reduce the load on
your computer, freeing up bandwidth for effects,
mixing and other real-time operations.
Figure 10-6: When adjusting the buffer size to reduce monitoring
latency, watch the ‘processor’ meter in Digital Performer or
AudioDesk’s Performance Monitor. If you hear distortion, or if the
Performance meter is peaking, try raising the buffer size.
If you are at a point in your recording project where
you are not currently working with live, patchedthru material (e.g. you’re not recording vocals), or
if you have a way of externally processing inputs,
choose a higher buffer size. Depending on your
computer’s CPU speed, you might find that settings
in the middle work best (256 to 1024).
Figure 10-5: In Logic Pro or Logic Express, go to the Audio Driver
preferences to access the Buffer Size option shown above.
Lower latency versus higher CPU overhead
The buffer setting has a large impact on the
following things:
■
Patch thru latency
■
The load on your computer’s CPU
■
Possible distortion at the smallest settings
Transport responsiveness
Buffer size also impacts how quickly your audio
software will respond when you begin playback,
although not by amounts that are very noticeable.
Lowering the buffer size will make your software
respond faster; raising the buffer size will make it a
little bit slower, but barely enough to notice.
48
REDUCING MONITORING LATENCY
!8pre Manual/Mac Page 49 Tuesday, October 12, 2010 5:52 PM
Effects processing and automated mixing
Reducing latency with the buffer size setting has
another benefit: it lets you route live inputs through
the real-time effects processing and mix
automation of your audio software.
CUEMIX DSP HARDWARE MONITORING
The 8pre has a more direct method of patching
audio through the system. This method is called
CueMix DSP. When enabled, CueMix activates
hardware patch-thru in the 8pre itself. CueMix
DSP has two important benefits:
■ First, it completely eliminates the patch thru
delay (reducing it to a small number of samples —
about the same amount as one of today’s digital
mixers).
■ Secondly, CueMix DSP imposes no strain on the
computer.
The trade-off, however, is that CueMix DSP
bypasses your host audio software. Instead, live
audio inputs are patched directly through to
outputs in the 8pre itself and are mixed with disk
tracks playing back from your audio software. This
means that you cannot apply plug-ins, mix
automation, or other real-time effects that your
audio software provides. But for inputs that don’t
need these types of features, CueMix DSP is the
way to go.
On the other hand, if you really need to use the
mixing and processing provided by your audio
software, you should not use CueMix DSP. Instead,
reduce latency with the buffer setting (as explained
earlier in this chapter).
TWO METHODS FOR CONTROLLING
CUEMIX DSP
There are two ways to control CueMix DSP:
■
You can even use both methods simultaneously.
Using MOTU CueMix Console
If your host audio software does not support direct
hardware monitoring, you run CueMix Console
side-by-side with your audio software and manage
your monitor mix in CueMix Console.
CueMix Console allows you to create up to four
separate 8pre monitor mixes, or any other desired
routing configurations. These routings are
independent of your host audio software. For
complete details, see chapter 11, “MOTU CueMix
Console” (page 51).
Controlling CueMix DSP from your audio
software
Some audio applications allow you to control
CueMix DSP monitoring from within the
application (without the need to use CueMix
Console). In most cases, this support consists of
patching an 8pre input directly to an output when
you record-arm a track. Exactly how this is
handled depends on the application.
The following applications are among those that
support direct control over CueMix DSP:
■
Digital Performer
■
AudioDesk
CueMix DSP routings that are made via host
applications are made “under the hood”, which
means that you won’t see them in CueMix Console.
However, CueMix DSP connections made inside
your host audio software dovetail with any other
mixes you’ve set up in CueMix Console. For
example, if your host application routes audio to an
output pair that is already being used in CueMix
Console for an entirely separate mix bus, both
audio streams will simply be merged to the output.
With MOTU CueMix Console
■ From within your host audio software (if it
supports direct hardware monitoring)
49
REDUCING MONITORING LATENCY
!8pre Manual/Mac Page 50 Tuesday, October 12, 2010 5:52 PM
Follow the directions below in the section that
applies to you.
Controlling CueMix DSP from within AudioDesk
or Digital Performer
To turn on CueMix DSP in AudioDesk and Digital
Performer:
1 From the Setup menu, choose Configure Audio
System>Input Monitoring Mode.
2 Choose the Direct hardware playthrough option,
as shown below in Figure 10-7.
3 From the Studio menu, choose Audio Monitor,
and enable Audio Patch Thru (the button with the
headphone icon on it).
Once enabled, CueMix DSP monitoring is tied
with Digital Performer or AudioDesk’s Audio Patch
Thru feature: when you record-enable a track, the
track’s input is routed directly to its output (via
CueMix DSP in the 8pre hardware). For example, if
you record-enable a track called guitar in your DP
or AudioDesk project, and its audio input
assignment is Analog in 2, and its audio output
assignment is channels 7-8, CueMix DSP nolatency hardware monitoring will automatically be
set up from analog in 2 to outputs 7-8.
Controlling CueMix DSP from within other
software
Consult the manual for your software.
