!828mk3 Hyb Manual/Mac Page 1 Wednesday, March 23, 2011 5:33 PM
MOTU 828mk3 Hybrid
™
User Guide for Mac
1280 Massachusetts Avenue
Cambridge, MA 02138
Business voice: (617) 576-2760
Business fax: (617) 576-3609
Web site: www.motu.com
Tech support: www.motu.com/support
!828mk3 Hyb Manual/Mac Page 2 Wednesday, March 23, 2011 5:33 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 828mk3 COULD CAUSE AN ELECTRICAL SHOCK.
The MOTU 828mk3 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 828mk3 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 828mk3 plug.
IMPORTANT SAFEGUARDS
1. Read these instructions. All the safety and operating instructions should be read before operating the 828mk3.
2. Keep these instructions.These safety instructions and the 828mk3 owner’s manual should be retained for future reference.
3. Heed all warnings. All warnings on the 828mk3 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 828mk3 near water.
6. Cleaning - Unplug the 828mk3 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 828mk3 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 828mk3 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 unit.
12. Power switch - Install the 828mk3 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 828mk3 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 828mk3.When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
16. Surge protection - Unplug the 828mk3 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 828mk3 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 828mk3, the 828mk3 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 828mk3 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 828mk3, 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 • 20 Watts.
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Contents
5
Quick Reference: 828mk3 Front Panel
6
Quick Reference: 828mk3 Rear Panel
7
Quick Reference: MOTU Audio Setup
9
About the 828mk3
15
Packing List and System Requirements
17
Installing the 828mk3 Hardware
33
Installing the 828mk3 Software
37
MOTU Audio Setup
43
Front Panel Operation
53
Digital Performer and AudioDesk
59
Other Mac OS X Audio Software
67
Reducing Monitoring Latency
73
CueMix FX
119
MOTU SMPTE Setup
123
Troubleshooting
125
Index
III
!828mk3 Hyb Manual/Mac Page 0 Wednesday, March 23, 2011 5:33 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 © 2011, 2010, 2009, 2008, 2007, 2006, 2005, 2004, 2003 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 TWO (2) YEARS 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 TWO (2) YEARS 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.
MOTU, AudioDesk, 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.
The multi-purpose backlit LCD shows
system settings or CueMix FX
settings, depending on which knobs
you turn. The labels above and below
the LCD refer to the four digital rotary
encoders to the left of the LCD. These
knobs let you access and program all
settings in the 828mk3.
These round LEDs indicate
signal presence on the 8 rearpanel TRS analog and SPDIF
outputs. Their threshold is
around -42 dB. They do not
indicate clipping in any way;
use your host audio software
level meters to calibrate
output levels.
This bank of
4-segment
input meters metering for
is for the 8
SPDIF input.
analog TRS
input jacks on
the rear panel.
FireWire and USB are “plugand-play” protocols. That
means that you can turn off
the 828mk3 and turn it back
on without restarting your
computer.
When the 828mk3 is resolving
to SMPTE time code, the LOCK/
TACH LED glows when lockup
has been achieved. The ADAT
and MIDI LEDs blink when there
is optical audio or MIDI activity,
respectively.
5-segment
metering for the
main outs. Use
the MASTER VOL
knob to control
output level.
These lights indicate the global
sample rate at which the 828mk3
is operating. Use the MOTU Audio
Setup software to set the sample
rate or to choose an external clock
source, from which the sample rate
will be derived. When no clock
signal is currently present, one of
these LEDs flashes rapidly.
This section provides two ten-segment meters for the two front-panel mic/guitar inputs. The
meters show input levels from -42 to -1 in the first column of LEDs, plus an additional range in a
second column from zero to +12 dB (including clip). Both inputs are equipped with V-Limit™, a
hardware limiter.With the limiter turned off, signals that hit zero or above will clip (a hard digital
clip). However, with V-Limit turned on, signals can go as high as +12 dB above zero with no
digital clipping. If the signal then goes above +12 dB, it will clip, even with V-Limit engaged.
This section controls the 828mk3’s built-in CueMix FX mixer and
effects. There are eight stereo mix busses: each bus mixes all
inputs (or any subset you wish) to a stereo output of your choice.
You can apply EQ, compression, and reverb to inputs, outputs and
mix busses. The four knobs to the left of the LCD correspond
directly to the four labeled sections of the LCD. Use the CHANNEL
knob to choose the input, output or mix you wish to edit. Push it to
switch among inputs, outputs and busses, then turn it to choose
the desired channel or bus. Use the PAGE, PARAM and VALUE knobs
to access the mix settings for the chosen channel.
Push the CHANNEL knob repeatedly to cycle among the four
main sections of the mixer: mix
busses, inputs, outputs and the
reverb module. Push the PARAM
knob to enter the SETUP menu,
which provides global 828mk3
settings, such as the global
sample rate, etc.
From the factory, the
PHONES jack is a discrete
output (at 44.1/48 kHz),
but it can mirror any other
output pair (digital or
analog). For example, at
88.2/96 kHz, it defaults to
mirroring the main outs.
As the primary phone jack,
it has its own dedicated
volume knob.
The phone jack labeled (MAIN) is a standard quarter-inch stereo
headphone jack. Its output is hard-wired to mirror the XLR main outs on
the rear panel. From the factory, the MASTER VOL knob above it controls
the main outs and this jack, but MASTER VOL can be programmed to
control any combination of outputs. See “The Monitor Group” on
page 96 for details. Push the knob once to view the current volume
setting in the LCD display; push it again to mute the monitor group; push
a third time to return to the previous volume. Note: if the Monitor group
is programmed to not include the main outs, the MASTER VOL knob will
no longer control the volume of this phone jack, either.
These XLR/TRS combo jacks accept either a mic cable or
a quarter-inch guitar cable. Both the low-impedance
XLR jack and the high-impedance TRS jack are
equipped with a preamp (so don’t connect a +4 line
level XLR cable!). For the Mic (XLR) input, push the TRIM
encoder to toggle a 20 dB pad; push and hold to toggle
48V phantom power. The Precision Digital Trim™ knob
provides 53 dB of gain. Use the rear panel sends to
route these inputs to your favorite outboard gear. Use
any rear-panel input as a return.
These two trim knobs provide approximately 53 dB of gain for 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 — but don’t plug in a +4 signal
here (due to the preamps): use a rear-panel TRS input instead. Use the trim knob and the “MIC” input level meters over in the metering
section to calibrate the input signal level. The meters cover both the TRS and XLR input. These mic inputs are also equipped with the
828mk3’s V-Limit™ hardware limiter, which provides an additional +12 dB of headroom above zero with no clipping or digital distortion. See “Mic/guitar inputs meters with V-Limit™ compressor” on page 44 for details.
Quick Reference: 828mk3 Front Panel
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The 828mk3 is
equipped with an
auto-switching
international
power supply.
These jacks provide
stereo, 24-bit S/PDIF
digital input and
output at all
supported sample
rates (up to 96 kHz).
Connect a MIDI device here
using standard MIDI cables.
Connect the 828mk3’s MIDI OUT
port to the MIDI IN port on the
other device. Conversely,
connect the 828mk3’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
daisy-chain MIDI devices, but
be sure to manage their MIDI
channels (so that they don’t
receive or transmit on the same
channel).
When the 828mk3 is operating at a high sample rate
(88.2 or 96 kHz), you can force the word clock output
rate (via software or the front panel) to 44.1 or 48 kHz.
These are standard BNC word clock jacks. Use them for
a variety of applications, such as for digital transfers
with devices that cannot slave to the clock supplied by
their digital I/O connection with the 828mk3.
Connect the 828mk3 to the computer
here via either FireWire or USB2, using
either the standard 1394 FireWire B or
USB cable provided with your 828mk3.
If you use FireWire, you can also use the
second FireWire port to daisy-chain up
to four MOTU FireWire audio interfaces
to a single FireWire bus, or connect
other FireWire devices. Keep in mind
that the 828mk3 uses more FireWire bus
bandwidth when one or both optical
banks are enabled, or when it operates
at higher sample rates. These operating
configurations will limit the number of
devices you can daisy chain on a single
FireWire bus. For details, see “Connecting multiple MOTU FireWire interfaces”
on page 29.
The 828mk3’s eight analog outputs are
gold-plated, balanced +4dB TRS (tip/
ring/sleeve) quarter-inch connectors
that can also accept an unbalanced plug.
They are equipped with 24-bit 192 kHz
converters.
Equipped with 24-bit 192 kHz converters,
these 8 analog inputs are gold-plated,
balanced TRS (tip/ring/sleeve) quarter-inch
connectors that can also accept an unbalanced plug. They do not have microphone
preamps, so they are best used for synthesizers, drum machines, effects processors,
and other instruments with line level signals
(either -10 dB or +4 dB). These inputs are
also equipped with the 828mk3’s Precision
Digital Trim™ feature: digitally controlled
analog trims that let you adjust input level
in 1 dB increments from either front panel
LCD or the included CueMix FX software. The
trim can be adjusted over a range of -96 to
+22 dB.
Connect a standard foot switch
here for hands-free punch-in and
punch-out during recording. For
details about how to set this up,
see “Enable Pedal” on page 42.
One special note: you can choose independent formats for each bank, A and B, as well as IN and OUT within each bank. For example, you could choose
ADAT for the optical A IN (for, say, eight channels of input from your digital mixer) and stereo TOSLink for the optical A OUT (for, say, your DAT machine).
These optical digital I/O connectors can be connected either to an ADAT-compatible “lightpipe” device (such as a digital mixer) or to a S/PDIF optical
(“TOSLink”) compatible device, such as an effects processor or DAT machine. Be sure to set the format in the MOTU Audio Setup software (or using the front
panel LCD). (see “Optical input/output” on page 41) for details.) ADAT optical supplies eight channels of 24-bit digital I/O per bank (4 channels per bank
at 96kHz). TOSLink is stereo at sample rates up to 96 kHz.
These two quarter-inch
balanced TRS send
outputs supply the pre
amplified input signal
from the mic/guitar/
instrument inputs on
the front panel. Use
them to insert your
favorite compressor, EQ,
reverb or other
outboard effect. Use
any TRS input as a
return.
To hear audio playback from your host
audio software on these main outs,
assign the audio tracks (and master
fader) to these main outs. You can also
use CueMix FX to monitor live 828mk3
inputs here as well.
These two XLR jacks serve as the
828mk3’s main outputs. You can connect
them to a set of powered studio monitors
and then control the volume from the
front panel MASTER VOL knob.
These are quarter-inch analog
SMPTE input and output jacks. Use
them to resolve the 828mk3
directly to time code and transmit
time code to other devices.
Quick Reference: 828mk3 Rear Panel
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!828mk3 Hyb Manual/Mac Page 7 Wednesday, March 23, 2011 5:33 PM
Quick Reference: MOTU Audio Setup
CHAPTER
Determines the clock source for your
828mk3. If you’re just using the analog
ins and outs, set this to ‘Internal’. The
other settings are for digital transfers
via S/PDIF or optical ports, or for
slaving the 828mk3 to word clock.
Click the tabs to access general MOTU
FireWire and USB interface settings or
settings specific to the 828mk3 (or
other connected interface.)
Choose the global sample rate for the
system here.
Specifies the stereo input and output
pair when the 828mk3 is chosen for
Mac OS X audio I/O.
Each optical bank can be configured
independently ADAT or TOSLink. Disable
them when not in use to conserve DSP
and bus bandwidth.
This menu lets you choose what you will
hear from the PHONES 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 (at 44.1 or 48 kHz. At
higher sample rates, the phones must
mirror any other available output pair.)
The 828mk3 driver provides a stereo return
back to the computer. This return feeds the
signal on any 828mk3 output pair directly
back to the computer, where you can record,
process, monitor or otherwise use it.This is a
great way to “bounce” full mixes, complete
with live audio routed through the 828mk3
only, back into the computer.
Choose the output pair you would like
the main outs to mirror, or choose Main
Outs to operate them as their own
independent pair (at sample rates up to
96 kHz).
If you are running an 828mk3 interface
at a high sample rate (88.2, 96, 176.4 or
192 kHz), this option appears in the
interface tab. It lets you choose a word
clock output rate that either matches
the global sample rate (e.g. 96kHz) or
reduces it to the corresponding 1x rate
(e.g. 48kHz instead of 192 kHz).
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 FireWire or USB interface is detected (switched on, plugged in,
etc.)
This button opens another dialog that lets
you assign your own customized names to
each 828mk3 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).
If you have a foot switch connected to the
828mk3, these settings let you map the foot
switch to any computer keyboard key for
both the up and down position. For details
about how to set this up, see “Enable Pedal”
on page 42.
In the standard Mac OS X fashion, the
console appears in the dock when you
launch it. If the Launch option is checked (as
shown above), the icon appears as soon as
you switch on your 828mk3 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.
7
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8
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CHAPTER 1
About the 828mk3
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The 828mk3 Rear Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
The 828mk3 Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
16-bit and 24-bit recording . . . . . . . . . . . . . . . . . . . . . . . . . . 13
CueMix FX 32-bit floating point mixing and effects. . 13
AudioDesk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Digital Performer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Other Host Audio Software . . . . . . . . . . . . . . . . . . . . . . . . . . 14
OVERVIEW
The 828mk3 is a hybrid FireWire USB2 audio
interface for Mac and Windows with on-board
effects and mixing that offers 28 inputs and 30
outputs at 44.1 or 48 kHz. Both analog and digital
I/O are offered at sample rates up to 96 kHz, and
analog recording and playback is offered at rates up
to 192 kHz. All inputs and outputs can be accessed
simultaneously. The 828mk3 consists of a standard
19-inch, single-space, rack-mountable I/O unit
that connects directly to a computer via a standard
FireWire or USB cable.
The 828mk3 offers the following main features:
■ Universal computer connectivity via FireWire or
high-speed USB2
■
Eight 24-bit analog quarter-inch (TRS) inputs
■
Eight 24-bit analog quarter-inch (TRS) outputs
■ Two combo XLR/TRS mic/guitar inputs with
preamps, individual sends, 48V phantom power,
20 dB pad, and Precision Digital Trim™
■
Two XLR main outputs
■ Two banks of optical digital I/O that provide 16
channels of ADAT optical at 48 kHz, 8 channels of
S/MUX optical I/O at 96 kHz or two banks of
stereo TOSLink at rates up to 96 kHz
■
RCA S/PDIF at sample rates up to 96 kHz
■
Word clock I/O
■
MIDI I/O
■ On-board SMPTE synchronization with
dedicated SMPTE I/O jacks
■
Foot switch for hands-free punch-in/out
■ Two headphone jacks with independent volume
control
■
Programmable master volume knob
■ CueMix™ FX no-latency mixing, monitoring
and effects processing
Front-panel LCD programming for the mixer
and all other settings
■
■
Extensive front panel metering and status LEDs
■
Auto-switching international power supply
■
Stand-alone operation
■ Mac and Windows drivers for multi-channel
operation and across-the-board compatibility with
any audio software on current Mac and Windows
systems
■ AudioDesk™, full-featured audio workstation
software for Mac OS X that supports both 16-bit
and 24-bit recording
■ Operation on all analog I/O at standard sample
rates up to 192 kHz
Digitally controlled analog trim for all analog
inputs
■
9
!828mk3 Hyb Manual/Mac Page 10 Wednesday, March 23, 2011 5:33 PM
With a variety of I/O formats, mic preamps, nolatency mixing and processing of live input and
synchronization capabilities, the 828mk3 is a
complete, portable “studio in a box” when used
with a Mac or Windows computer.