Figure 10-7: Enabling CueMix DSP in AudioDesk or Digital Performer.
Note: the ‘Only during recording...’ and ‘Always’ options are for
AudioDesk 2 and DP4 only. DP5 has expanded input monitoring
features. Consult your DP5 documentation.
50
REDUCING MONITORING LATENCY
!8pre Manual/Mac Page 51 Tuesday, October 12, 2010 5:52 PM
CHAPTER 11
MOTU CueMix Console
OVERVIEW
When operating the 8pre as an audio interface,
MOTU CueMix Console provides access to the
flexible on-board mixing features of the 8pre.
CueMix lets you route any combination of inputs to
any stereo output pair. These mixes can be set up
entirely independently of your host audio software.
CueMix allows you to set up four completely
independent mix configurations with the 8pre. You
can also save and load mix configurations.
CueMix Console can be used independently of
host audio software, or together with it. CueMix
mixing dovetails with the direct monitoring
(hardware patch thru) features of your host audio
software, allowing you to seemlessly mix in both
environments.
Advantages of CueMix monitoring. . . . . . . . . . . . . . . . . . . 52
CueMix Console installation. . . . . . . . . . . . . . . . . . . . . . . . . . 52
Cuemix Console basic operation . . . . . . . . . . . . . . . . . . . . . 52
Working with a mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Copying & pasting (duplicating) entire mixes . . . . . . . . 53
Message center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Saving and loading presets . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Saving and loading presets to/from disk . . . . . . . . . . . . . 53
Edit channel names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Talkback and listenback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Mix1 Return Includes Computer . . . . . . . . . . . . . . . . . . . . . 55
Show meter in dock icon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Phones menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Control Surfaces menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
CueMix in optical expander mode . . . . . . . . . . . . . . . . . . . 57
Message center
Talkback and
listenback
Input name
Input scroll bar
Solo indicator
Input mute/solo
Master mute
(enable/disable)
Input pan
Mix output
Talkback/listen
back channels
Master fader
Input volume
Output level
Mix tabs
Grow box
Input section
Figure 11-1: MOTU CueMix Console is a virtual mixer that gives you control over the 8pre’s on-board mixing features.
51
!8pre Manual/Mac Page 52 Tuesday, October 12, 2010 5:52 PM
ADVANTAGES OF CUEMIX MONITORING
CueMix Console provides several major
advantages over monitoring live inputs through
your host audio software:
■ CueMix has no buffer latency. Thanks to the
8pre’s DSP chip, CueMix provides the same
throughput performance as a digital mixer.
CueMix imposes absolutely no processor drain
on the computer’s CPU.
■
■ CueMix routing can be maintained
independently of individual software applications
or projects.
CueMix Console does not provide effects
processing. For information about using your
audio software’s native plug-ins together with
CueMix, see chapter 10, “Reducing Monitoring
Latency” (page 45).
Viewing one mix at a time
CueMix Console displays one mix at a time. To
select which mix you are viewing, click its tab at the
bottom of the window, as shown in Figure 11-1.
The mix name appears in the tab. Double-click the
name to change it.
Each mix is completely independent
Each mix has its own settings. Settings in one mix
will not affect another. For example, if an input is
used in one mix, it will still be available in other
mixes. In addition, inputs can have a different
volume, pan, mute and solo setting in each mix.
Widening the CueMix Console window
To view more input faders at once, drag the grow
box (Figure 11-1) to the right.
WORKING WITH A MIX
Each mix has the following components:
CUEMIX CONSOLE INSTALLATION
■
A stereo output with master fader
CueMix Console is installed with the rest of your
8pre software.
■
Name
■
Master mute (to enable/disable the entire mix)
■
Any number of mono or stereo inputs
■
Pan, volume, mute and solo for each input
CUEMIX CONSOLE BASIC OPERATION
The CueMix console is simple to operate, once you
understand these basic concepts.
Four mixes
CueMix provides four separate mixes: Mix1, Mix2,
Mix3 and Mix4. Each mix can have any number of
inputs mixed down to any 8pre output pair that
you choose. For example, Mix1 could go to the
headphones, Mix2 could go to the main outs, Mix3
could go to a piece of outboard gear connected to
optical outputs 7-8, etc.
Many inputs to one output pair
It might be useful to think of each mix as some
number of inputs all mixed down to a stereo output
pair. CueMix Console lets you choose which inputs
to include in the mix, and it lets you specify the
level and pan for each input being fed into the mix.
These elements are visually grouped together in the
lightly shaded area in the lower half of the CueMix
Console window.
Viewing a mix
To view a mix, click its tab at the bottom of the
window, as shown in Figure 11-1. The mix name
appears in the tab.
Naming a mix
Double-click the mix name in the tab.
Master mute
The master mute button (Figure 11-1) temporarily
disables (silences) the mix.
52
MOTU CUEMIX CONSOLE
!8pre Manual/Mac Page 53 Tuesday, October 12, 2010 5:52 PM
Master fader
The master fader (Figure 11-1) controls the overall
level of the mix (its volume on its stereo output).
Use the individual input faders to the left to control
individual input levels.
Output level meters
The OUT level meters show you the output for the
mix’s physical output, which may include audio
from your host audio software. The clip indicators
clear themselves after a few seconds.
SHORTCUTS
Hold down the following modifier keys as
shortcuts:
Shortcut
Result
Shift key
Applies your action to all inputs in the mix.
Command key
Applies your action to the stereo input pair
Option key
Applies your action to all busses
Double-click
Returns the control to its default value (pan
center, unity gain, etc.)
Input section
The channel strips to the left of the master fader
represent each input in your 8pre. Use the input
scroll bar to view additional inputs.
COPYING & PASTING (DUPLICATING)
ENTIRE MIXES
Input mute/solo
To add an input to a mix, or remove it, click its
MUTE button. To solo it, use its SOLO button. To
toggle these buttons for a stereo pair, hold down
the command key while clicking either channel.
The Solo indicator LED (Figure 11-1) lights up
when any input is soloed (including inputs that
may currently be scrolled off-screen).
1 Select the source mix (Figure 11-1) and choose
Copy from the file menu (or press command-C).
Input volume and pan
Use the input fader and pan knob (Figure 11-1) to
adjust these settings for the input in the mix. Again,
all settings within the gray-shaded channel strip
area belong to the mix currently being viewed.
Note that an input can have different settings in
different mixes.
To adjust the volume or panning for a stereo input
pair, hold down the command key while dragging
the fader or knob for either the left or right input.
To copy and paste the settings from one mix to
another:
2 Choose the destination mix and choose Paste
from the file menu (or press command-V).
MESSAGE CENTER
The Message Center displays fly-over help for items
in the CueMix Console window. It also displays
messages regarding the overall operation of the
8pre.
SAVING AND LOADING PRESETS
The 8pre can store up to 16 presets in its on-board
memory. A preset includes of all CueMix DSP
settings for all for mix busses, but it excludes global
settings like clock source and sample rate.
The Load Preset and Save Preset commands in the
CueMix Console file menu let you name, save and
load presets in the 8pre.
SAVING AND LOADING PRESETS TO/FROM
DISK
The Save and Load commands in the CueMix
Console File menu allow you to save 8pre presets to
and from your hard drive. This allows you to save
an unlimited number of 8pre presets on disk. (Use
53
MOTU CUEMIX CONSOLE
!8pre Manual/Mac Page 54 Tuesday, October 12, 2010 5:52 PM
the Load Preset and Save Preset commands to get
presets from — and save them to — the 8pre itself.)
Click the Save button to save the current configuration; click the Load button to open an existing
configuration that you have previously saved on
disk.
Control room
Talkback
mic
Main
outs
EDIT CHANNEL NAMES
Choose Edit Channel Names from the CueMix
Console File menu to open a window that lets you
customize the names of the 8pre’s inputs and
outputs. Your custom names appear in CueMix
Console (in the input name strip as shown in
Figure 11-1 on page 51) and in the input and
output menus of your host audio software. For
details, see “Edit Channel Names” on page 28.
TALKBACK AND LISTENBACK
CueMix Console provides Talkback and Listenback
buttons. Talkback allows an engineer in the control
room to temporarily dim all audio and talk to
musicians in the live room. Conversely, Listenback
allows musicians to talk to the control room.
Phones
Live room
Headphone distribution amp
Listenback
mic
Figure 11-2: Typical hardware setup for Talkback and Listenback.
CueMix Console setup
To set up Talkback and/or Listenback in CueMix
Console, choose File menu> Talkback settings>
Configure Talkback/Listenback to open the window
shown in Figure 11-3:
Hardware setup
Figure 11-2 below shows a typical hardware setup
for Talkback and Listenback. For Talkback, set up a
dedicated mic in your control room and connect it
to a mic input on your MOTU audio interface. For
Listenback, set up a dedicated listenback mic in the
live room for the musicians and connect it to
another mic input. For talkback output, set up a
headphone distribution amp or set of speakers in
the live room, and connect it to the 8pre’s
headphone out, as demonstrated below in
Figure 11-2.
Figure 11-3: Configuring Talkback and Listenback.
54
MOTU CUEMIX CONSOLE
!8pre Manual/Mac Page 55 Tuesday, October 12, 2010 5:52 PM
Talkback / Listenback Mic Input
Choose the audio input to which your Talkback
and/or Listenback mic is connected. These inputs
are labeled with a purple and blue swatch,
respectively, just above the channel fader.
These labels identify
the Talkback and
Listenback mic inputs.
Engaging/disengaging Talkback and
Listenback
To engage Talk back or Listenback, press on the
Talk or Listen buttons and then release to
disengage. Talkback and/or Listenback is engaged
for as long as you hold down the mouse button.
Option-click to make the buttons “sticky” (stay
engaged until you click them again — so you don’t
have to hold down the mouse). If you would like to
engage both Talkback and Listenback at the same
time, enable the Link button.
Figure 11-5: The Talkback and Listenback buttons.