28 inputs and 30 outputs
All 828mk3 inputs and outputs can be used simultaneously, for a total of 28 inputs and 30 outputs
when operating at 44.1 or 48 kHz:
Connection
Input
Output
THE 828MK3 REAR PANEL
Analog 24-bit 192 kHz on bal/unbal TRS
8
8
The 828mk3 rear panel has the following
connectors:
Mic/guitar 24-bit 192 kHz on XLR/TRS combo
2
-
Main outputs 24-bit 192 kHz on XLR
-
stereo
Headphone output*
-
stereo
ADAT optical digital†
16
16
RCA S/PDIF 24-bit 96kHz digital
stereo
stereo
Total
28
30
■ Eight gold-plated, balanced quarter-inch (TRS)
analog outputs (with 24-bit 192 kHz converters)
Eight gold-plated, balanced quarter-inch (TRS)
analog inputs (with 24-bit 192 kHz converters)
■
Two XLR “main” analog outputs with 24-bit
192 kHz converters
■
Two gold-plated, balanced quarter-inch (TRS)
analog sends (for the front-panel mic/guitar
inputs)
■
■ Gold-plated balanced TRS quarter-inch analog
in/out dedicated for SMPTE time code
Two sets of optical connectors (in and out),
individually switchable among ADAT optical
“lightpipe”, 96 kHz S/MUX optical or S/PDIF
“TOSLink”
■
■
RCA S/PDIF in/out
■
MIDI IN and MIDI OUT
■
Word clock in/out
■
Foot pedal jack
■
Two 1394 FireWire B connectors
■
One high-speed USB2 connector
* The phone jack below the MASTER VOL knob is
hard-wired to (mirrors) the XLR main outs. The
PHONES output can operate as an independent
output pair, or it can mirror any other 828mk3
output pair, such as the main outs.
† The 828mk3 optical connectors support several
standard optical I/O formats, which provide
varying channel counts. See “Optical” on page 11
for details about optical bank operation.
With the exception of the phone jack on the front
panel labeled “(MAIN)”, all inputs and outputs are
discrete. For example, using a mic input does not
“steal” an input from the TRS analog I/O bank.
Analog
All analog inputs are equipped with 24-bit 192 kHz
A/D converters. All analog outputs have 24-bit
192 kHz D/A converters. All audio is transferred to
and from the computer in a 24-bit data stream.
All quarter-inch analog inputs can accept either a
balanced or unbalanced plug.
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ABOUT THE 828MK3
!828mk3 Hyb Manual/Mac Page 11 Wednesday, March 23, 2011 5:33 PM
The quarter-inch outputs are referenced to a +4
dBu line level output signal. The inputs have
+22 dB of input gain and -96 dB of cut, allowing
them to accommodate both -10 dBu and +4 dBu
level signals.
Precision Digital Trim™
All of the 828mk3’s analog inputs are equipped
with digitally controlled analog trims, adjustable in
1 dB increments. The mic/guitar input trims can be
adjusted using front-panel digital rotary encoders
that provide feedback in the front panel LCD with
up to 53 dB of boost. All analog inputs, including
eight rear-panel TRS analog inputs, can be
trimmed using the front panel LCD or using the
828mk3’s included CueMix FX control software for
Mac and Windows. This gives you finely-tuned
control of trim settings for synths, effects modules,
and a wide variety of analog inputs for optimum
levels. Different trim configurations can then be
saved as preset configurations for instant recall.
Mic/guitar sends
Before A/D conversion, the pre-amplified signal
from each front-panel mic/guitar input is routed to
one of the two rear-panel quarter-inch analog
sends, so that you can insert a favorite outboard
EQ, compressor, amp or effects processor to the
mic/guitar input signal before it is converted to
digital form. The resulting output from the
outboard gear can be fed back into the 828mk3 via
one of the eight TRS analog inputs on the rear
panel, for routing to the computer and/or inclusion
in the 828mk3’s built-in monitor mixes.
Main Outs
The main outs are equipped with 24-bit 192 kHz
D/A converters and serve as independent outputs
for the computer or for the 828mk3’s on-board
CueMix FX mixes.
Optical
The two optical banks provide 16 channels of
ADAT optical at 44.1 or 48 kHz, 8 channels of S/
MUX optical I/O at 96 kHz or two banks of stereo
TOSLink at rates up to 96 kHz. The banks operate
independently, including input and output,
allowing you to mix and match any optical formats.
For example, you could receive 4 channels of
96 kHz S/MUX input on Bank A while at the same
time sending 96 kHz stereo optical S/PDIF
(“TOSLink”) from the Bank A output.
S/PDIF
The 828mk3 rear panel provides S/PDIF input and
output in two different formats: RCA “coax” and
optical “TOSLink”. The RCA jacks are dedicated to
the S/PDIF format. The TOSLink jacks can be used
either for either TOSLink or ADAT optical, as
discussed earlier.
MIDI I/O
The 828mk3’s standard MIDI IN and MIDI OUT
jacks supply 16 channels of MIDI I/O to and from
the computer via the 828mk3’s FireWire
connection. Timing accuracy can be sampleaccurate with host software that supports it.
On-board SMPTE synchronization
The 828mk3 can resolve directly to SMPTE time
code via the quarter-inch SMPTE input, without a
separate synchronizer. A SMPTE out jack is also
provided for time code generation. The 828mk3
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
includes a complete set of tools for generating and
regenerating SMPTE time code, providing a way to
slave other devices to the computer. Like
CueMix FX, the synchronization features are
cross-platform and compatible with all audio
sequencer software that supports the ASIO2
sample-accurate sync protocol.
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ABOUT THE 828MK3
!828mk3 Hyb Manual/Mac Page 12 Wednesday, March 23, 2011 5:33 PM
Word clock
The 828mk3 provides standard word clock that can
slave to any supported sample rate. In addition,
word clock can resolve to and generate “high” and
“low” sample rates. For example, if the 828mk3
global sample rate is set to 96 kHz, the word clock
input can resolve to a “low” rate of 48 kHz.
Similarly, when the 828mk3 is operating at 96 kHz,
MOTU Audio Setup lets you choose a word clock
output rate of 48 kHz.
Punch in/out
The quarter-inch Punch in/out jack accepts a
standard foot switch. When you push the foot
switch, the 828mk3 triggers a programmable
keystroke on the computer keyboard. For example,
with MOTU’s Digital Performer audio sequencer
software, the foot switch triggers the 3 key on the
numeric keypad, which toggles recording in
Digital Performer. Therefore, pressing the foot
switch is the same as pressing the 3 key. The
828mk3 Control Panel software lets you program
any keystroke you wish.
Hybrid FireWire/USB2 connectivity
FireWire has long been recognized as a reliable,
high-performance connectivity standard for
professional MOTU audio interfaces. Meanwhile,
high-speed USB2 has also developed into a widely
adopted standard for connecting peripheral
devices to personal computers.
To fully support both formats, your 828mk3
Hybrid audio interface is equipped with both
FireWire B (400 Mbit/sec) connectors and a
high-speed USB2 (480 Mbit/sec) connector, and
you can use either port to connect the 828mk3 to
your computer. This gives you maximum flexibility
and compatibility with today’s ever-expanding
universe of Mac and Windows computers.
THE 828MK3 FRONT PANEL
Mic/guitar inputs with preamps
The two mic/instrument inputs (front panel and
rear panel) are equipped with preamps and
“combo” XLR/TRS jacks, which accept XLR
microphone inputs or quarter-inch guitar/
instruments inputs. Individual 48 volt phantom
power and a 20 dB pad can be supplied
independently to each mic input. The Precision
Digital Trim™ knobs on the front panel for each
mic/instrument input provide up to 53 dB of boost
in precise 1 dB increments.
As explained in “Mic/guitar sends” on page 11, the
pre-amplified signal can be routed to external
outboard gear before being routed back into the
828mk3.
Mic/guitar input overload protection
Both mic/guitar inputs are equipped with
V-Limit™, a hardware limiter that helps prevent
digital clipping from overloaded input signals.
With V-Limit enabled, signals can go above zero
dB (with limiting applied) to as high as +12 dB
above zero with no distortion due to digital
clipping.
Additional or alternative protection can be applied
to the mic/guitar inputs by enabling the 828mk3’s
Soft Clip feature, which engages just before
clipping occurs and helps reduce perceptible
distortion.
Headphone output and main volume control
The 828mk3 front panel provides two independent
headphone jacks with independent volume knobs,
one of which also controls the XLR main outs on
the rear panel. Alternately, this MASTER VOL
knob can be programmed to control any
combination of outputs (analog or digital). For
example, it can control monitor output for an
entire 5.1 or 7.1 surround mix.
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ABOUT THE 828MK3
!828mk3 Hyb Manual/Mac Page 13 Wednesday, March 23, 2011 5:33 PM
Programmable backlit LCD display
Any 828mk3 setting, including the powerful
CueMix FX on-board 16-bus mixer with effects,
can be accessed directly from the front panel using
the four rotary encoders and the 2x16 backlit LCD
display.
Metering section
The front panel of the 828mk3 displays several
banks of input and output metering. The threshold
for these lights is approximately -42 dB. The fourand five-segment input meters provide dedicated
multi-segment metering for their respective inputs,
as do the five-segment main out meters.
Two ten-segment meters for the two front-panel
mic/guitar inputs show input levels from -42 to -1
in the first column of LEDs, plus an additional
range in a second column from zero to +12 dB
(including clip). Both inputs are equipped with VLimit™, a hardware limiter. With the limiter turned
off, signals that hit zero or above will clip (a hard
digital clip). However, with V-Limit turned on,
signals can go as high as +12 dB above zero with no
digital clipping. If the signal then goes above +12
dB, it will clip, even with V-Limit engaged.
The Clock lights indicate the global sample rate (as
chosen in the MOTU Audio Setup software). The
LOCK and TACH LEDs provide feedback for the
828mk3’s on-board SMPTE synchronization
features. The ADAT and MIDI LEDs indicate audio
and MIDI activity, respectively.
16-BIT AND 24-BIT RECORDING
The 828mk3 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 828mk3’s
analog or digital inputs and outputs. 24-bit audio
files can be recorded with any compatible host
application that supports 24-bit recording.
CUEMIX FX 32-BIT FLOATING POINT
MIXING AND EFFECTS
All 828mk3 inputs and outputs can be routed to the
on-board CueMix FX 16-bus (8 stereo) digital
mixer driven by hardware-based DSP with 32-bit
floating point precision. The mixer allows you to
apply no-latency effects processing to inputs,
outputs or busses directly in the 828mk3 hardware,
independent of the computer. Effects can even be
applied when the 828mk3 is operating stand-alone
(without a computer) as a complete rack-mounted
mixer. Input signals to the computer can be
recorded wet, dry, or dry with a wet monitor mix
(for musicians during recording, for example).
Effects include reverb, parametric EQ and
compression/limiting. The 828mk3’s Classic
Reverb™ provides five different room types, three
frequency bands with adjustable crossover points,
shelf filtering and reverb lengths up to 60-seconds.
Two forms of compression are supplied: a standard
compressor with conventional threshold/ratio/
attack/release/gain controls and the Leveler™, an
accurate model of the legendary LA-2A optical
compressor, which provides vintage, musical
automatic gain control.
CueMix FX also provides 7-band parametric EQ
modeled after British analog console EQs,
featuring 4 filter styles (gain/Q profiles) to
effectively cover a wide range of audio material.
Low-pass and high-pass filters are also supplied
with slopes that range from 6 to 36 dB. The EQ
employs extremely high precision 64-bit floating
point processing.
The 838mk3’s flexible effects architecture allows
you to apply EQ and compression on every input
and output (a total of 58 channels), with enough
DSP resources for at least one band of parametric
EQ and compression on every channel at 48 kHz.
However, DSP resources are allocated dynamically
and a DSP meter in the CueMix FX software
13
ABOUT THE 828MK3
!828mk3 Hyb Manual/Mac Page 14 Wednesday, March 23, 2011 5:33 PM
(included) allows you to keep tabs on the 828mk3’s
processing resources. Each input, output and mix
bus provides a send to the Classic Reverb
processor, which then feeds reverb returns to mix
busses and outputs, with a selectable split point
between them to prevent send/return feedback
loops.
AUDIODESK
AudioDesk is a full-featured, 24-bit audio
workstation software package included with the
828mk3 system (for Mac OS X 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 828mk3 system is fully integrated with
MOTU’s award-winning Digital Performer audio
sequencer software package.
OTHER HOST AUDIO SOFTWARE
The 828mk3 system includes a standard Mac OS X
CoreAudio driver for multichannel I/O with any
audio application that supports CoreAudio.
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ABOUT THE 828MK3
!828mk3 Hyb Manual/Mac Page 15 Wednesday, March 23, 2011 5:33 PM
CHAPTER 2
Packing List and
System Requirements
PACKING LIST
PLEASE REGISTER TODAY!
The 828mk3 Hybrid ships with the items listed
below. If any of these items are not present in your
828mk3 box when you first open it, please
immediately contact your dealer or MOTU.
Please register your 828mk3 today. There are two
ways to register.
■
One 828mk3 Hybrid I/O rack unit
■
One 9-pin to 9-pin IEEE 1394 “FireWire” B cable
■
Power cord
■
One 828mk3 Hybrid Mac/Windows manual
■
One cross-platform installer disc
■
Product registration card
MAC SYSTEM REQUIREMENTS
The 828mk3 system requires the following Mac
system:
■ PowerPC G4 CPU 1 GHz or faster (including
PowerPC G5 CPUs and all Intel processor Macs)
■
1 GB RAM; 2 GB or more recommended
■ Mac OS X version 10.5 or 10.6; v10.5.8 or later
required
■
Available FireWire or USB2 port
■
A large hard drive (preferably at least 100 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!
15
!828mk3 Hyb Manual/Mac Page 16 Wednesday, March 23, 2011 5:33 PM
16
PACKING LIST AND SYSTEM REQUIREMENTS
!828mk3 Hyb Manual/Mac Page 17 Wednesday, March 23, 2011 5:33 PM
CHAPTER 3
Installing the 828mk3 Hardware
OVERVIEW
Here’s an overview for installing the 828mk3:
Connect the 828mk3 interface. . . . . . . . . . . . . . . . . . . . . . . 17
Connect the 828mk3 to the computer.
Connect audio inputs and outputs . . . . . . . . . . . . . . . . . . 19
Make optical and analog connections as desired.
Connect MIDI gear. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Connect a controller, synth or control surface.
Connect a foot switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Connect a footswitch to trigger any keystroke.
A typical 828mk3 setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
An example setup for computer-based mixing/FX.
Operating the 828mk3 as a converter . . . . . . . . . . . . . . . 25
An example of using the 828mk3 as an expander.
Making sync connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
If you need to resolve the 828mk3 with other
devices, make the necessary sync connections.
Syncing to SMPTE timecode . . . . . . . . . . . . . . . . . . . . . . . . .
Syncing S/PDIF devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Syncing word clock devices. . . . . . . . . . . . . . . . . . . . . . . . . .
Connecting multiple MOTU FireWire interfaces . . . . .
27
28
29
29
CONNECT THE 828MK3 INTERFACE
Your 828mk3 Hybrid audio interface is equipped
with both FireWire B connectors (400 Mbit/sec)
and a high-speed USB2 connector (480 Mbit/sec),
and you can use either port to connect the 828mk3
to your computer. This gives you maximum
flexibility and compatibility with today’s everexpanding universe of Mac and Windows
computers.
Type B FireWire ports
The 828mk3 Hybrid has two FireWire Type B
ports, which provide the most reliable FireWire
connection available. The ports operate at 400
Mbit/s, and they can be connected to any available
FireWire port on your computer, either Type A or
Type B. If your computer has FireWire Type B
ports, use the included 9-pin-to-9-pin FireWire
cable. If your computer has either standard Type A
ports or miniature Type A ports, use the
appropriate 9-pin-to-6-pin or 9-pin-to-4-pin
FireWire cable (sold separately).
Should I use FireWire or USB 2.0?
If your computer does not have a FireWire port,
then obviously you will need to connect the
828mk3 Hybrid to one of its high-speed USB 2.0
ports.
If your computer has both FireWire and USB2,
then it is your choice, and your decision may
depend mostly on other peripherals you may have.
If you are connecting via FireWire
1 Before you begin, make sure your computer and
the 828mk3 are switched off.
2 Plug one end of the 828mk3 FireWire cable
(included) into the FireWire socket on the
computer.
☛
You can also connect the 828mk3 to a 400Mbit
“FireWire A” port using a 9-pin to 6-pin FireWire B
cable (not included). The 828mk3 will still operate
at its specified 400Mbit (FireWire A) data rate.
3 Plug the other end of the FireWire cable into the
828mk3 as shown below in Figure 3-1.
17
!828mk3 Hyb Manual/Mac Page 18 Wednesday, March 23, 2011 5:33 PM
Follow these instructions to determine whether
your computer supports USB 1.1 or USB 2.0:
1 In the Apple menu, choose About this Mac.
2 Click the More Info button to open System
Profiler.
3 In the Contents pane, select USB.
4 Look at the devices in the USB Device Tree. A
device named USB High-Speed Bus represents a
USB 2.0 root hub. A device named USB Bus
represents a USB 1.1 root hub.
If you are connecting via high-speed USB 2.0
1 Before you begin, make sure your computer and
the 828mk3 are switched off.
Figure 3-1: Connecting the 828mk3 to the computer via FireWire.
☛
Make absolute sure to align the notched side
of the FireWire plug properly with the notched side
of the FireWire socket on the 828mk3. If you
attempt to force the plug into the socket the wrong
way, you can damage the 828mk3.
2 Plug the flat “type A” plug of the 828mk3 USB
cable (included) into a USB2-equipped socket on
the computer as shown below in Figure 3-2.
3 Plug the squared “type B” plug of the USB cable
into the 828mk3 I/O as shown below in Figure 3-2.
High Speed USB 2.0 versus USB 1.1
There are primarily two types of USB host
controllers widely available on current personal
computers. USB 1.1 controllers support simple
peripherals that don’t require a high speed
connection, such as a computer keyboard, a
mouse, or a printer. USB 2.0 controllers support
high speed devices such as the 828mk3. Since the
828mk3 requires a high speed connection, it must
be connected to a USB 2.0 host controller or hub.
For the most reliable connection, it is
recommended that you connect the 828mk3
directly to one of your computer’s USB 2.0compatible ports. However, since USB 2.0 hubs are
compatible with both types of devices, the 828mk3
can be connected to a USB 2.0 hub along with USB
1.1 devices if necessary. The 828mk3 will not
operate properly if it is connected to a USB 1.1 hub.
Figure 3-2: Connecting the 828mk3 to the computer via USB.
18
INSTALLING THE 828MK3 HARDWARE
!828mk3 Hyb Manual/Mac Page 19 Wednesday, March 23, 2011 5:33 PM
CONNECT AUDIO INPUTS AND OUTPUTS
The 828mk3 audio interface has the following
audio input and output connectors:
■
8 balanced, +4 dB quarter-inch analog outputs
■
8 balanced +4 dB quarter-inch analog inputs
■
2 mic/guitar combo jack inputs with preamps
■
2 quarter-inch sends for the mic/guitar inputs
■
2 XLR main outs
■ 2 pair of optical in/out switchable between
ADAT (“Lightpipe”) or optical S/PDIF (TOSLink)
■
1 pair of RCA S/PDIF in and out
Here are a few things you should keep in mind as
you are making these connections to other devices.
Phantom power
If you are connecting a condenser microphone or
other device that requires phantom power, push
and hold the corresponding front-panel Trim
rotary encoder for a few seconds to toggle phantom
power. The red LED below will turn on or off
accordingly.
Trim
Both the low-impedance XLR mic input and the
high-impedance quarter-inch guitar input are
equipped with 53 dB of digitally controlled analog
trim. Use the detented trim knobs next to each jack
to adjust the input level as needed for each input.
The LCD provides visual feedback as you turn the
trim knob.
Mic/guitar inputs with preamps
Connect a microphone, guitar, instrument or other
analog input to the front panel XLR/quarter-inch
combo jack with either a standard mic cable or a
balanced cable with a quarter-inch plug.
Figure 3-5: The LCD gives you feedback as you turn the TRIM knobs for
the two mic/guitar inputs.
Figure 3-4: Mic/guitar inputs.
☛
Do not connect a +4 (line level) XLR cable to
the front-panel inputs (because of the preamps).
Use a rear-panel quarter-inch input instead.
The 828mk3’s input trims are digitally controlled,
so they allow you to make fine-tuned adjustments
in 1dB increments. You can also adjust trim in the
MOTU CueMix FX software. See “Input trim” on
page 80.
20 dB pad
The mic input (XLR jack) is equipped with a 20 dB
pad, so “hot” signals are best connected via an XLR
cable so that you can use the pad. To toggle the
Figure 3-3: 828mk3 front panel
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INSTALLING THE 828MK3 HARDWARE
!828mk3 Hyb Manual/Mac Page 20 Wednesday, March 23, 2011 5:33 PM
20 dB pad for a mic input, quickly push its TRIM
rotary encoder. The green LED below will turn on
or off accordingly.
Since the pad is not available on the TRS jack, hot
signals connected via the TRS jack will probably
overdrive the input.
Combo jack summary
Use these general guidelines for the 48V phantom
power, pad and trim settings on the two combo
input jacks:
Input
48V
Pad
Trim
Condenser mic
On
As needed
As needed
Dynamic mic
Off
As needed
As needed
Guitar
Off
n/a
As needed
-10 dB Line level via TRS
Off
n/a
As needed
-10 dB Line level via XLR
Off
-20 dB
+12dB
+4 dB line level (XLR only)
Off
-20 dB
Zero
CueMix FX software to adjust the input trim. To
adjust these trims using CueMix FX, see “Input
trim” on page 80. To adjust the trims using the
front panel LCD:
1 Push the CHANNEL knob repeatedly until you
see “I:” (which stands for Input) in the CHANNEL
section of the LCD (Figure 3-7).
2 Turn the CHANNEL KNOB until you see the
desired analog input or input pair. For example,
analog inputs 1-2 appear as “I:An 1-2”
(Figure 3-7), which means Input analog 1-2.
3 From the factory, analog inputs are grouped in
stereo pairs (1-2, 3-4, etc.) If you need to split a pair
to deal with it as two individual mono inputs, turn
the PARAMETER knob until you see PAIR in the
parameter section of the LCD (Figure 3-7). Turn
the VALUE knob to choose MONO. Then turn the
CHANNEL knob again to select the desired input
you are adjusting.
Quarter-inch analog
The eight quarter-inch analog inputs and outputs
(Figure 3-6) are balanced (TRS) connectors that
can also accept an unbalanced plug.
The quarter-inch outputs are calibrated to produce
a +4 dBu line level output signal.
Quarter-inch analog input trims
The quarter-inch inputs are calibrated to
accommodate either +4 or -10 dBu signals and are
equipped with digitally controlled analog trims
that provide +22 dB of gain and -96 dB of cut. You
can use either the front panel LCD or the included
Figure 3-7: The settings for analog inputs 1 and 2 (as a pair).
4 After splitting the stereo pair, if necessary, turn
the PARAM knob until you see the TRIM
parameter in the LCD (Figure 3-8):
Figure 3-6: 828mk3 back panel
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PDIF). For example, you could connect 8-channel
ADAT optical input from your digital mixer and
stereo TOSLink output to an effects processor.
The 828mk3 supplies +12dB of digital trim (boost)
for each optical input, which can be adjusted from
CueMix FX (“Input trim” on page 80) or the front
panel (“The IN (inputs) menu” on page 47).
Figure 3-8: Setting the input trim for a TRS analog input pair.
5 Turn the VALUE knob to adjust the trim.
Mic/guitar/instrument sends
Each front-panel XLR/TRS input has a
corresponding send on the rear panel (Figure 3-6).
The output from this send is the pre-amplified and
calibrated signal from the corresponding mic or
guitar input, which you can then route to any other
device, such as compressor, guitar amp, outboard
EQ, reverb unit, etc. Use any 828mk3 input (analog
or digital) as a return back into the 828mk3. From
there, you will be able to route the signal anywhere
in the system, such as to the computer and/or to
any CueMix FX mix bus.
XLR main outs
The XLR main outputs serve as independent
outputs. From the factory, the main out volume is
controlled by the MASTER VOL knob on the front
panel, although this knob can be programmed to
control any combination of outputs. For details, see
“The Monitor Group” on page 96. 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 828mk3 rear panel provides two sets of ADAT
optical (“lightpipe”) connectors: Bank A and B
(Figure 3-6). Each bank provides an input and
output connector. All four connectors can operate
independently and offer two different optical
formats: ADAT optical or TOSLink (optical S/
Below is a summary of optical formats:
Format
44.1 or 48 kHz
88.2 or 96 kHz
ADAT optical
8 channels
4 channels
TOSLink
stereo
stereo
Optical operation at 44.1 or 48 kHz
When configured for ADAT “lightpipe”, an optical
connector provides 8 channels at 44.1 and 48 kHz.
ADAT optical operation at 88.2 or 96 kHz
When configured for ADAT “lightpipe”, an optical
connector provides four channels at 88.2 or 96 kHz
(2x sample rates). When using the ADAT lightpipe
format at a 2x rate, be sure to choose either Type I
or Type II operation, as explained in “ADAT SMUX
Type” on page 46.
Using optical I/O to operate the 828mk3 as a
16-channel expander
When the 828mk3 is not connected directly to a
computer via FireWire, the sixteen optical output
channels can be programmed (via the CueMix FX
mixer) to mirror the incoming signal on any
combination of the 828mk3’s inputs. By
connecting the 828mk3 optical outputs to another
device, such as another ADAT-optical equipped
interface or a digital mixer, you add up to sixteen
additional inputs to your system (or eight inputs at
the 2x sample rates).
To learn how to program the 828mk3 when it is
operating as a stand-alone expander in this
fashion, see chapter 6, “Front Panel Operation”
(page 43).
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Choosing a clock source for optical connections
When connecting an optical device, make sure that
its digital audio clock is phase-locked (in sync
with) the 828mk3, as explained in “Making sync
connections” on page 26. There are two ways to do
this:
1. Resolve the optical device to the 828mk3
2. Resolve the 828mk3 to the optical device
For 1), choose Internal (or any other clock source
except ADAT optical) as the clock source for the
828mk3 in MOTU Audio Setup.
For 2), choose either ADAT Optical A or ADAT
Optical B as the 828mk3’s clock source
(Figure 3-9). Be sure to choose the optical port that
the device is connected to.
For details about using the clock source setting and
the MOTU Audio Setup software in general, see
chapter 5, “MOTU Audio Setup” (page 37).
Using word clock to resolve optical devices
If the optical device you are connecting to the
828mk3 has word clock connectors on it, you can
use them to resolve the device to the 828mk3,
similar to the diagram shown in Figure 3-18 on
page 28 for S/PDIF devices with word clock. Also
see “Syncing word clock devices” on page 29.
S/PDIF
If you make a S/PDIF digital audio connection to
another device, be sure to review the digital audio
clocking issues, as explained in “Syncing S/PDIF
devices” on page 28.
The 828mk3 supplies +12dB of digital trim (boost)
for the S/PDIF input pair, which can be adjusted
from CueMix FX (“Input trim” on page 80) or the
front panel (“The IN (inputs) menu” on page 47).
Figure 3-9: Resolving the 828mk3 to an optical device.
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CONNECT MIDI GEAR
Connect your MIDI device’s MIDI IN jack to the
828mk3’s MIDI OUT jack (Connection A below).
Conversely, connect the MIDI device’s MIDI OUT
jack to the 8238mkII’s MIDI IN jack (Connection
B).
828mk3
rear panel
MIDI
OUT
MIDI
cables
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 828mk3 to the MIDI IN
on the additional device as shown below in
Figure 3-11. The two devices then share the
828mk3’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.
MIDI
IN
Connection A
MIDI Device
MIDI MIDI
IN OUT
828mk3
rear panel
Connection B
MIDI
OUT
MIDI Device
MIDI
IN
MIDI
THRU
Figure 3-10: Connecting a MIDI device to the 828mk3.
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 3-10. 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.
MIDI
cable
MIDI IN
Figure 3-11: Connecting additional devices with MIDI THRU ports.
CONNECT A FOOT SWITCH
If you would like to use a foot switch with your
828mk3, connect it to the PUNCH IN/OUT jack.
See “Quick Reference: MOTU Audio Setup” on
page 7 for information about how to program the
foot switch to trigger any computer keystroke you
wish.
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A TYPICAL 828MK3 SETUP
headphone outs, or any other output pair. You can
control monitoring either from the front panel or
from the included CueMix FX software. The two
front-panel guitar/mic inputs can be routed to
outboard effects processors, such as a compressor,
EQ or reverb, via the rear panel sends.
Here is a typical 828mk3 studio setup. This rig can
be operated without an external mixer. All mixing
and processing can be done in the computer with
audio software. During recording, you can use the
828mk3’s CueMix FX no-latency monitoring to
listen to what you are recording via the main outs,
headphones
headphones
mic
guitar
828mk3
front panel
monitors
foot
switch
MOTU 8pre and/or
other optical devices
sends to
FX unit
(in rack
below)
8-channel
ADAT optical
other outputs (stage
monitors, surround
monitors, etc.)
828mk3
back panel
to send returns
send
returns
S/PDIF
MIDI IN/OUT
quarter-inch
analog outs
Compressor, reverb or
other outboard gear
DAT deck
synthesizer
FireWire or USB
quarter-inch analog outs
Mac
synths, samplers, effects units, etc.
Figure 3-12: A typical 828mk3 studio setup.
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OPERATING THE 828mk3 AS A CONVERTER
As explained earlier in “Using optical I/O to
operate the 828mk3 as a 16-channel expander” on
page 21, the 828mk3 can serve as a multi-channel
analog-to-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 828mk3
optical output to the optical input on another
MOTU audio interface, such as a Traveler, 896mk3
or even another 828mk3. The 828mk3 then serves
as a multi-channel expander that adds additional
mic, analog TRS and digital inputs to the interface.
The benefit of connecting the 828mk3 in this
manner (instead of as another FireWire interface)
is that you can seamlessly integrate the 828mk3’s
inputs into the on-board no-latency CueMix
monitor mixing in the interface, since the 828mk3’s
inputs are fed into CueMix via the interface’s
optical inputs.
If the device to which you are connecting the
828mk3 supports 2x optical sample rates (88.2 or
96 kHz), you can also use both banks of connectors
as discussed in “ADAT optical operation at 88.2 or
96 kHz” on page 21.
Mac
FireWire or USB
Base
828mk3
ADAT optical In
ADAT optical Out
Expander
828mk3
Figure 3-13: Using the 828mk3 as an optical expander. In this example, it is connected to another 828mk3.
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MAKING SYNC CONNECTIONS
If you connect devices digitally to the 828mk3, or if
you need to synchronize the 828mk3 with an
outside time reference such as SMPTE timecode,
you must pay careful attention to the synchronization connections and clock source issues
discussed in the next few sections.
Do you need to synchronize the 828mk3?
If you will be using only the 828mk3’s analog
inputs and outputs (and none of its digital I/O),
and you have no plans to synchronize your 828mk3
system to SMPTE timecode, you don’t need to
make any sync connections. You can skip this
section and proceed to chapter 4, “Installing the
828mk3 Software” (page 33). After you install the
828mk3 software, you’ll open MOTU Audio Setup
to confirm that the Clock Source setting is Internal
as shown below. For details, see chapter 5, “MOTU
Audio Setup” (page 37).
Synchronization is critical for clean digital I/O
Synchronization is critical in any audio system, but
it is especially important when you are transferring
audio between digital audio devices. Your success
in using the 828mk3’s digital I/O features depends
almost entirely on proper synchronization. The
following sections guide you through several
recommended scenarios.
Be sure to choose a digital audio clock master
When you transfer digital audio between two
devices, their audio clocks must be in phase with
one another — or phase-locked. Otherwise, you’ll
hear clicks, pops, and distortion in the audio — or
perhaps no audio at all.
Not phase-locked
Phase-locked
Device A
Device B
Figure 3-15: When transferring audio, two devices must have phaselocked audio clocks to prevent clicks, pops or other artifacts.
There are two ways to achieve phase lock: slave one
device to the other, or slave both devices to a third
master clock. If you have three or more digital
audio devices, you need to slave them all to a single
master audio clock.
Figure 3-14: You can run the 828mk3 under its own internal clock
when it has no digital audio connections and you are not synchronizing the 828mk3 system to an external time reference such as
timecode.
Situations that require synchronization
There are three general cases in which you will
need to resolve the 828mk3 with other devices:
■ Synchronizing the 828mk3 with other digital
audio devices so that their digital audio clocks are
phase-locked (as shown in Figure 3-15)
■ Resolving the 828mk3 system to SMPTE
timecode from a video deck, analog multi-track,
etc.
■
Both of the above
Master
Slave
Master
Slave
Slave
Figure 3-16: To keep the 828mk3 phased-locked with other digital
audio devices connected to it, choose a clock master.
Also remember that audio phase lock can be
achieved independently of timecode (location).
For example, one device can be the timecode
master while another is the audio clock master. But
only one device can be the audio clock master. If
you set things up with this rule in mind, you’ll have
trouble-free audio transfers with the 828mk3.