Figure 11-4: The purple label identifies the Talkback mic input; the
blue label indicates the Listenback mic. Use the input fader to control
the mic volume.
Talkback / Listenback Monitor Dim
Choose the amount of attenuation you would like
to apply to all other audio signals (besides the
talkback/listenback volume) when Talkback and/
or Listenback is engaged. To completely silence all
other CueMix audio, move the slider all the way to
the left (-Inf). Audio playing back from disk (your
host software) is not affected.
Talk / Listen signal routing
As shown in Figure 11-3, check the boxes next to
the outputs on which you’d like to hear the
Talkback mic and/or Listenback mic. For example,
as demonstrated in the diagram in Figure 11-2, to
hear the Talkback mic on the headphones in the
live room, check the Phones check box in the Talk
column as demonstrated in Figure 11-3. To hear
the Listenback mic on the main monitors in the
control room, check the Main Out 1-2 check box in
the Listen column, also demonstrated in
Figure 11-3.
Controlling Talkback and Listenback volume
To control the volume of the Talkback and/or
Listenback mics, adjust their input fader in CueMix
Console. This fader controls the volume of the
input, regardless of which bus mix is being
displayed in the CueMix Console window. In other
words, once an input has been designated as a
Talkback or Listenback input, its fader becomes
global for all CueMix buses.
MIX1 RETURN INCLUDES COMPUTER
The Mix1 return includes computer output item in
the CueMix Console File menu refers to the Mix1
bus that the 8pre driver provides as an input to host
audio software. This input source delivers the
output of CueMix DSP “MIX1” (the first mix bus of
the four on-board no-latency monitor mixes in the
8pre) back to your computer. This input serves, for
example, as a convenient way for you to record the
8pre’s MIX1 monitor mix back into your host audio
software (for reference and archiving purposes).
55
MOTU CUEMIX CONSOLE
!8pre Manual/Mac Page 56 Tuesday, October 12, 2010 5:52 PM
When the Mix1 return includes computer menu
item is checked, any audio being sent from your
audio software on the computer to the same output
as Mix1 will be included in the Mix1 return bus.
When it is unchecked, computer output is
excluded.
This menu item is essentially a pre/post switch for
the computer audio insert to the stream of audio
going to Mix1’s 8pre output pair (and also back to
the computer).
SHOW METER IN DOCK ICON
This CueMix Console File menu item, when
checked, causes the CueMix Console dock icon to
display a small level meter that mirrors the main
output meter for the current mix being displayed in
CueMix Console.
PHONES MENU
The Phones menu allows you to choose what you
will hear on the headphone output, just like the
Phones setting MOTU Audio Setup. However, this
menu provides one extra option that is exclusive to
CueMix Console: Follow Active Mix. This menu
item, when checked, causes the headphone output
to mirror the output of the current mix being
viewed in CueMix Console. For example, if you are
currently viewing Mix3 (the Mix3 tab is active), the
headphones will mirror the Mix3 output (whatever
it is assigned to).
CONTROL SURFACES MENU
CueMix Console can be controlled from an
automated control surface such as the Mackie
Control™. Use the commands in the Control
Surfaces menu to enable and configure this feature.
Application follows control surface
When checked, the Application follows control
surface menu command makes the CueMix
Console window scroll to the channel you are
currently adjusting with the control surface, if the
channel is not visible when you begin adjusting it.
The same is true for the bus tabs: if you adjust a
control in a bus that is not currently being
displayed, CueMix Console will jump to the
appropriate tab to display the control you are
adjusting.
Share surfaces with other applications
When the Share surfaces with other applications
menu command is checked, CueMix Console
releases the control surface when you switch to
another application. This allows you to control
your other software with the control surface. Here’s
a simple way to understand this mode: the control
surface will always control the front-most
application. Just bring the desired application to
the front (make it the active application), and your
control surface will control it. When you’d like to
make changes to CueMix Console from the control
surface, just bring CueMix Console to the front
(make it the active application).
When this menu item is unchecked, your control
surface will affect CueMix Console all the time,
even when CueMix Console is not the front-most
application. In addition, you will not be able to
control other host audio software with the control
surface at any time (because CueMix Console
retains control over it at all times). This mode is
useful when you do not need to use the control
surface with any other software.
Mackie Control Surfaces
CueMix Console includes support for the following
control surface products:
■
Mackie Control™
■
Mackie HUI™
■
Mackie Baby HUI™
Use the sub-menu commands in the Mackie
Control Surfaces menu item to turn on and
configure control surface support, as described
briefly below.
56
MOTU CUEMIX CONSOLE
!8pre Manual/Mac Page 57 Tuesday, October 12, 2010 5:52 PM
Enabled
Check this menu item to turn on control surface
operation of CueMix Console. Uncheck it to turn
off control surface support.
Configure…
Choose this menu item to configure your control
surface product. Launch the on-line help for
specific, detailed instructions for configuring
CueMix Console for operation with your control
surface product.
Other control surface hardware products
If you install other control surface drivers written
for CueMix Console, they will appear as separate
menu items at the bottom of the Control Surfaces
menu, with the same sub-menu items described
above.