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SYNCING TO SMPTE TIMECODE
Use this setup if you have:
The 828mk3 system can resolve directly to SMPTE
timecode. It can also generate timecode and word
clock, under its own clock or while slaving to
timecode. Therefore, the 828mk3 can act both as
an audio interface and as a digital audio
synchronizer to which you can slave other digital
audio devices. You can use the 828mk3 to slave
your audio software to SMPTE as well, via sampleaccurate sync (if your host software supports it) or
via MIDI Time Code (if your host software
supports it).
✓ A SMPTE timecode source, such as a multitrack tape deck.
First, choose SMPTE as the clock source in AudioDesk, Digital
Performer, or MOTU Audio Setup. This setting can also be
made in the MOTU SMPTE Setup (shown below).
✓ An 828mk3 by itself, OR with another slaved device (such as a
digital mixer).
✓ Host software that supports sample-accurate sync (such as
Digital Performer) or MIDI Time Code (such as Pro Tools).
This setup provides:
✓ Continuous sync to SMPTE timecode.
✓ Sub-frame timing accuracy.
✓ Transport control from the SMPTE timecode source.
In AudioDesk or Digital Performer:
1. Choose Receive Sync from the Setup menu.
2. Choose the Sample-accurate option. (If this
option is grayed out, choose SMPTE as the
clock source setting first, as shown above.)
3. Make sure that Slave to External Sync mode
is enabled.
In Pro Tools:
SMPTE
time code
source
1. Choose Peripherals from the Setup menu.
2. Click the Synchronization tab and choose the 828mk3 Sync Port from the MTC Reader Port menu.
When lockup is
achieved, the
LOCK/TACH
light glows.
Audio cable bearing LTC
(longitudinal timecode)
SMPTE IN
quarter-inch jack
828mk3 interface
SMPTE Word
out
Out
Audio
cable
FireWire or USB cable
BNC
cable
Other digital audio device
slaved to the 828mk3
Mac running AudioDesk,
Digital Performer or other sampleaccurate software, or host software
that supports MIDI Time Code sync
(such as Pro Tools or Logic).
Launch the MOTU SMPTE Setup to specify the timecode frame
rate and amount of freewheel. Also, confirm that the Clock
Source/Address is SMPTE/SMPTE. For details about the other
settings, see chapter 11,“MOTU SMPTE Setup” (page 119).
Figure 3-17: Connections for synchronizing the 828mk3 directly to SMPTE timecode.
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SYNCING S/PDIF DEVICES
S/PDIF devices will sync to the 828mk3 in one of
two ways:
■
Via the S/PDIF connection itself
■
Via word clock
S/PDIF devices with no word clock
If your S/PDIF device has no word clock sync
connectors, just connect it to the 828mk3 via the
S/PDIF connectors. When the device records
S/PDIF audio (from the 828mk3), it will simply
synchronize to the clock provided by the audio
input.
828mk3
S/PDIF
On the other hand, when you transfer audio from
the S/PDIF device into the 828mk3, you’ll have to
slave the 828mk3 to its S/PDIF input. If you have
other digital audio devices connected to the
828mk3, and they are not slaved directly to the
828mk3 itself, you may hear clicks and pops
resulting from their unsynchronized audio clock. If
so, just turn them off during the transfer.
S/PDIF devices with word clock
If your S/PDIF device has a Word Clock input, slave
the S/PDIF device to the 828mk3 via their word
clock connection. You can then freely transfer
audio between the 828mk3 and the S/PDIF device.
828mk3
Clock Source setting =
Internal (when transferring from the
828mk3 to the S/PDIF device)
828mk3
Clock Source setting =
S/PDIF (when transferring from
the S/PDIF device to the 828mk3)
S/PDIF
DAT deck
or other S/PDIF device
828mk3
Clock Source setting = Internal
828mk3
Word Clock Out
SPDIF
Word Clock In
SPDIF
DAT deck
or other SPDIF device
With this setup, in the MOTU Audio Setup window, choose Internal, or any other
clock source setting except SPDIF. The DAT deck (or other SPDIF device) slaves to the
828mk3 via word clock for SPDIF transfers in both directions.
Figure 3-18: Two setups for synchronizing an S/PDIF device with the 828mk3. In the top diagram, sync is achieved via the S/PDIF connection
itself. In this case, you have to choose S/PDIF as the 828mk3’s clock source when recording from the S/PDIF device. If you don’t want to have to
worry about switching the Clock Source setting depending on the direction of the S/PDIF transfer, you can slave the S/PDIF device to word clock
from the 828mk3 or vice versa (not shown). The Word Clock connection maintains sync, regardless of the direction of the transfer.
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SYNCING WORD CLOCK DEVICES
The 828mk3 word clock connectors allow you to
synchronize it with a wide variety of other word
clock-equipped devices.
For standard word clock sync, you need to choose
an audio clock master (as explained in “Be sure to
choose a digital audio clock master” on page 26).
In the simplest case, you have two devices and one
is the word clock master and the other is the slave
as shown below in Figure 3-19 and Figure 3-20.
828mk3
Master
Word clock OUT
Word clock IN
Other device
Slave
Figure 3-19: Slaving another digital audio device to the 828mk3 via
word clock. For the 828mk3 clock source, choose any source besides
word clock, as it is not advisable to chain word clock.
Word clock OUT
Word clock IN
Slave
Remember, the word clock signal must be one of
the following:
■
the same as the 828mk3 clock
■
half of the 828mk3 clock
Forcing a 1x word out rate
The 828mk3 can generate a word clock output
signal that either matches the current system clock
rate (any rate between 44.1 and 192kHz) or the
corresponding 1x rate. For example, if the 828mk3
is operating at 192kHz, you can choose to generate
a word out rate of 48kHz. For details on how to
make this word clock output setting, see “Word
Out” on page 42.
CONNECTING MULTIPLE MOTU FIREWIRE
INTERFACES
MOTU Digital Timepiece universal synchronizer
Audio
clock
Master
828mk3 could be running at 96 kHz while slaving
to a 48 kHz word clock signal. Similarly, the
828mk3 could run at 88.2 kHz and slave to
44.1 kHz word clock.
828mk3
You can daisy-chain multiple MOTU FireWire
interfaces on a single FireWire bus, with the
restrictions described in the following sections.
Most computers have only one built-in FireWire
bus (even if it supplies multiple FireWire sockets).
Connect them as follows:
Figure 3-20: Slaving the 828mk3 to word clock. For the 828mk3 clock
source, choose ‘Word Clock In’.
Don’t chain word clock
If you have three or more digital audio devices that
you need to synchronize, avoid chaining their word
clock connections (OUT to IN, OUT to IN, etc.), as
this causes problems. Instead, use a dedicated
synchronizer like the Digital Timepiece or a word
clock distribution device of some kind.
Slaving to 2x and 1/2x word clock
All MOTU FireWire audio interfaces that support
96 kHz operation have the ability to slave to a word
clock signal running at either one half or one
quarter of their current clock rate. For example, the
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Mac
Figure 3-22: To view the settings for an interface, click its tab.
FireWire
FireWire
FireWire
Word Clock Out
For two
interfaces,
slave one to
the other.
FireWire
Word Clock In
FireWire
Word Clock Out
FireWire
Word Clock In
FireWire
Word Clock Out
FireWire
Word Clock In
You can probably
get away with
daisy-chaining
three interfaces,
although a word
clock distribution device is
recommended.
This is risky. A
word clock distribution device is
highly recommended.
Figure 3-21: Connecting multiple 828mk3 interfaces (or other MOTU
FireWire audio interfaces) to a computer.
Multiple interfaces cannot be bus-powered
Do not run the Traveler, UltraLite or other buspowered interfaces under bus power when
connecting them with other devices on the same
FireWire bus.
Multiple interfaces in MOTU Audio Setup
MOTU Audio Setup displays the settings for one
interface at a time. To view the settings for an
interface, click its tab as shown below in
Figure 3-22.
Synchronizing multiple interfaces
Mac OS X provides an advanced, flexible driver
model that allows multiple Core Audio drivers to
be active at one time, accessed by multiple
applications simultaneously. For example, you can
run both FireWire and PCI audio interfaces at the
same time, accessing all of their inputs and outputs
from your host audio application — or even
multiple applications — simultaneously.
A by-product of this more flexible model is that
multiple devices must be synchronized to one
another in order to remain resolved to each
another. Without synchronization, the audio
streams going to each interface might drift with
respect to one another. For example, the audio
tracks playing back through the 828mk3 might
drift out of sync with the audio tracks playing back
through your 2408mk3 PCI interface.
Synchronizing them to each other ensures that they
remain as tightly and continuously phase-locked as
if they were one unified interface.
There are two ways to synchronize the 828mk3
with other devices, as discussed in the following
sections: via the driver or via word clock.
Resolving to other Core audio drivers
The MOTU FireWire driver has the ability to
resolve to other Core Audio drivers. This allows the
828mk3, and other MOTU FireWire interfaces, to
resolve to other audio interfaces running simultaneously on the same computer, such as the Mac’s
built-in audio, a PCI-424 core system, or even
3rd-party interfaces, without the need for external
word clock connections between the devices.
Doing so ensures that audio tracks being played or
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recorded by your MOTU FireWire interface will
not drift apart from tracks on the other device
during long playback or recording passes.
To synchronize multiple devices via the MOTU
FireWire driver, choose one device (PCI, FireWire
or otherwise) as the master clock and then slave the
828mk3 and other FireWire devices to it. All
interfaces will remain resolved to each other via the
master interface.
Make the Clock Source settings for each interface
as follows:
For the master interface, click its tab in the
FireWire Console and choose any clock source you
wish (except any of the slave interfaces, of course).
■
■ For each slave interface, click its tab and choose
the master interface from the Clock Source menu, as
demonstrated below in Figure 3-23. This causes
the slave interfaces to resolve to the master
interface.
Resolving to word clock
To resolve two 828mk3 FireWire interfaces with
each other via word clock, choose one as the word
clock master and then slave the second interface to
the first, as shown in Figure 3-21 on page 30. For
three interfaces, you can probably get away with
daisy-chaining them via their word clock
connectors, but this may not always produce the
most reliable results. For three or more devices, a
word clock distribution device is highly
recommended. In this case, the distribution box is
the master, and all FireWire interfaces slave directly
to it (instead of to each other).
Connecting other MOTU FireWire interfaces
You can add an original MOTU 828 to the end of a
FireWire daisy chain (because the 828 has only one
FireWire port), or you can mix and match multiple
828’s with other MOTU FireWire interfaces using a
standard FireWire hub. You can also add 828mkIIs,
896HDs, Travelers and UltraLites, which have two
FireWire ports convenient for daisy-chaining.
Operating multiple FireWire interfaces at high
sample rates
Four MOTU FireWire interfaces can operate at
44.1 or 48kHz on a single FireWire bus, although
you may have to disable optical banks to conserve
FireWire bus bandwidth. At the 2x samples rates
(88.2 or 96kHz) and 4x sample rates (176.4 and
192kHz), you can operate no more than two
FireWire interfaces on a single FireWire bus.
Figure 3-23: To resolve a MOTU FireWire interface to another Core
Audio device, choose the other device from the Clock Source menu in
the MOTU FireWire Audio Console. In this example, the Traveler will
slave to the 828mk3.
If you have multiple 828mk3s, choose one as the
master, and set its Clock Source to Internal. Then,
click the tab of the other 828mk3s and set their
Clock Source to the first 828mk3.
Adding additional interfaces with a second
FireWire bus
Third-party FireWire bus expansion products in
the form of a cardbus (“PC card”) adapter or PCI
card allow you to add a second FireWire bus to
your computer. In may be possible to add
additional MOTU FireWire interfaces connected
to such a third-party product, depending on their
performance with your host computer.
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CHAPTER 4
Installing the 828mk3 Software
OVERVIEW
Software installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MOTU SMPTE Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
AudioDesk workstation software . . . . . . . . . . . . . . . . . . . .
33
35
35
35
SOFTWARE INSTALLATION
Install the 828mk3 Hybrid 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 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 the MOTU Audio Setup, CueMix FX,
and several other applications, summarized in the
following table:
The 828mk3 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
828mk3 to establish audio input and output with
any Mac OS X CoreAudio-compatible software.
Once the 828mk3’s CoreAudio driver has been
successfully installed (by the installer), and you
have chosen it for use in your host audio software,
the 828mk3 will appear as a choice for audio inputs
and outputs in your software.
All MOTU audio hardware, including our PCI
systems and other FireWire and USB interfaces,
ships 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 828mk3 multi-channel audio input
and output with all Mac OS X audio software
“The 828mk3 CoreAudio
driver” on page 33
MOTU MIDI driver.kext
/System/Library/
Extensions
Provides 828mk3 MIDI input and output for
all Mac OS X MIDI software
“CoreMIDI and Audio
MIDI Setup” on page 34
MOTU MIDI driver.plugin
/System/Library/
Audio/MIDI Drivers
Provides 828mk3 MIDI input and output for
all Mac OS X MIDI software
“CoreMIDI and Audio
MIDI Setup” on page 34
MOTU Audio Setup
Applications folder
Provides access to all of the settings in the
828mk3 and other MOTU interfaces.
Required for 828mk3 operation.
chapter 5, “MOTU Audio
Setup” (page 37)
CueMix FX
Applications folder
Gives you complete control over the 828mk3’s
CueMix FX on-board mixer, which provides
no-latency monitoring, mixing and processing of live inputs through your 828mk3.
chapter 10, “CueMix FX”
(page 73)
MOTU SMPTE Setup
Applications folder
Provides access to the 828mk3 system’s
SMPTE time code sync features.
chapter 11, “MOTU SMPTE
Setup” (page 119)
AudioDesk
Applications/MOTU
AudioDesk
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
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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
828mk3 FireWire interface and all CoreMIDI
compatible software.
Audio MIDI Setup is a utility included with
Mac OS X that allows you to configure your
828mk3 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 828mk3 interface is connected
and turned on.
Figure 4-1: The 828mk3 interface as it appears in the MIDI tab of
Audio MIDI Setup.
Connecting MIDI devices to the 828mk3
Once your 828mk3 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 828mk3 is present in the MIDI
Devices tab of Audio MIDI Setup.
If the 828mk3 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 828mk3 that match its physical
connection.
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CUEMIX FX
This program provides a mixing console that gives
you control over the 828mk3’s on-board mixing
and effects processing. For details, see chapter 10,
“CueMix FX” (page 73).
MOTU SMPTE SETUP
Figure 4-3: Connecting devices to the 828mk3. In this example, a
controller keyboard is connected to the 828mk3’s MIDI IN, and a
sound module is connected to the 828mk3 MIDI OUT.
3 Double-click the device to make settings, such
as input and output channels, that further describe
the device.
The MOTU SMPTE Setup software provides a
complete set of tools to resolve the 828mk3 to
SMPTE time code, and to generate SMPTE for
striping, regenerating or slaving other devices to
the computer. For details, see chapter 11, “MOTU
SMPTE Setup” (page 119).
AUDIODESK WORKSTATION SOFTWARE
AudioDesk is an advanced workstation software
package for the 828mk3 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, 24-bit
recording, and much more.
See the AudioDesk manual included with your
828mk3 system for details.
Figure 4-4: Device settings.
4 Repeat the above steps for each MIDI device
connected to the interface.
5 When you are finished, quit Audio MIDI Setup.
Figure 4-5: AudioDesk for Mac OS X.
Your configuration is automatically saved as the
default configuration, and it is shared with all
CoreMIDI-compatible software.
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CHAPTER 5
MOTU Audio Setup
OVERVIEW
ACCESSING THE 828MK3 SETTINGS
MOTU Audio Setup gives you access to basic
828mk3 hardware settings, such as sample rate,
clock source, optical format and more.
There are several ways to access MOTU Audio
Setup settings:
■
Accessing the 828mk3 settings . . . . . . . . . . . . . . . . . . . . . . 37
‘828mk3 Hybrid ’ Tab Settings . . . . . . . . . . . . . . . . . . . . . . . 38
Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Default Stereo Input/Output. . . . . . . . . . . . . . . . . . . . . . . . . 40
Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Optical input/output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Main Outs Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Return Assign. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Word Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
‘General’ Tab settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Launch MOTU Audio Setup when hardware becomes
available . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Edit Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Enable Pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Click the MOTU Audio Setup icon in the dock
■ Right-click on the MOTU Audio Setup dock
icon to open the menu shown below.
■ 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 or Nuendo, open the Device Setup
window, click VST Audio System and choose
MOTU 828mk3 Hybrid from the ASIO Driver
menu. Then click the MOTU 828mk3 Hybrid item
in the list and click the Control Panel button.
■ From the front panel LCD as explained in
chapter 6, “Front Panel Operation” (page 43).
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828mk3 Hybrid tab settings
The 828mk3 Hybrid tab (Figure 5-1) provides
settings that apply to a specific 828mk3 interface. If
you have several 828mk3 (or other MOTU)
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.
‘828MK3 HYBRID ’ TAB SETTINGS
Sample Rate
Choose the desired Sample Rate for recording and
playback. The 828mk3 can operate at 44.1 (the
standard rate for compact disc audio), 48, 88.2, 96,
176.4 or 192 kHz. Make sure that all of the devices
connected digitally to the 828mk3 match the
828mk3’s sample rate. Also make sure that your
Digital Timepiece, MIDI Timepiece AV or other
digital audio synchronizer matches it as well. At the
4x sample rates (176.4 or 192kHz), all digital I/O
on the 828mk3 is disabled.
☛
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.
Operation at 4x sample rates (176.4 or 192kHz)
At the 4x sample rates (176.4 or 192kHz),
operation of the 828mk3 is restricted, due to the
higher audio bandwidth demands, as follows:
■ All digital I/O is disabled (there is no ADAT
optical, TOSLink or S/PDIF input/output).
■ The 828mk3 provides 8 channels of analog input
and 8 channels of analog output, simultaneously.
Figure 5-1: MOTU Audio Setup gives you access to all of the settings in the 828mk3 hardware.
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■ The stereo return bus, as described in “Return
Assign” on page 41, can only be assigned to one of
the four available analog output pairs.
The headphone output can only be assigned to
one of the four available analog output pairs.
■
■ The Main Outs can only be assigned to one of
the four available analog output pairs.
Clock Source
The Clock Source determines the digital audio
clock that the 828mk3 will use as its time base. For
a complete explanation of synchronization issues,
see “Making sync connections” on page 26. The
following sections briefly discuss each clock source
setting.
Internal
Use the Internal setting when you want the 828mk3
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.
Another example is transferring a mix to DAT. You
can operate the 828mk3 system on its internal
clock, and then slave the DAT deck to the 828mk3
via the S/PDIF connection (usually DAT decks
slave to their S/DIF input when you choose the
S/PDIF input as their record source) or via the
828mk3’s word clock output (if your DAT deck has
a word clock input).
If you would like help determining if this is the
proper clock setting for your situation, see
“Making sync connections” on page 26.
Word Clock In
The Word Clock In setting refers to the Word Clock
In BNC connector on the 828mk3 rear panel.
Choosing this setting allows the 828mk3 to slave to
an external word clock source, such as the word
clock output from a digital mixer or another
828mk3.
S/PDIF
The S/PDIF clock source setting refers to the
S/PDIF RCA input jack on the 828mk3. This
setting allows the 828mk3 to slave to another
S/PDIF device.
Use this setting whenever you are recording input
from a DAT deck or other S/PDIF device into the
828mk3. It is not necessary in the opposite
direction (when you are transferring from the
828mk3 to the DAT machine).
For further details about this setting, see “Syncing
S/PDIF devices” on page 28.
ADAT Optical A / B
The ADAT optical clock source settings (ADAT
Optical A and ADAT Optical B) refer to the clock
provided by the 828mk3’s two optical inputs, when
either one is connected to another optical device.
These two settings only appear in the Clock Source
menu when their corresponding optical bank input
is enabled and set to the ADAT Optical format, as
explained in “Optical input/output” on page 41.
This setting can be used to resolve the 828mk3
directly to the optical input connection. Most of
the time, you can set up a better operating scenario
that uses one of the other synchronization options.
However, there may be occasions when you have an
optical device that has no way of synchronizing
digitally to the 828mk3 or an external
synchronizer. In this case, the ADAT Optical clock
source setting lets you slave the 828mk3 to the
device itself via its digital input to the 828mk3.
This setting is also useful if you just need to make a
simple, click-free digital transfer between the
828mk3 and another device — where a time code
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reference and shared transport control are not
needed — without having to set up an elaborate
synchronization scenario.
For further details, see “Choosing a clock source
for optical connections” on page 22.
TOSLink A / B
The TOSLink clock source settings (TOSLink A and
TOSLink B) refer to the clock provided by the
828mk3’s two optical inputs, when either one is
connected to another optical device. These two
settings only appear in the Clock Source menu
with their corresponding optical bank input is
enabled and set to the TOSLink format, as
explained in “Optical input/output” on page 41.
The TOSLink clock source setting refers to the
clock provided an optical S/PDIF device connected
to the 828mk3’s optical input. This setting can be
used to slave the 828mk3 directly to the optical
input connection. Most of the time, you can set up
a better operating scenario that uses one of the
other synchronization options. However, there
may be occasions when you have an TOSLinkcompatible device that has no way of
synchronizing digitally to the 828mk3 or an
external synchronizer such as the Digital
Timepiece. In this case, the TOSLink clock source
setting lets you slave the 828mk3 to the other
device via the 828mk3’s optical input.
SMPTE
Choose this setting to resolve the 828mk3 directly
to SMPTE time code (LTC) being received via the
828mk3’s quarter-inch SMPTE input jack. For
details, see “Syncing to SMPTE timecode” on
page 27 and chapter 11, “MOTU SMPTE Setup”
(page 119).
Built-in Audio
Choose this setting to resolve the 828mk3 to your
Mac’s built-in audio. Doing so will ensure that
audio streams playing back from or recorded by
the 828mk3 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 828mk3 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
828mk3 for your Mac 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.
This setting is also useful if you just need to make a
simple, click-free digital transfer between the
828mk3 and another device — where a time code
reference and shared transport control are not
needed — without having to set up an elaborate
synchronization scenario.
For further details, see “Choosing a clock source
for optical connections” on page 22.
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Optical input/output
The Optical input and Optical output settings let
you choose between ADAT optical (‘lightpipe’) and
S/PDIF optical (‘TOSLink’) as the format for the
828mk3’s two banks of optical input and output
(Bank A and Bank B). Choose the format that
matches the device connected. If you are not using
the optical connections, it is recommended that
you turn them off (by choosing Disabled from the
menu) to reduce bandwidth and processing
overhead. Note that you can operate each optical
port independently. For example, you could use the
ADAT optical format on the Bank A input (with a
digital mixer, for example) and optical S/PDIF on
the Bank A output (with a DAT deck, for example).
Main Outs Assign
Choose Main Outs from the Main Outs Assign
menu to treat the Main Outs as their own
independent output pair. Choose any other output
pair to cause the Main Outs to mirror (duplicate)
the output pair you choose.
Figure 5-2: The Mac OS X sound preferences let you use the 828mk3
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 38) let you specify the stereo input and output
on the 828mk3 to be used when it is chosen as the
audio I/O device in the system preferences.
Phones
The Phones setting lets you choose what you will
hear from the headphone jack. Choose Main Outs
if you’d like the headphone output to match the
Main Outs. Choose Phones 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 eight on-board
CueMix FX mix busses.
Return Assign
The Return Assign menu lets you choose any pair of
828mk3 audio outputs. The audio signal from this
output pair is then sent back to the computer via
the Stereo Return 1-2 bus. This stereo return bus
from the 828mk3 appears in your host software
alongside all other 828mk3 inputs, wherever your
host software lists them.
The 828mk3 stereo return bus can be used for a
variety of purposes. For example, you could use it
to send a final mix being played through the
828mk3 back to the computer, where you could
record it for mastering or archiving purposes.
As another example, you could use the stereo
return bus to capture tracks played from your host
software, along with live inputs being routed
directly through the 828mk3 hardware via CueMix
FX (with or without CueMix effects processing on
the live inputs).
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Word Out
The Word Out menu appears when the 828mk3 is
operating at a 2x sample rate (88.2 or 96kHz) or 4x
sample rate (176.4 or 192kHz). This menu lets you
set the word clock output either to match the
current sample rate (System Clock) or force it to the
corresponding 1x rate (either 44.1 or 48kHz). For
example, if the 828mk3 were operating at
176.4kHz, choosing the Force 44.1/48kHz option
would produce word clock output at 44.1kHz.
‘GENERAL’ TAB SETTINGS
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 828mk3
inputs and outputs, as they appear in your host
audio software. For example, when you click on a
menu that displays the 828mk3 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.)
☛
Not all Mac OS X audio software supports
channel names. If not, you’ll see generic port
names in your host audio software.
Figure 5-3: The Edit Channel Names window.
Figure 5-4: 828mk3 channel names as they appear in Digital
Performer’s Bundles window.
Enable Pedal
Check the Enable Pedal option if a foot switch is
connected to the 828mk3 and you would like to
trigger recording punch in/out (or other software
functions) with it. Use the Set buttons to determine
what keystroke is triggered by the pedal-up and
pedal-down positions. You can assign the pedal to
any two keystrokes you wish. (You are not
restricted to punch in/out.)
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CHAPTER 6
Front Panel Operation
OVERVIEW
The 828mk3 Hybrid offers complete front-panel
programming via six rotary encoders and a 2x16
backlit LCD display. All 828mk3 settings can be
accessed via these front-panel controls.
Mic/guitar inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Master vol and (MAIN) phone jack . . . . . . . . . . . . . . . . . . .
Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Meters and status LEDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Push-button rotary encoders . . . . . . . . . . . . . . . . . . . . . . . .
Multi-function LCD display . . . . . . . . . . . . . . . . . . . . . . . . . .
828mk3 SETUP menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Audio menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CueMix menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Inputs menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Outputs menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mixes menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Reverb menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Stand-alone operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
43
43
44
44
45
45
46
46
47
50
50
51
51
51
MIC/GUITAR INPUTS
The 828mk3 front panel mic/guitar inputs are
equipped with many features to handle a wide
variety of recording situations.
For information about connections and settings,
see “Mic/guitar inputs with preamps” on page 19
in the installation chapter.
For information about the many settings available
for the mic/guitar inputs, see:
■
“The Inputs tab” on page 79
■
“The channel settings section” on page 83
■
“The Channel tab” on page 83
■
“The EQ tab” on page 85
■
“The Dynamics tab” on page 92
MASTER VOL AND (MAIN) PHONE JACK
The phone jack labeled (MAIN) (Figure 6-1) is a
standard quarter-inch stereo headphone jack. Its
output is hard-wired to mirror the XLR main outs
on the rear panel. From the factory, the MASTER
VOL knob above it controls the main outs and this
jack, but MASTER VOL can be programmed to
control any combination of outputs. See “The
Monitor Group” on page 96 for details. Push the
knob once to view the current volume setting in the
LCD display; push it again to mute the monitor
group; push a third time to return to the previous
volume. Note that if the Monitor Group is
programmed to not include the main outs, the
MASTER VOL knob will no longer control the
volume of the phone jack, either.
Figure 6-1: The 828mk3 front panel mic/guitar inputs and phone jacks.
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PHONES
METERS AND STATUS LEDS
From the factory, the PHONES jack (Figure 6-1) is
a discrete output at 44.1/48 kHz, but it can mirror
any other output pair (digital or analog) or serve as
its own independent output. For example, at 88.2/
96 kHz, it defaults to mirroring the XLR main outs.
At 176.4/192 kHz, it defaults to mirroring analog
outputs 1-2.
The meters and LEDs (Figure 6-2) provide
complete status and metering information for all
828mk3 inputs and outputs.
As the primary phone jack, it has its own dedicated
volume knob.
As explained in the previous section, the LCD
provides detailed feedback as you turn the knob
(Figure 6-4). To view the current setting without
changing it, just push the knob (without turning
it).
If you would like the (MAIN) phone jack and the
PHONES jack to output the same signal, assign the
PHONES output to mirror the main outs. In this
configuration, both the MASTER VOL and the
PHONES volume knobs control the PHONES
volume.
Mic/guitar inputs meters with V-Limit™
compressor
The two ten-segment meters for the mic/guitar
inputs show input levels from -42 to -1 in the first
column of LEDs, plus an additional range in a
second column from zero to +12 dB (plus clip).
Both inputs are equipped with V-Limit™, a
hardware limiter. With the limiter turned off,
signals that hit zero or above will clip (a hard digital
clip). However, with V-Limit turned on, signals can
go as high as +12 dB above zero with no digital
clipping. If the signal then goes above +12 dB, it
will clip, even with V-Limit engaged. In either case,
the clip LED (above +12) will illuminate. For
further information about V-Limit, as well as
another feature called Soft Clip, see “Overload
protection (mic/guitar inputs only)” on page 84.
Analog
input
meters
S/PDIF
digital
input
meters
Analog output activity LEDs
S/PDIF
output
activity
LEDs
Mic/guitar
preamp
inputs with
V-Limit™
Main
out
meters
Time code
Lock/Tach
Sample
rate
Optical bank and
MIDI I/O activity
Figure 6-2: The 828mk3 front panel meters and LEDs.
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PUSH-BUTTON ROTARY ENCODERS
All of the knobs shown in Figure 6-3 are pushbutton digital rotary encoders. In many cases, you
can either push the knob or turn it to make a
setting or toggle the LCD display (depending on
the encoder and setting).
MULTI-FUNCTION LCD DISPLAY
The LCD provides access to the many 828mk3
settings, as well as visual feedback of the current
parameter being modified.
Parameter “zooming”
For many settings, the LCD temporarily “zooms
in” to display a long-throw meter and alphanumeric display to give you precise, real-time
feedback as you adjust the setting. For example, if
you change the headphone volume, the LCD will
display a level meter and gain reduction reading
that updates as you turn the volume knob. After a
brief time-out, the display returns to its previous
state before you turned the volume knob.
When viewing CueMix settings
in the LCD, push the CHANNEL
knob to cycle among four main
mixer menus: MIX, IN (inputs),
OUT (outputs) and REVERB.
Turn it to choose a channel.
Turn the PAGE knob to view settings for
each channel. Push it to jump to the
next section or back to the beginning.
Push the PARAM knob to cycle
among three global menus:
CueMix (mixer), AUDIO
(settings) and 828MK3 SETUP.
Figure 6-4: The LCD provides feedback as you adjust volume.
Three global menus
Push the PARAM knob to cycle the LCD among
three global menus, described in the rest of this
chapter:
■
828mk3 SETUP
■
AUDIO (settings)
■
CUEMIX (mixer)
The LCD is divided into four
sections that correspond to the
four knobs to the left.
Turn and/or push the
VALUE knob to adjust
the current setting.
Figure 6-3: The 828mk3 front panel controls.
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828MK3 SETUP MENU
To access the 828mk3 SETUP menu, push the
PARAM knob until you see 828mk3 SETUP
displayed in the LCD. This menu provides basic
features for managing the 828mk3 hardware. Turn
the PARAM knob to access each setting, explained
briefly below.
LCD Contrast
Turn the VALUE knob to adjust the LCD contrast.
Figure 6-5: In setup mode, the LCD displays a setup parameter in the
top row of the LCD and the current setting in the bottom row.
Save/Name Preset
An 828mk3 preset holds all current CueMix FX
mix settings (everything in the CUEMIX menu).
SETUP menu and AUDIO menu parameters are
not included. Turn the VALUE knob to move from
character to character in the preset name. Turn
PAGE to change the currently flashing letter. Once
you’ve named the preset, push VALUE to save it,
turn it again to choose the desired preset slot you
wish to save it to (1-16), and the push again to
confirm the save. To cancel the save operation at
any time by turning the PARAM knob.
Load Preset
Turn VALUE to choose the preset you wish to load
(1-16) and push VALUE to load it.
All Notes Off
The All Notes Off setting sends a MIDI All Notes Off
message, as well as a MIDI note-off message for
every note on every MIDI channel. This stops any
stuck notes that are currently playing. Push VALUE
to send the All Notes Off MIDI data.
Factory Defaults
Push VALUE to restore the 828mk3 hardware to its
factory default settings. Push VALUE again to
confirm, or turn PARAM to cancel.
AUDIO MENU
To access the AUDIO menu, push the PARAM
knob until you see AUDIO displayed in the LCD.
This menu provides basic settings such as sample
rate, clock source, optical bank format (ADAT
versus TOSLink), and so on. These settings have
corresponding settings in the MOTU Audio Setup
software, as shown below:
Audio menu item
Where to find more information
Clock Source*
“Clock Source” on page 39
Sample rate*
“Sample Rate” on page 38
Phones Assign
“Phones” on page 41
Main Out Assign
“Main Outs Assign” on page 41
Return Assign
“Return Assign” on page 41
Optical In/Out A/B*
“Optical input/output” on page 41
ADAT SMUX Type
See below. This menu item is only
available when the 828mk3 is operating at 88.2 or 96 kHz.