CUEMIX IN OPTICAL EXPANDER MODE
When the 8pre operates as an optical expander (as
discussed in “Operating the 8pre as a converter” on
page 19), CueMix is hard-wired to route each
analog input to its corresponding optical output
channel (analog in 1 to optical out 1, analog in 2 to
optical out 2, and so on).
In addition, when operating the 8pre at a 1x sample
rate (either 44.1 or 48 kHz), the analog input
signals are duplicated and sent to both optical
output banks. This lets you send the analog input
signals to two separate optical destinations, if
desired.
When operating the 8pre at a 2x sample rate (88.2
or 96 kHz), the two optical output banks work in
concert to provide channels 1-4 and 5-8,
respectively, for a total of 8 channels of highresolution.
Figure 11-6: Refer to the extensive on-line help for details about
configuring CueMix Console for operation with your control surface
product.
Other HUI-compatible control surfaces
Any control surface that has the ability to emulate a
HUI should be compatible with CueMix Console.
Just add a Mackie HUI to Audio MIDI Setup and
put the control surface hardware into HUI
emulation mode. Consult the manual for the
control surface for details about how put it into
HUI emulation mode.
57
MOTU CUEMIX CONSOLE
!8pre Manual/Mac Page 58 Tuesday, October 12, 2010 5:52 PM
58
MOTU CUEMIX CONSOLE
!8pre Manual/Mac Page 59 Tuesday, October 12, 2010 5:52 PM
CHAPTER 12
MOTU SMPTE Setup
OVERVIEW
MOTU SMPTE SETUP
The 8pre can resolve directly to SMPTE time code
via any analog input, without a separate
synchronizer. The 8pre can also generate time code
via any analog output. The 8pre provides a DSPdriven phase-lock engine with sophisticated
filtering that provides fast lockup times and subframe accuracy. Direct time code synchronization
is supported by AudioDesk and Digital Performer
on Mac OS X.
The included MOTU SMPTE Setup™ software
provides a complete set of tools to generate SMPTE
for striping, regenerating or slaving other devices
to the computer.
Any analog input and output on the 8pre can be
used for time code (LTC) input and output,
respectively.
MOTU SMPTE Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Clock/Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Reader section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Generator section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting up for SMPTE time code sync . . . . . . . . . . . . . . . .
Resolving DP or AudioDesk to SMPTE time code . . . .
Resolving Cubase or Nuendo to SMPTE time code. . .
59
59
59
60
61
62
63
63
The Reader section provides settings for
resolving to video and/or SMPTE time code.
CLOCK/ADDRESS
The Clock/Address menu (Figure 12-1) provides
the same global Clock Source setting as in MOTU
Audio Setup (“Clock Source” on page 30 in the
8pre manual), but it includes additional
information: each setting shows both the clock and
the address (time code or sample location),
separated by a forward slash ( / ). To resolve the
8pre to SMPTE time code, choose the SMPTE /
SMPTE setting in the Clock/Address menu. This
means that the system will use SMPTE as the clock
(time base) and SMPTE as the address.
FRAME RATE
This setting should be made to match the SMPTE
time code frame rate of the time code that the
system will be receiving. The 8pre can auto-detect
The Generator section provides settings
for striping SMPTE time code.
Figure 12-1: SMPTE Setup gives you access to your 8pre’s on-board SMPTE time code synchronization features.
59
!8pre Manual/Mac Page 60 Tuesday, October 12, 2010 5:52 PM
and switch to the incoming frame rate, except that
it cannot distinguish between 30 fps and 29.97 fps
time code. So if you are working with either of
these rates, make sure you choose the correct rate
from this menu. The 8pre driver updates the frame
rate setting in Digital Performer and AudioDesk
for you.
Freewheel Address
Freewheeling occurs when there is a glitch or
drop-out in the incoming time code for some
reason. The 8pre can freewheel past the drop-out
and then resume lockup again as soon as it receives
readable time code. Choose the amount of time
you would like the 8pre to freewheel before it gives
up and stops altogether.
READER SECTION
The Reader section (on the left-hand side of the
window in Figure 12-1) provides settings for
synchronizing the 8pre to SMPTE time code.
Status lights
The four status lights (Tach, Clock, Address and
Freewheel) give you feedback as follows.
Tach
The Tach light blinks once per second when the
8pre has successfully achieved lockup to SMPTE
time code and SMPTE frame locations are being
read.
Clock
The Clock light glows continuously when the 8pre
has successfully achieved lockup to an external
time base, such as SMPTE time code or the optical
input.
Address
The Address light glows continuously when the
8pre has successfully achieved lockup to SMPTE
time code.
Freewheel
The Freewheel light illuminates when the 8pre is
freewheeling address (time code), clock or both.
For details about Freewheeling, see “Freewheel
Address” and “Freewheel clock” below.
The 8pre cannot freewheel address without clock.
Therefore, the Freewheel Address setting will always
be lower than or equal to the Freewheel Clock
setting, and both menus will update as needed,
depending on what you choose.