Word Clock Out
“Word Out” on page 42
* If the 828mk3 is currently connected to a computer, this setting
cannot be changed from the front-panel LCD. It must be changed in
MOTU Audio Setup instead. Or, you can disconnect the 828mk3 from
the computer to change the Clock Source from the front panel.
ADAT SMUX Type
When the 828mk3 is operating at either 88.2 or
96 kHz, the AUDIO menu includes an item called
ADAT SMUX Type.
This setting lets you configure the optical ports for
ADAT format operation at the 2x sample rates only
(88.2 or 96 kHz).
There are two choices:
■ Type I — for 2x optical connection to 3rd-party
SMUX-compatible hardware products
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■ Type II — for 2x optical connection to MOTU
products that are equipped with optical ports and
support 2x operation
Turn the VALUE knob to select an optical port and
push the knob to toggle between the Type I and
Type II setting.
CUEMIX MENU
To access the CUEMIX menu, push the PARAM
knob until you see CUEMIX displayed in the LCD.
This menu displays the settings for the 828mk3
CueMix FX mixer.
CueMix mixer basics
It is much easier to navigate the CUEMIX menu in
the LCD if you have a general understanding of the
CueMix FX mixer. We strongly recommend that
you review chapter 10, “CueMix FX” (page 73)
before learning the LCD, especially “CueMix FX
basic operation” on page 75.
The IN (inputs) menu
Push the CHANNEL button repeatedly until you
see “I:” in the channel section of the LCD
(Figure 6-6). This is similar to accessing the Inputs
tab in CueMix FX console (“The Inputs tab” on
page 79).
“ I: ” Indicates
the IN (inputs)
menu.
The current
channel.
“Pages” are groups of
channel settings, such
as one band of EQ.
Access individual parameters
here, such as the frequency
setting for a band of EQ.
Change the value of the
current parameter here
Figure 6-6: The IN (inputs) menu.
CUEMIX menu organization
Mixer settings are divided into four sub-menus,
which correspond to the Inputs, Mixes, Outputs
and Reverb tabs in the CueMix FX software:
■
IN (inputs)
■
OUT (outputs)
■
MIX (Mixes)
■
REVERB (reverb processor)
Navigating the four main menus
To access the four main menus above, push the
CHANNEL knob repeatedly. Then turn the
CHANNEL knob to select the desired channel or
mix.
Choosing a channel
Once you see the Inputs menu (Figure 6-6) in the
LCD, turn the CHANNEL knob to select the
desired input that you wish to edit. This is roughly
equivalent to specifying an input channel strip to
work with in the Inputs tab in CueMix FX software
(Figure 10-3 on page 79).
Choosing a setting to modify
Once you’ve selected an input channel, you can
access the various settings for that channel using
the PAGE knob and PARAMETER knobs.
Turn the PAGE knob to scroll through channel
settings such as individual bands of EQ, the
compressor, reverb sends, etc. Push the PAGE knob
to jump to the next “section” of parameters or to
jump back to the beginning of the list. This is
roughly the equivalent of moving through the
various channel controls in an individual input
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channel strip in CueMix FX (Figure 10-3 on
page 79), as well as the settings in the Channel tab
(Figure 10-8 on page 83).
“ O: ” Indicates
the OUT
(outputs) menu.
The current
channel.
Access individual parameters
here, such as the frequency
setting for a band of EQ.
Turn the PARAMETER knob to scroll through
individual parameters, such as the frequency for
the current band of EQ. This is roughly equivalent
to the parameters in the EQ tab (Figure 10-10 on
page 85), Dynamics tab (Figure 10-21 on page 92)
and Reverb tab (Figure 10-23 on page 95) in the
CueMix FX software.
Adjusting the value of a parameter
Turn the VALUE knob to adjust the value of the
current PARAMETER. Some parameters have
default values. If so, push the VALUE knob to cycle
through them.
Inactive items
If a menu item is inactive for some reason (perhaps
it doesn’t currently apply or it is disabled), it is
displayed in parentheses.
Copying and pasting
EQ, dynamics and Mix Assign settings allow you to
copy and paste settings between EQ bands and/or
channels. Push the VALUE knob to copy, scroll to
the other item and then push again to paste.
Summary of Inputs menu settings
For a summary of Inputs menu settings, see
“Inputs menu” on page 50.
The OUT (Outputs) menu
Push the CHANNEL button repeatedly until you
see “O:” in the channel section of the LCD
(Figure 6-7). This is similar to accessing the
Outputs tab in CueMix FX console (“The Outputs
tab” on page 81).
“Pages” are groups of
channel settings, such
as one band of EQ.
Change the value of the
current parameter here
Figure 6-7: The OUT (outputs) menu.
Choosing a channel
Once you see the Outputs menu (Figure 6-7) in the
LCD, turn the CHANNEL knob to select the
desired output that you wish to edit. This is roughly
equivalent to specifying an output channel strip to
work with in the Outputs tab in CueMix FX
software (Figure 10-6 on page 82).
Working with outputs in the LCD
Once you’ve selected an output channel, you can
access the various settings for that channel using
the PAGE knob and PARAMETER knobs. The
knobs function the same as described for inputs in
“Choosing a setting to modify” on page 47 and
“Adjusting the value of a parameter” on page 48.
Summary of Output menu settings
For a summary of Inputs menu settings, see
“Outputs menu” on page 50.
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The MIX (Mixes) menu
Push the CHANNEL button repeatedly until you
see “MIX 1” (or “MIX 2”, etc.) in the channel
section of the LCD (Figure 6-8). This is similar to
accessing the Mixes tab in CueMix FX console
(“The Mixes tab” on page 77).
The current
mix bus.
Access individual parameters
here, such as input channel
settings.
■ REVERB — these are the reverb send and return
controls for the bus master fader. Access them with
the PARAMETER knob.
Individual channels — once you scroll past
MASTER and REVERB, the PAGE knob then
scrolls through all available inputs for the mix bus.
Once you choose an input, access its channel
settings using the PARAM knob and VALUE knob.
■
Summary of Mix menu settings
For a summary of Mix menu settings, see “Mixes
menu” on page 51.
The REVERB menu
Push the CHANNEL button repeatedly until you
see “REVERB” in the channel section of the LCD
(Figure 6-9). This is similar to accessing the Reverb
tab in CueMix FX (“The Reverb tab” on page 95).
Here, choose master fader
settings, reverb settings, and
individual input channels.
Change the value of the
current parameter here
Figure 6-8: The MIX (Mixes) menu.
Choosing a mix bus
Once you see the MIX menu (Figure 6-8) in the
LCD, turn the CHANNEL knob to select the
desired mix that you wish to edit. This is roughly
equivalent to choosing a mix in the Mixes tab in
CueMix FX software (Figure 10-2 on page 77).
Working with mix busses in the LCD
Once you’ve selected a mix, you can access the
various settings for that mix using the PAGE knob
and PARAMETER knobs. The knobs function the
same as described for inputs in “Choosing a setting
to modify” on page 47 and “Adjusting the value of a
parameter” on page 48. The PAGE knob scrolls
through the following mix bus settings:
■ MASTER — these are master fader settings,
such as the master fader output assignment, master
mute on/off, and the master fader volume. Access
them with the PARAMETER knob.
☛
The REVERB processor is not available at
sample rates above 48 kHz. Therefore, when the
828mk3 is operating at 88.2 kHz or higher, the
REVER menu does not appear in the LCD.
Change the value of
the current parameter here.
Access individual
parameters here,
such as reverb time.
Figure 6-9: The REVERB menu.
Working with reverb settings in the LCD
Once you’ve selected the REVERB menu, you can
access all settings using the PARAMETER and
VALUE knobs. The PAGE knob is not needed and
is therefore disabled when editing reverb settings.
Summary of Reverb menu settings
For a summary of Reverb menu settings, see
“Reverb menu” on page 51.
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INPUTS MENU
OUTPUTS MENU
CHANNEL
PAGE
PARAM
CHANNEL
PAGE
PARAM
INPUTS
mic 1-2
Analog 1-2
Analog 3-4
etc.
INPUT
PAIR
PHASE
L-R/M-S (stereo or M/S)
SWAP
WIDTH
TRIM
LIMITER
Mic
LOOKAHEAD
only
SOFTCLIP
OUTPUTS
Main
Analog 1-2
Analog 3-4, etc.
EQ
(global)
ENABLE
COPY
PASTE
RESET
HPF
(High-pass)
ENABLE
SLOPE
FREQ
LF
(Low w/shelf)
ENABLE
TYPE
FREQ
GAIN
WIDTH
LMF
(Low-mid)
ENABLE
TYPE
FREQ
GAIN
WIDTH
EQ
(global)
ENABLE
COPY
PASTE
RESET
HPF
(High-pass)
ENABLE
SLOPE
FREQ
LF
(Low w/shelf)
ENABLE
TYPE
FREQ
GAIN
WIDTH
MF
(Mid)
LMF
(Low-mid)
ENABLE
TYPE
FREQ
GAIN
WIDTH
ENABLE
TYPE
FREQ
GAIN
WIDTH
HMF
(High-mid)
MF
(Mid)
ENABLE
TYPE
FREQ
GAIN
WIDTH
ENABLE
TYPE
FREQ
GAIN
WIDTH
HF
(High w/shelf)
HMF
(High-mid)
ENABLE
TYPE
FREQ
GAIN
WIDTH
ENABLE
TYPE
FREQ
GAIN
WIDTH
LPF
(Low-pass)
ENABLE
SLOPE
FREQ
HF
(High w/shelf)
ENABLE
TYPE
FREQ
GAIN
WIDTH
DYN
(Dynamics)
ENABLE
COPY
PASTE
RESET
LPF
(Low-pass)
ENABLE
SLOPE
FREQ
COMP
(Compressor)
DYN
(Dynamics)
ENABLE
COPY
PASTE
RESET
ENABLE
MODE
THRESH
RATIO
ATTACK
RELEASE
TRIM
LEVELER
ENABLE
MODE
REDUCE
MAKEUP
REVERB
SEND
SEND PAN
MASTER
MONITOR
TALKBACK
LSNBACK
COMP
(Compressor)
ENABLE
MODE
THRESH
RATIO
ATTACK
RELEASE
TRIM
LEVELER
ENABLE
MODE
REDUCE
MAKEUP
REVERB
SEND
SEND PAN (mono only)
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MIXES MENU
STAND-ALONE OPERATION
CHANNEL
PAGE
PARAM
MIXES
Mix 1
Mix 2
etc.
MASTER
ASSIGN
MUTE
FADER
COPY
PASTE
RESET
REVERB
SEND
RETURN
MIC 1
MIC 2
(if mono)
MUTE
SOLO
(BAL/WID) - n/a
PAN
FADER
MIC 1-2
(if stereo)
MUTE
SOLO
BAL/WID
WIDTH
FADER
ANALOG 1
ANALOG 2
etc.
(if mono)
MUTE
SOLO
(BAL/WID) - n/a
PAN
FADER
ANALOG 3-4
ANALOG 5-6
etc.
(if stereo)
MUTE
SOLO
BAL/WID
BAL
FADER
SPDIF
MUTE
SOLO
BAL/WID
BAL
FADER
ADAT A1-2
ADAT A3-4
etc.
MUTE
SOLO
BALD/WID
BAL
FADER
ADAT B1-2
ADAT B3-4
etc.
MUTE
SOLO
BALD/WID
BAL
FADER
All settings, including all mix settings and global
settings, are saved in the 828mk3’s memory, and
they remain in effect even when the 828mk3 is not
connected to a computer. This allows you to use the
828mk3 as a stand-alone 8-bus mixer. You can
make adjustments to any setting at any time from
the front panel.
REVERB MENU
CHANNEL
PAGE
PARAM
REVERB
---
ENABLE
TIME
PREDELAY
WIDTH
CUT Hz
CUT dB
ROOM
REFSIZE
REF LEV
LO %
MID %
HI %
LO XOVR
HI XOVR
SPLIT
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CHAPTER 7
Digital Performer and AudioDesk
OVERVIEW
SETTING UP YOUR SYSTEM
This chapter provides a brief overview of the basic
I/O and synchronization operations with the
828mk3 Hybrid hardware and Digital Performer
and AudioDesk.
As described in chapter 4, “Installing the 828mk3
Software” (page 33), the MOTU software installers
will properly install and update everything for you.
AudioDesk is included with your 828mk3 system.
For complete information about all of AudioDesk’s
powerful workstation features, refer to the
AudioDesk User Guide included with your 828mk3
system.
Digital Performer, MOTU’s state-of-the-art digital
audio workstation software, is available separately;
for details about upgrading from AudioDesk to
Digital Performer, talk to your authorized MOTU
dealer or visit MOTU.com.
Setting up your system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
828mk3 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Working with 828mk3 inputs and outputs . . . . . . . . . .
24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Processing live inputs with host plug-ins . . . . . . . . . . . .
Working with CueMix FX mixing and effects. . . . . . . . .
MIDI input and output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI sequencing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using a foot switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exchanging project files . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
53
53
55
55
56
56
56
56
56
57
57
If you are using a MIDI Timepiece AV or Digital
Timepiece for synchronization, be sure they are
present in Audio MIDI setup.
828MK3 SETTINGS
Choose the 828mk3 as your audio input output
device by choosing Configure Audio System>
Configure Hardware Driver from the Setup menu.
This window shows some of the 828mk3 settings,
such as sample rate and clock source, but to access
all of the 828mk3 settings, open MOTU Audio
Setup, as shown in Figure 5-1 on page 38.
For complete details about the 828mk3 settings, see
chapter 5, “MOTU Audio Setup” (page 37). The
following sections provide a brief explanation of
each 828mk3 setting for use with Digital Performer
and AudioDesk.
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Clock Source
This setting is very important because it
determines which audio clock the 828mk3 will
follow.
If you do not have any digital audio connections to
your 828mk3 (you are using the analog inputs and
outputs only), and you will not be slaving to
external SMPTE time code, choose Internal.
If you have digital audio devices connected to the
828mk3, or if you are not sure about the clock
source of your setup, be sure to read “Choosing a
clock source for optical connections” on page 22
and “Clock Source” on page 39.
If you are slaving to SMPTE time code via the
828mk3 itself, choose SMPTE and follow the
directions in “Syncing to SMPTE timecode” on
page 27.
Figure 7-1: Choose Setup menu> Configure Audio System> Configure
Hardware Driver to open the dialog shown above and access the
828mk3 Hybrid CoreAudio driver. To access the rest of the 828mk3
settings, open MOTU Audio Setup.
Sample rate
Choose the desired sample rate for the 828mk3
system and your project file. Newly recorded audio
in your project 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 their move
handles to indicate that they cannot be played.
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 Digital
Performer. For example, you might have MIDI
instruments, samplers, microphones, and so on
connected to the analog inputs of the 828mk3. If
so, you will often be mixing their live input with
audio material recorded in Digital Performer. See
chapter 9, “Reducing Monitoring Latency”
(page 67) for complete details.
Phones
This 828mk3 setting lets you choose what you’ll
hear from the headphone jack. For example, if you
choose Main Out 1-2, the headphones will
duplicate the main outs. Or you can choose any
other output pair. If you choose Phones 1-2, 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
audio output menus in Digital Performer and
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AudioDesk. When operating at high sample rates,
the phones must mirror one of the other output
pairs.
Optical input and output
To make an 828mk3’s optical inputs and/or outputs
available in Digital Performer and AudioDesk,
choose ADAT Optical or TOSLink from the optical
input and/or output menus. If you won’t be using
the optical connectors, turn them off.
Main Outs Assign
Use the Main Outs Assign setting to determine
what audio you will hear on the XLR main outs of
the 828mk3. If you would like to treat them as their
own separate output pair, choose Main Outs. Note
that when operating at 176.4 or 192 kHz, the main
outs must mirror one of the TRS analog output
pairs.
Return Assign
In the audio input menus and the Bundles window
in Digital Performer and AudioDesk, you’ll see an
828mk3 input called Return 1-2 (Figure 7-2). This
is a stereo feed from the 828mk3 that matches the
output of one of its output pairs. Use the Return
Assign menu in MOTU Audio Setup to choose
which output pair you would like to hear on this
return. This can be used, for example, to record
back a final stereo mix that includes effects
processing from the 828mk3 DSP (such as the
Leveler) for reference and archiving purposes.
☛
Warning: the Return inputs can cause
feedback loops! DO NOT assign this input to a
track that shares the same 828mk3 output pair as
the returns.
Reverb return
The 828mk3 also supplies a return that carries the
output of its reverb processor (Figure 7-2). This
return can be used for any purpose you wish.
WORKING WITH 828MK3 INPUTS AND
OUTPUTS
Once you’ve enabled the 828mk3 driver as
explained earlier in “828mk3 settings” on page 53,
828mk3 audio inputs and outputs will appear in
the audio input menus, audio output menus, and
Bundles window (Figure 7-2) in Digital Performer
and AudioDesk. If you don’t see the optical inputs
or outputs, check MOTU Audio Setup to make sure
they are turned on. If you don’t plan to use either
optical bank, turn them off to conserve computer
bandwidth.
Phones 1-2
If you’ve chosen to treat the 828mk3 headphones as
an independent output, you’ll see Phones 1-2 in
audio output menus in Digital Performer and
AudioDesk. Audio tracks assigned to this output
pair will be heard on the headphone jack only. For
further explanation, see “Phones” on page 41.
24-BIT OPERATION
Your 828mk3 hardware fully supports 24-bit
recording capabilities in Digital Performer and
AudioDesk, including both analog and digital 24bit recording. If you would like to record 24-bit
audio files, go to the Audio File pane of the
Preferences window and choose 24-bit recording
as the sample format. This setting is saved with the
project.
Figure 7-2: The stereo return and reverb return busses from the
828mk3 in the Bundles window.
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PROCESSING LIVE INPUTS WITH HOST
PLUG-INS
If you patch a live input (such as MIDI synthesizer)
through a plug-in effect in Digital Performer or
AudioDesk, you might hear a slight delay. There are
several ways to reduce this delay. For details, see
chapter 9, “Reducing Monitoring Latency”
(page 67).
If you’d like to do integrated MIDI sequencing,
your best bet is Digital Performer, which offers all
of the same features as AudioDesk, along with
powerful, state-of-the-art MIDI sequencing. For
details about upgrading from AudioDesk to Digital
Performer, talk to your authorized MOTU dealer
or visit MOTU.com.
SYNCHRONIZATION
WORKING WITH CUEMIX FX MIXING AND
EFFECTS
The 828mk3 provides powerful external mixing,
EQ, compression, and reverb, which you can
operate hand-in-hand with the complete mixing
environment of Digital Performer or AudioDesk.
For example, the 828mk3 can serve as a monitor
mixer routing channels to musicians, or it can
serve as an integrated extension of your Digital
Performer mixing environment. If you program an
828mk3 mixing and processing configuration that
goes hand in hand with your DP project, be sure to
use the file save features in CueMix FX to save the
828mk3 settings as a file in your DP project folder
for instant recall of all settings. See chapter 10,
“CueMix FX” (page 73) for complete details.
MIDI INPUT AND OUTPUT
Once you’ve followed the procedure for enabling
the 828mk3’s MIDI features as explained in
“Software installation” on page 33, the 828mk3
MIDI ports will appear as an input source and
output destination in MIDI I/O menus in Digital
Performer and AudioDesk.
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.
As you read through the following sections to
decide what form of synchronization you might
need with other devices in your studio, be sure to
consult “Making sync connections” on page 26 for
the proper hardware connections. Use the
synchronization diagrams to be clear about how
you will be synchronizing Digital Performer and
the 828mk3 to the other components of your
system.
Synchronizing digital audio connections
If you have devices connected to the 828mk3
digital inputs (optical or RCA S/PDIF), you need to
be concerned with the synchronization of the
828mk3’s digital audio clock with other devices
connected to it digitally (if any). For example, if
you have a digital mixer connected to the 828mk3
via an ADAT optical light pipe cable, you need to
make sure that their audio clocks are phase-locked.
For details, see “Choosing a clock source for optical
connections” on page 22 and “Making sync
connections” on page 26. If you don’t have any
digital audio devices connected to the 828mk3,
digital audio phase-lock does not apply to you.
Resolving directly to time code
If you need to slave the 828mk3 and Digital
Performer or AudioDesk to SMPTE time code, you
can do so with or without a dedicated
synchronizer.
To resolve your 828mk3 directly to SMPTE time
code with no additional synchronization devices,
use the setup shown in “Syncing to SMPTE
timecode” on page 27.
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USING A FOOT SWITCH
EXCHANGING PROJECT FILES
Use a foot switch connected to the 828mk3 to
trigger recording punch-in and punch-out, or any
other feature in Digital Performer or AudioDesk
that is assigned to a keyboard shortcut. By default,
the foot switch triggers the 3 key on the keyboard
number pad (which toggles the record button in
Digital Performer and AudioDesk.) To trigger a
different set of keystrokes with the foot switch, visit
the MOTU Audio Setup. (See “Enable Pedal” on
page 42.)
Digital Performer and AudioDesk can exchange
project files. To open an AudioDesk project in
Digital Performer, open it in same way you would a
DP project file — no conversion is required
beforehand in AudioDesk.
To open a Digital Performer project in AudioDesk,
use DP’s File menu > Save As command and choose
the “AudioDesk 2.0” as the project file format. Then
open the resulting AudioDesk 2.0 project file in
AudioDesk.
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CHAPTER 8
Other Mac OS X Audio Software
OVERVIEW
The 828mk3 Hybrid 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.
Installing the 828mk3 Mac OS X drivers . . . . . . . . . . . . .
Run MOTU Audio Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Choosing the MOTU Core Audio driver . . . . . . . . . . . . . .
Working with 828mk3 inputs and outputs . . . . . . . . . .
Audio input and output names . . . . . . . . . . . . . . . . . . . . . .
Number of channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI input and output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Processing live inputs with host plug-ins . . . . . . . . . . . .
Working with CueMix FX mixing and effects. . . . . . . . .
Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using a foot switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
59
59
60
63
63
65
65
65
65
65
66
66
INSTALLING THE 828MK3 MAC OS X
DRIVERS
To install the 828mk3’s Mac OS X audio and MIDI
drivers, just run the MOTU Audio installer as
detailed in chapter 4, “Installing the 828mk3
Software” (page 33).
RUN MOTU AUDIO SETUP
Before you run your host audio software, launch
MOTU Audio Setup to configure your 828mk3
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 host audio
software, so this is an important step. For complete
details see chapter 5, “MOTU Audio Setup”
(page 37).
Figure 8-1: MOTU Audio Setup.
For complete details about the 828mk3 settings, see
chapter 5, “MOTU Audio Setup” (page 37). The
following sections provide a brief explanation of
each 828mk3 setting for use with Logic and other
Mac OS X audio software.
Sample rate
Choose the desired overall sample rate for the
828mk3 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 828mk3 will
follow.
If you do not have any digital audio connections to
your 828mk3 (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.
If you have digital audio devices connected to the
828mk3, or if you are not sure about the clock
source of your setup, be sure to read “Making sync
connections” on page 26 and “Clock Source” on
page 39.
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If you are slaving the 828mk3 and your host
software to SMPTE time code, follow the
directions in “Syncing to SMPTE timecode” on
page 27.
Phones
This 828mk3 setting lets you choose what you’ll
hear from the headphone jack. For example, if you
choose Main Out 1-2, the headphones will
duplicate the main outs. Or you can choose any
other output pair. If you choose Phones 1-2, 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’s audio output menus. When operating at
high sample rates, the phones must mirror one of
the other output pairs.
Optical input and output
To make a 828mk3 optical input or output available
in your host software, choose the appropriate
format (ADAT optical or TOSLink) from the optical
input and/or output menu. If you won’t be using
the optical connectors, turn them off.
Main Outs Assign
Use the Main Outs Assign setting to determine
what audio you will hear on the XLR main outs of
the 828mk3. If you would like to treat them as their
own separate output pair, choose Main Outs. Note
that when operating at 176.4 or 192 kHz, the main
outs must mirror one of the TRS analog output
pairs.
Return Assign
In your host audio software audio input menus,
you’ll see an 828mk3 input called Return 1-2. This
is a stereo feed from the 828mk3 that matches the
signal of one of its output pairs. Use the Return
Assign menu in MOTU Audio Setup to choose
which output pair you would like to hear on this
return. This can be used, for example, to record
back a final stereo mix that includes effects
processing from the 828mk3 DSP (such as the
Leveler) for reference and archiving purposes.
☛
Warning: the Return inputs can cause
feedback loops! DO NOT assign this input to a
track that shares the same 828mk3 output pair as
the returns.
Reverb return
The 828mk3 also supplies a return to your host
software that carries the output of its reverb
processor. This return can be used for any purpose
you wish.
CHOOSING THE MOTU CORE AUDIO 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 828mk3 Hybrid
Core Audio driver. Check the audio system or
audio hardware configuration window in your
software. There will be a menu there that lets you
choose among various drivers that may be in your
system. Choose the MOTU 828mk3 from this
menu.
Pro Tools
In Avid Pro Tools, go to the Setup menu and
choose Playback Engine as shown in Figure 8-3.
Choose the MOTU 828mk3 Hybrid from the
Current Engine menu. For information about the
H/W Buffer Size setting, see “Adjusting the audio I/
O buffer” on page 69.
☛
Pro Tools 9 or later is required for operation
with the 828mk3 Hybrid.
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Soundtrack Pro
In Soundtrack Pro, access the preferences window,
click the Recording tab and choose MOTU 828mk3
Hybrid from the Input and Monitor menu as shown
below in Figure 8-4.
Figure 8-2: Enabling the 828mk3 Hybrid in Pro Tools
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 8-3. Choose the MOTU 828mk3 Hybrid
from the Driver menu. For information about the
I/O Buffer Size setting, see “Adjusting the audio I/O
buffer” on page 69.
Figure 8-4: Enabling the 828mk3 Hybrid in Soundtrack Pro.
Garage Band
In Garage Band, go to the Audio/MIDI preferences
and choose MOTU 828mk3 Hybrid from the Audio
Output and Audio Input menus as shown below in
Figure 8-5. For information about the Optimize for
setting, see “Adjusting the audio I/O buffer” on
page 69.
Figure 8-5: Enabling the 828mk3 Hybrid in Garage Band.
Figure 8-3: Enabling the 828mk3 Hybrid in Logic
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Cubase and Nuendo
In Cubase or Nuendo, go to the Devices menu and
choose Device Setup. Click the VST Audio System
item in the Devices list and choose MOTU 828mk3
Hybrid from the Master ASIO Driver menu as
shown below in Figure 8-6. 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 69.
Live
In Ableton Live, access the preferences window and
click the Audio tab. Choose CoreAudio from the
Driver Type menu. Choose the MOTU 828mk3
from the Input Audio Device and Output Audio
Device menus as shown below in Figure 8-7. For
information about the Buffer Size setting, see
“Adjusting the audio I/O buffer” on page 69.
Figure 8-6: Enabling the 828mk3 Hybrid audio driver in Cubase.
Figure 8-7: Enabling the 828mk3 Hybrid in Live.
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Reason and Record
In Propellerhead Reason or Record, go to the
Preferences window, choose Audio preferences
from the menu and choose MOTU 828mk3 Hybrid
from the Audio Output menu as shown below in
Figure 8-8. For information about the Buffer Size
setting, see “Adjusting the audio I/O buffer” on
page 69.
Other audio software
For other audio applications, the procedure is
similar to that shown above. Consult your owner’s
manual for further information.
WORKING WITH 828MK3 INPUTS AND
OUTPUTS
Once you’ve enabled the 828mk3’s Core Audio
driver, 828mk3 audio inputs and outputs will
appear in your host software wherever audio inputs
and outputs are listed. 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 either optical bank, turn it off to conserve
computer bandwidth.
AUDIO INPUT AND OUTPUT NAMES
The 828mk3 Core Audio driver supplies text string
labels for its inputs and outputs to clearly identify
each one, but some applications do not display
these labels.
Figure 8-8: Enabling the 828mk3 Hybrid in Reason and Record.
The following sections show how you can identify
each input and output in a numbered list like this.
Reaper
In Cockos Reaper, access the Preferences and click
Devices under the Audio preferences. Choose
MOTU 828mk3 Hybrid from the Audio Device
menu.
Figure 8-9: Enabling the 828mk3 Hybrid in Reaper.
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Inputs at 1x sample rates
Inputs are always listed in the same order as
follows, when operating the 828mk3 at 1x sample
rates (44.1 or 48 kHz):
Input
Channels
List position Comment
Mic-Guitar
2
1-2
-
Analog
8
3-10
-
Reverb
return
2
11-12
See “Reverb return”
on page 60.
Stereo
return
2
13-14
See “Return Assign”
on page 60.
SPDIF
2
15-16
-
Optical A
8 ADAT
2 TOSLink
17-24
17-18
-
Optical B
8 ADAT
2 TOSLink
25-32
19-20
These starting channel numbers assume
that optical A is
operating with the
same format.
Inputs at 2x sample rates
When operating the 828mk3 at a 2x sample rate
(88.2 or 96 kHz), inputs are listed as follows:
Inputs at 4x sample rates
When operating the 828mk3 at a 4x sample rate
(176.4 or 192 kHz), inputs are listed as follows:
Input
176.4 /192 kHz Channels
List position Comment
Mic-Guitar
2
1-2
-
Analog
8
3-10
-
Reverb
return
not
available
not
available
not
available
Stereo return
2
11-12
See “Return
Assign” on page 60.
SPDIF
not
available
not
available
not
available
Optical A
not
available
not
available
not
available
Optical B
not
available
not
available
not
available
Outputs at 1x sample rates
Outputs are always listed in the same order as
follows, when operating the 828mk3 at 1x sample
rates (44.1 or 48 kHz):
Output
44.1 / 48 kHz Channels
List
position Comment
Input
88.2 / 96 kHz Channels
List position Comment
Analog
8
1-8
-
Mic-Guitar
2
1-2
-
Main outs
2
9-10
Analog
8
3-10
-
Reverb
return
not
available
not
available
not
available
If the main outs are
assigned to mirror another
output pair (such as the
analog 1-2), they won’t be
listed separately.
Phones
2
11-12
Stereo
return
2
11-12
See “Return Assign”
on page 60.
SPDIF
2
13-14
-
If the phones are assigned
to mirror another output
pair (such as the main
outs), they won’t be listed
separately.
Optical A
4 ADAT
2 TOSLink
15-18
15-16
-
SPDIF
2
13-14
If the phones are mirroring, then subtract 2. If the
main outs are mirroring,
subtract another 2.
Optical B
4 ADAT
2 TOSLink
19-22
17-18
These starting channel numbers assume
that optical A is
operating with the
same format.
Optical A
8 ADAT
2 TOSLink
15-22
15-16
-
Optical B
8 ADAT
2 TOSLink
23-30
17-18
These channel number
ranges assume that optical
A is operating with the
same format.
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Outputs at 2x sample rates
When operating the 828mk3 at a 2x sample rate
(88.2 or 96 kHz), outputs are listed as follows:
Output
88.2/ 96 kHz Channels
List
position Comment
Analog
8
1-8
-
Main outs
2
9-10
If the main outs are
assigned to mirror
another output pair
(such as the analog
1-2), they won’t be
listed separately.
Phones
Mirror only
--
-
SPDIF
2
11-12
If the main outs are
mirroring, then subtract 2.
Optical A
4 ADAT
2 TOSLink
13-16
13-14
-
Optical B
4 ADAT
2 TOSLink
17-20
15-16
These channel number ranges assume
that optical A is operating with the same
format.
Outputs at 4x sample rates
When operating the 828mk3 at a 4x sample rate
(176.4 or 192 kHz), outputs are listed as follows:
Output
176.4/ 192 kHz Channels
List
position Comment
Analog
8
1-8
-
Main outs
Mirror only
--
-
Phones
Mirror only
--
-
SPDIF
Not available
--
-
Optical A
Not available
--
-
Optical B
Not available
--
-
NUMBER OF CHANNELS
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 28 inputs and 30 outputs provided by
your 828mk3 — although the number of channels
may depend on how your 828mk3 is configured.
MIDI INPUT AND OUTPUT
Once you’ve followed the procedure for enabling
the 828mk3’s MIDI features as explained in
“Software installation” on page 33, the 828mk3
MIDI ports will appear as an input source and
output destination in your host software’s MIDI I/
O menus.