Keep in mind that freewheeling causes the system
to keep going for as long as the duration you choose
from this menu, even when you stop time code
intentionally. Therefore, if you are starting and
stopping time code frequently (such as from the
transports of a video deck), shorter freewheel
times are better. On the other hand, if you are
doing a one-pass transfer from tape that has bad
time code, longer freewheel times will help you get
past the problems in the time code.
The ‘Infinite’ freewheel setting
The Infinite freewheel setting in the Freewheel
Address menu causes the 8pre to freewheel
indefinitely, until it receives readable time code
again. To make it stop, click the Stop Freewheeling
button.
Freewheel clock
Freewheeling occurs when there is glitch or
drop-out in the incoming SMPTE time code for
some reason. The 8pre can freewheel past the
drop-out and then resume lockup again as soon as
it receives a stable, readable clock signal.
SMPTE source
Choose the analog input to which the SMPTE time
code source is connected. This is the input that the
8pre “listens” to for time code.
60
MOTU SMPTE SETUP
!8pre Manual/Mac Page 61 Tuesday, October 12, 2010 5:52 PM
The 8pre cannot freewheel address without clock.
Therefore, the Freewheel Address setting will always
be lower than or equal to the Freewheel Clock
setting, and both menus will update as needed,
depending on what you choose.
The ‘Infinite’ freewheel setting
The Infinite freewheel setting in the Freewheel
Clock menu causes the 8pre to freewheel
indefinitely, until it receives readable time code
again. To make it stop, click the Stop Freewheeling
button.
Stop Freewheeling
The Stop Freewheeling button stops the system if it
is currently freewheeling.
GENERATOR SECTION
The Generator section (on the right-hand side of
the window in Figure 12-1) provides settings for
generating SMPTE time code.
Level
Turn the level knob to adjust the volume of the
SMPTE time code being generated by the 8pre. The
level knob disappears when the Destination is set
to None.
Click here to edit
the start time, or
drag vertically
on the numbers.
Figure 12-2: Setting the time code start time.
Regenerate
This option, when enabled, causes the generator to
generate time code whenever the 8pre is receiving
SMPTE time code.
Generate from sequencer
This option, when enabled, causes the generator to
generate time code whenever you are running
AudioDesk or Digital Performer. Time code begins
at the time specified by the AudioDesk or Digital
Performer main transport.
Tach light
The Tach light blinks once per second when the
8pre is generating SMPTE time code.
Destination
In the Destination menu, choose the analog output
from which SMPTE time code will be generated.
This is the output that sends time code.
Stripe
Click this button to start or stop time code. To set
the start time, click directly on the SMPTE time
code display in the Generator section and type in
the desired start time. Or drag vertically on the
numbers.
61
MOTU SMPTE SETUP
!8pre Manual/Mac Page 62 Tuesday, October 12, 2010 5:52 PM
SETTING UP FOR SMPTE TIME CODE SYNC
Use this setup if you have:
In summary, the 8pre system can resolve directly to
SMPTE time code. It can also generate time code
and a time base, under its own clock or while
slaving to time code. Therefore, the 8pre can act
both as an audio interface and digital audio
synchronizer. You can use the 8pre to slave your
audio software to SMPTE as well, as long as your
software supports sample-accurate sync, which is
the means by which the software follows the 8pre.
The accuracy may not be sample-accurate, but in
most cases it will be very close.
✓A SMPTE time code source, such as a multitrack tape deck.
✓Host software that supports sample-accurate sync.
This setup provides:
✗ No sample-accurate locating.
✓Continuous sync to SMPTE time code.
✓Sub-frame timing accuracy.
✓Transport control from the SMPTE time code source.
In AudioDesk or Digital Performer:
1. Choose Receive Sync the Setup menu.
2. Choose the Sample-accurate option
shown to the left.
3. Make sure that Slave to External Sync is
checked in the Studio menu.
Choose SMPTE as the clock source in AudioDesk, Digital
Performer, or the MOTU Audio Setup. This setting can also be
made in the MOTU SMPTE Setup (shown below).
SMPTE time code source
audio cable bearing LTC
(Longitudinal Time Code)
When lockup is achieved, the CLOCK light illuminates and the TACH light blinks once per second.
Any analog input
8pre interface
FireWire cable
Macintosh computer running
AudioDesk, Digital Performer or other
sample-accurate software.
Launch the MOTU SMPTE Setup software to specify the time code input, frame rate and
amount of freewheel. Also, confirm that the Clock Source/Address is SMPTE/SMPTE.
Figure 12-3: Connections for synchronizing the 8pre directly to SMPTE time code.
62
MOTU SMPTE SETUP
!8pre Manual/Mac Page 63 Tuesday, October 12, 2010 5:52 PM
RESOLVING DP OR AUDIODESK TO SMPTE
TIME CODE
To resolve your Digital Performer/8pre system
directly to SMPTE time code with no additional
synchronization devices, use the setup shown
below in Figure 12-3. Choose Receive Sync from the
Setup menu and choose the Sample accurate
option. Then make sure that the Slave to External
Sync command in the Studio menu is checked.
Make sure the Clock Source setting in the MOTU
Audio Setup window is set to SMPTE. Also, make
sure that you’ve connected an LTC input signal to
an 8pre analog input, and that you’ve specified that
input in the SMPTE Setup.
RESOLVING CUBASE OR NUENDO TO
SMPTE TIME CODE
To resolve your 8pre directly to SMPTE time code
with no additional synchronization devices, use
the setup shown in Figure 12-3. Make sure the
Clock Source setting in the MOTU Audio Setup
window is set to SMPTE. Also, make sure that
you’ve connected an LTC input signal to an 8pre
analog input, and that you’ve specified that input in
the SMPTE Setup.
63
MOTU SMPTE SETUP
!8pre Manual/Mac Page 64 Tuesday, October 12, 2010 5:52 PM
64
MOTU SMPTE SETUP
!8pre Manual/Mac Page 65 Tuesday, October 12, 2010 5:52 PM
CHAPTER 13
Troubleshooting
Sample accurate sync in AudioDesk and Digital
Performer
When you first use sample accurate sync, be sure to
go to the Receive Sync dialog in Digital Performer
or AudioDesk and switch from “MTC” to “Sampleaccurate.”
Cubase - MOTU 8pre inputs and outputs are not
visible in Cubase
You probably need to enable them in Cubase.
Can’t authenticate AudioDesk
When installing software off the CD-ROM, the OK
button does not become active until you have
entered in your name and a valid keycode. Your
name must contain at least 3 characters, and you
must enter the keycode exactly as it appears in your
AudioDesk manual (on the inside of the back
cover).
Clicks and pops due to hard drive problems
If you have checked your clock settings and you are
still getting clicks and pops in your audio, you may
have a drive related problem. Set your Clock
Source to Internal and try recording just using the
analog inputs and outputs of the 8pre. If you
encounter the same artifacts you may want try
using another drive in your computer. Clicks and
pops can also occur when the drive is severely
fragmented, the disk drivers are outdated, or if you
are using a SCSI accelerator that is not optimally
configured for working with audio.
Connecting or powering gear during operation
It is not recommended that you connect/
disconnect, or power on/off devices connected to
the 8pre while recording or playing back audio.
Doing so may cause a brief glitch in the audio.
No optical inputs or outputs are available in host
audio application
Check to make sure you have the desired optical
inputs and/or outputs enabled in MOTU Audio
Setup.
Monitoring - How to monitor inputs?
Please refer to the documentation for the audio
application that you are using. If your application
does not support input monitoring, you will need
to use the 8pre’s hardware-based CueMix DSP
monitoring feature. Please see chapter 10,
“Reducing Monitoring Latency” (page 45).
Controlling monitoring latency
See chapter 10, “Reducing Monitoring Latency”
(page 45).
CUSTOMER SUPPORT
We are happy to provide customer support to our
registered users. If you haven’t already done so,
please take a moment to register on line at
motu.com, or fill out and mail the registration card
included with your 8pre. Doing so entitles you to
technical support and notices about new products
and software updates.
REPLACING DISKS
If your 8pre software installer CD becomes
damaged and fails to provide you with fresh,
working copies of the software, our Customer
Support Department will be glad to replace it. You
can request a replacement disc by calling our
business office at (617) 576-2760 and asking for the
customer service department. In the meantime,
you can download the latest drivers from
www.motu.com.
65
!8pre Manual/Mac Page 66 Tuesday, October 12, 2010 5:52 PM
TECHNICAL SUPPORT
If you are unable, with your dealer’s help, to solve
problems you encounter with the 8pre system, you
may contact our technical support department in
one of the following ways:
■ Tech support hotline: (617) 576-3066 (Monday
through Friday, 9 am to 6 pm EST)
■
Tech support 24-hour fax line: (617) 354-3068
■
Tech support email: techsupport@motu.com
■
Web site: www.motu.com
Please provide the following information to help us
solve your problem as quickly as possible:
The serial number of the 8pre system. This is
printed on a sticker placed on the bottom of the
8pre rack unit. You must be able to supply this
number to receive technical support.
■
■ A brief explanation of the problem, including the
exact sequence of actions which cause it, and the
contents of any error messages which appear on the
screen.
■ The pages in the manual which refer to the parts
of the 8pre or AudioDesk with which you are
having trouble.
The version or creation date of the system
software you are using to run the Macintosh.
■
We’re not able to solve every problem immediately,
but a quick call to us may yield a suggestion for a
problem which you might otherwise spend hours
trying to track down.
If you have features or ideas you would like to see
implemented, we’d like to hear from you. Please
write to the 8pre Development Team, MOTU Inc.,
1280 Massachusetts Avenue, Cambridge, MA
02138.
66
TROUBLESHOOTING
!8pre Manual/Mac Page 67 Tuesday, October 12, 2010 5:52 PM
Index
kext 21
02R mixer 20
1394 connector 6, 10, 15
24-bit
AudioDesk 37
Digital Performer 33
optical 10
recording 11
48V phantom power 5
8pre
installing 15
rear panel overview 9
summary of features 9
tab 25
A
Ableton Live 41
Activity LEDs 11
ADAT optical 10, 20
clock source setting 26
connecting 16
Analog activity lights 11
Analog inputs/outputs
trimming in Digital Performer 32, 36
Apple
Garage Band 41
Logic Express 40
Logic Pro 40
Soundtrack Pro 41
Application follows control surface 56
Audio
bit resolution 26
MIDI Setup utility 22
Audio Setup software 21
AudioDesk 11, 21, 23, 35
accessing 8pre settings 25
optical input/output 36
synchronization 37
B
Buffer Size 32, 36, 47
C
Clock LEDs 11
Clock source 7, 26
AudioDesk 36
setting in converter mode 29
Combo jacks 6
Condenser mic input 5
Configure Hardware Driver 25
Control surface support 56
Controller
connecting 17
Converter mode
clock setting 29
setup/example 19
CoreAudio
defined 21
CoreMIDI
Audio MIDI Setup 22
benefits 22
Cubase 25
Audio Buffer Size 42
Mac OS X 42
troubleshooting 65
CueMix Console 49, 51
Application follows control surface
56
Edit Channel Names 7, 54
Listenback explained 54
listenback settings 54
Mackie control surfaces 56
Share surfaces with other applications 56
talkback settings 54
CueMix DSP 49
Customer support 65
D
Default Stereo Input/Output 7, 27
Delay (latency) 45
Digital converter (see Optical converter)
Digital Performer 11, 31
accessing 8pre settings 25
clock source 32, 40
Optical input/output 32, 40
sample rate 31, 40
synchronization 33
Disc
replacing 65
Drivers
installing FireWire drivers 21
E
Edit Channel Names 7, 28, 54
Enable Pedal 7, 28
F
Feedback loops 33, 37, 43
FireWire 10
connecting 15
connector 6
installing drivers 21
SMPTE Console 59
Follow Active Mix 56
Freewheel
address 60
clock 60
infinite 60, 61
Front panel
meters 5
VOLUME rotary encoder settings 29
G
Garage Band 41
General tab 25
Generate from sequencer 61
Guitar
connecting 18
H
Headphone jack 5
Headphones
connecting 18
controlling output 28
jack 11
volume 29
I
iMovie
audio input/output 27
Infinite freewheel 60, 61
Installation
hardware 15
Installer CD
replacing 65
Internal (sync setting) 26
iTunes
audio input/output 27
K
kext 21
Keyboard controller
connecting 17
L
Latency 45, 48
Launch MOTU Audio Setup when hardware becomes available 28
LEDs 5
Lightpipe 20
2x mode 29
Listenback
explained 54
Live 41
Logic Express 40
Logic Pro 40
M
Mac OS X 39
input and output names 43
sound input/output 7, 27
Macintosh built-in (clock source setting)
27
Mackie control surfaces 56
Main outs
jacks 6
making connections to 16
volume 29
volume control 5
Main volume 5
Meters 5
Mic inputs 6, 16
connecting 18
phantom power 5
MIDI
devices, connecting 17
driver 21
jacks 6
Mix1 1-2 43
AudioDesk 37
Digital Performer 33
Mix1 return includes computer 55
Monitoring 46
thru main outs 16
MOTU
MIDI driver 21
MOTU Audio Setup 21, 25
Edit Channel Names 28
MOTU CueMix Console 49, 51
67
I N D EX
!8pre Manual/Mac Page 68 Tuesday, October 12, 2010 5:52 PM
N
R
Nuendo 25
Mac OS X 42
Reason 42
Regenerate 61
Registration 13
O
Optical
2x mode 29
connectors 16
enabling/disabling 27
LEDs 11
overview 10
sync 20
Optical converter mode 29
setup/example 19
Optimization 48
P
Packing list 13
Patch thru
latency 48
Performance 48
Phantom power 5, 16
Phones 5, 28, 43
AudioDesk 36
Digital Performer 32, 40
Phones 1-2
AudioDesk 37
Digital Performer 33
Phones menu 56
Propellerhead Reason 42
S
S/MUX 29
Sample rate 7, 26
AudioDesk 36
Samplers
connecting 18
Share surfaces with other applications 56
Show meter in dock icon 56
SMPTE
clock source setting 27
Console 59
overview 59
source setting 60
sync 59
SMPTE sync 62
Sound module
connecting 17
Soundtrack Pro 41
Stop Freewheeling 60
Stripe button 61
Studio setup (example) 18
Synchronization
AudioDesk 37
Digital Performer 33
Synths
connecting 18
System preferences
sound input/output 7, 27
System requirements
minimum 13
recommended computer 11, 13
T
TACH
light (SMPTE Console) 60
Talkback
explained 54
settings 54
Technical support 66
Time code sync 59, 62
Troubleshooting
feedback loop 33, 37, 43
TRS/XLR jacks 6
Type I, II optical mode 29
V
Video sync 59
Volume
headphone 11
VOLUME knob 29
X
XLR/TRS jacks 6
68
I N D E X