PROCESSING LIVE INPUTS WITH HOST
PLUG-INS
If you patch a live input (such as a 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 9, “Reducing Monitoring Latency”
(page 67).
WORKING WITH CUEMIX FX MIXING AND
EFFECTS
The 828mk3 provides powerful external mixing,
EQ, compression and reverb, which you can
operate hand-in-hand with your host’s mixing
environment. For example, the 828mk3 can serve
as a monitor mixer routing channels to musicians,
or it can serve as an integrated extension of your
host’s mixing environment. If you program an
828mk3 mixing and processing configuration that
goes hand in hand with your host project, be sure
to use the file save features in CueMix FX to save
the 828mk3 settings as a file in your host project
folder for instant recall of all settings. See
chapter 10, “CueMix FX” (page 73) for complete
details.
SYNCHRONIZATION
As you read through the following sections to
decide what form of synchronization you might
need with other devices in your studio, be sure to
consult “Making sync connections” on page 26 for
the proper hardware connections. Use the
synchronization diagrams to be clear about how
you will be synchronizing your audio software and
the 828mk3 to the other components of your
system.
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Synchronizing digital audio connections
If you have devices connected to the 828mk3
digital inputs (optical or RCA S/PDIF), you need to
be concerned with the synchronization of the
828mk3’s digital audio clock with other devices
connected to it digitally (if any). For example, if
you have a digital mixer connected to the 828mk3
via an ADAT optical light pipe cable, you need to
make sure that their audio clocks are phase-locked.
For details, see “Choosing a clock source for optical
connections” on page 22 and “Making sync
connections” on page 26. If you don’t have any
digital audio devices connected to the 828mk3,
digital audio phase-lock does not apply to you.
Resolving directly to time code
If your host audio software supports Core Audio’s
sample-accurate positioning protocol, or if it can
slave to MIDI Time Code, then it can resolve to the
828mk3’s built-in time code synchronization
feature. To resolve your 828mk3 directly to SMPTE
time code with no additional synchronization
devices, use the setup shown in “Syncing to
SMPTE timecode” on page 27.
USING A FOOT SWITCH
Use a foot switch connected to the 828mk3 to
trigger recording punch-in and punch-out, or any
other feature in your host audio software that is
assigned to a computer keystroke. By default, the
foot switch triggers the 3 key on the computer
keypad. To trigger a different set of keystrokes with
the foot switch, visit MOTU Audio Setup. (See
“Enable Pedal” on page 42.)
24-BIT OPERATION
Your 828mk3 hardware fully supports 24-bit
recording capabilities in any audio software that
supports it. Simply enable 24-bit operation as
instructed by the software. The 828mk3 always
supplies the software a 24-bit data stream, and
when you enable 24-bit operation, it simply uses all
24-bits supplied by the 828mk3 hardware.
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CHAPTER 9
Reducing Monitoring Latency
OVERVIEW
Monitoring latency is that slight delay you hear
when you run an input signal through your host
audio software. For example, you might hear it
when you drive a live guitar input signal through
an amp modeling 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
828mk3 input, passes through the 828mk3
hardware into the computer, through your host
audio software, and then back out to an 828mk3
output.
Monitoring live input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Adjusting the audio I/O buffer . . . . . . . . . . . . . . . . . . . . . . . 69
Lower latency versus higher CPU overhead . . . . . . . . . . 70
Transport responsiveness . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Effects processing and automated mixing . . . . . . . . . . . 71
CueMix FX hardware monitoring. . . . . . . . . . . . . . . . . . . . . 71
Two methods for controlling CueMix FX . . . . . . . . . . . . . 71
Using CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Controlling CueMix FX from your audio software . . . . 71
If you don’t need to process a live input with
plug-ins, the easiest way to avoid monitoring
latency is to use the 828mk3’s CueMix FX digital
mixer to patch the input directly to your monitor
outs via the 828mk3 audio hardware. The 828mk3
even provides effects processing (EQ, compression
and reverb), which can be applied on input,
output, or even at the bussing stage, just like a
conventional mixer. For details, see “CueMix FX
hardware monitoring” on page 71.
If you do need to process a live input with host
software plug-ins, or if you are playing virtual
instruments live through your 828mk3 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.
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MONITORING LIVE INPUT
There are two ways to monitor live audio input
with an 828mk3: 1) through the computer or 2) via
the 82mk3 CueMix FX hardware mixer. Figure 9-1
shows method 1, which allows you to apply hostbased effects processing 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 9-2 shows how to use CueMix FX hardwarebased monitoring, which lets you hear what you are
recording with no monitoring delay and no
computer-based effects processing. Instead, input
is routed directly to an output, either with or
without 828mk3-based effects processing (EQ,
compression or reverb). See “CueMix FX hardware
monitoring” later in this chapter for details on how
to use CueMix FX with your audio software, or
with the included CueMix FX software.
If the material you are recording is suitable, there is
a third way to monitor live input: use both methods
(Figure 9-1 and Figure 9-2) at the same time. For
example, you could route guitar to both the
computer (for an amp model effect) and mix that
processed signal on the main outs with dry guitar
from CueMix FX — or perhaps with a touch of
828mk3 Classic Reverb.
1. Live input (from mic, guitar, etc.)
enters the MOTU interface.
3. Mic signal is
‘patched thru’ back to
the audio interface
with host-based
plug-in effects, if any.
2. Mic signal goes immediately to the computer.
Mac
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).
Figure 9-1: There are two ways to monitor live audio inputs with an 828mk3: 1) through the computer or 2) via CueMix FX 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.
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ADJUSTING THE AUDIO I/O BUFFER
A buffer is a small amount of computer memory
used to hold data. For audio interfaces like the
828mk3, 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 828mk3
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 9-3: 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.
2. CueMix FX immediately patches the
live mic signal directly to the main outs
(or other output), completely bypassing
the computer. This signal could be dry, or
with 828mk3 effects processing, such as
EQ, compression or Classic Reverb.
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 FX.
Figure 9-2: This diagram shows the signal flow when using CueMix FX no-latency monitoring. Notice that this method does not process the
live input with plug-ins in your audio software. Instead, you can apply 828mk3 effects, such as the reverb, EQ and/or compression.
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■ How responsive the transport controls are in
AudioDesk, Digital Performer or other audio
software
Figure 9-4: In Cubase or Nuendo, choose Devices menu > Device
Setup. Select MOTU 828mk3 Hybrid, then click the Control Panel
button to access the window above and the 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 9-6: 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.
Figure 9-5: 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
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).
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.
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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 FX HARDWARE MONITORING
The 828mk3 has a more direct method of patching
audio through the system. This method employs
the 828mk3’s CueMix FX digital mixer. When
enabled, CueMix activates hardware patch-thru in
the 828mk3 itself. CueMix FX 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 FX imposes no strain on the
computer.
The trade-off, however, is that CueMix FX
bypasses your host audio software. Instead, live
audio inputs are patched directly through to
outputs in the 828mk3 itself and are mixed with
audio playback from your host audio software.
This means that you cannot apply host-based
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 FX 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 FX. Instead,
reduce latency with the buffer setting (as explained
earlier in this chapter).
TWO METHODS FOR CONTROLLING
CUEMIX FX
There are two ways to control CueMix FX:
■
With CueMix FX
■ From within your host audio software (if it
supports direct hardware monitoring)
You can even use both methods simultaneously.
Using CueMix FX
If your host audio software does not support direct
hardware monitoring, you run the CueMix FX
software side-by-side with your audio software and
manage your monitor mix in CueMix FX.
CueMix FX allows you to create up to eight
separate 828mk3 stereo mixes, or any other desired
routing configurations. These routings are
independent of your host audio software. For
complete details, see chapter 10, “CueMix FX”
(page 73).
Controlling CueMix FX from your audio
software
Some audio applications allow you to control
CueMix FX monitoring from within the
application (without the need to use CueMix FX).
In most cases, this support consists of patching an
828mk3 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 FX:
■
Digital Performer
■
AudioDesk
CueMix FX routings that are made via host
applications are made “under the hood”, which
means that you won’t see them in CueMix FX.
However, CueMix FX connections made inside
your host audio software dovetail with any other
mixes you’ve set up in CueMix FX. For example, if
your host application routes audio to an output
pair that is already being used in CueMix FX for an
entirely separate mix bus, both audio streams will
simply be merged to the output.
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Controlling CueMix FX from within AudioDesk
or Digital Performer
To turn on CueMix FX 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 9-7.
3 From the Studio menu, choose Audio Patch
Thru, and choose any monitoring mode except Off.
Figure 9-7: Enabling CueMix FX in AudioDesk or Digital Performer.
Note: the ‘Only during recording...’ and ‘Always’ options are for
AudioDesk 2 and DP4 only. Later versions of DP have expanded input
monitoring features. Consult your documentation.
Once enabled, CueMix FX 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 FX in the 828mk3 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 optical channels 7-8,
CueMix FX no-latency hardware monitoring will
automatically be set up from analog in 2 to optical
outputs 7-8.
Controlling CueMix DSP from within other
software
Consult the manual for your software.
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CHAPTER 10
CueMix FX
OVERVIEW
CueMix FX is a cross-platform software
application that provides graphic, on-screen
control for the 828mk3 Hybrid’s flexible CueMix
FX on-board mixer and effects processing.
CueMix FX can be used independently of host
audio software, or together with it. CueMix
dovetails with the direct monitoring features of
your host audio software, allowing you to
seemlessly mix in both environments.
For information about programming the 828mk3’s
on-board mixing and effects using the front panel
LCD, see chapter 6, “Front Panel Operation”
(page 43).
A 16-bus mixer with EQ, compression and reverb . . . . 74
Advantages over host-based mixing and processing 74
CueMix FX installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
CueMix FX basic operation . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
The Mixes tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
The Inputs tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
The Outputs tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
The channel settings section . . . . . . . . . . . . . . . . . . . . . . . . . 83
The Monitor Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
DSP meter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Solo light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Talkback and listenback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
File menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Devices menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
FFT and Spectrogram display . . . . . . . . . . . . . . . . . . . . . . .100
Oscilloscope. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
X-Y Plot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109
Phase Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
Tuner. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116
Configurations menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116
Talkback menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Phones menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Control Surfaces menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
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A 16-BUS MIXER WITH EQ, COMPRESSION
AND REVERB
All 828mk3 inputs and outputs can be routed to the
on-board CueMix FX 16-bus (8 stereo bus) digital
mixer driven by hardware-based DSP with 32-bit
floating point precision.
The CueMix FX mixer allows you to apply nolatency effects processing to inputs, outputs or
busses directly in the 828mk3 hardware,
independent of the computer. Effects can even be
applied when the 828mk3 is operating stand-alone
(without a computer) as a complete rack-mounted
mixer. Input signals to the computer can be
recorded wet, dry, or dry with a wet monitor mix
(for musicians during recording, for example).
Effects include:
■
Classic Reverb with tail lengths up to 60 seconds
DSP resources for at least one band of parametric
EQ and compression on every channel at 48 kHz.
DSP resources are allocated dynamically and a
DSP meter in the CueMix FX software allows you
to keep tabs on the 828mk3’s processing resources.
Each input, output and mix bus provides a send to
the Classic Reverb processor, which then feeds
reverb returns to mix busses and outputs, with a
selectable split point between them to prevent
send/return feedback loops.
ADVANTAGES OVER HOST-BASED MIXING
AND PROCESSING
CueMix FX provides several major advantages over
mixing and processing in your host audio software:
■ CueMix has no buffer latency. Thanks to the
828mk3’s DSP chip, CueMix provides the same
throughput performance as a digital mixer.
■ 7-band parametric EQ modeled after British
analog console EQs
■ CueMix mixing and effects processing imposes
no processor drain on the computer’s CPU.
■ A standard compressor with conventional
threshold/ratio/attack/release/gain controls
■ CueMix routing can be maintained
independently of individual software applications
or projects.
■ The Leveler™, an accurate model of the
legendary LA-2A optical compressor, which
provides vintage, musical automatic gain control
The 838mk3’s flexible effects architecture allows
you to apply EQ and compression on every input
and output (a total of 58 channels), with enough
■ CueMix routing can operate without the
computer, allowing the 828mk3 to operate as a
portable, stand-alone mixer with effects.
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CUEMIX FX INSTALLATION
CueMix FX is installed with the rest of your
828mk3 software.
CUEMIX FX BASIC OPERATION
Here is a brief overview of the CueMix FX mixer.
Eight stereo mix busses
CueMix provides eight stereo mix busses: Bus 1,
Bus 2, Bus 3, and so on. Each mix bus can take any
number of inputs and mix them down to any
828mk3 output pair that you choose. For example,
Bus 1 could go to the headphones, Bus 2 could go to
the main outs, Bus 3 could go to a piece of outboard
gear connected to analog outputs 7-8, etc.
Channel
DSP
focus resources
meter
MIx bus
menu
Solo
light
Tabs for inputs,
mix busses and
outputs
828mk3
inputs
Many inputs to one output pair
It might be useful to think of each mix bus as some
number of inputs all mixed down to a stereo output
pair. CueMix FX lets you choose which inputs to
include in the mix, and it lets you specify the level,
pan and other input-specific mix controls for each
input being fed into the mix.
Viewing one mix bus at a time
CueMix FX displays one mix bus at a time in the
Mixes tab (Figure 10-2 on page 77). To select which
mix you are viewing, choose it from the mix bus
menu (Figure 10-2). The mix name appears above
the mix bus master fader (Figure 10-2), where you
can click the name to change it.
Mix bus
master
fader
Channel
settings
Monitoring/
talkback
section
Channel
scroll
bar
Grow
box
Mic inputs
Inputs split
into mono
channels
Inputs grouped as
stereo pairs
Tabs for channel strip settings,
including EQ and dynamics, as
well as global settings such as
the meter bridge and reverb
processor.
Monitor
group
metering
Figure 10-1: CueMix FX is a virtual mixer that gives you control over the 828mk3’s on-board mixing features.
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Each mix bus is independent
Each mix bus has its own settings. Settings for one
bus will not affect another. For example, if an input
is used for one bus, it will still be available for other
busses. In addition, inputs can have a different
volume, pan, mute and solo setting in each bus.
Input channels
The Inputs tab (Figure 10-3 on page 79) gives you
access to settings for individual 828mk3 inputs (or
input pairs), such as phase, trim, EQ and dynamics
processing. Each input also includes a send to the
828mk3’s global reverb processor. These settings
are applied to the signal before it goes anywhere
else (to a mix bus or the computer).
Output channels
The Outputs tab (Figure 10-6 on page 82) gives you
access to settings for each 828mk3 output pair,
including EQ, dynamics processing and send/
return controls for feeding and returning the
output signal to/from the 828mk3’s global reverb
processor. These settings are applied to the signal
just before it is sent to the output.
Channel focus and settings
Click the focus button for a channel (Figure 10-1)
to view channel-specific parameters in the Channel
Settings section of the CueMix FX window
(Figure 10-1). Separate tabs are provided for
channel-specific settings (channel strip, EQ and
dynamics), plus the global meter bridge and reverb
processor.
Global reverb processor
The 828mk3 has a global reverb module
(Figure 10-23 on page 95). Once it has been
activated, you can feed signals to the reverb
processor from various points in the 828mk3 mix
matrix via input sends, bus sends and output
sends. Stereo output from the reverb processor can
then be fed back to mix busses or output pairs
using reverb returns.
Other features
CueMix offers many additional features, discussed
in this chapter, such as talkback/listenback,
extensive metering, graphic editing of certain
effects parameters, monitor grouping and more.
Widening the CueMix FX window
To view more input faders at once, drag the grow
box (Figure 10-1) to the right.
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THE MIXES TAB
Click the Mixes tab (Figure 10-2) to gain access to
the 828mk3’s eight stereo mix busses. The Mixes
tab displays one mix bus at a time.
Viewing a mix
Choose the mix you wish to view from the mix bus
menu (in the Mixes tab itself, as shown in
Figure 10-2). The menu shows all mixes by name,
followed by the 828mk3 output pair to which each
bus master fader is currently assigned, if any.
Naming a mix
Click the mix name at the top of the mix bus master
fader (Figure 10-2) to edit the name.
Mixes
tab
Mix bus
menu
Assigning a mix bus output
Choose the desired output pair for the mix bus
from the bus output menu (Figure 10-2). The bus
output menu displays all current available
(enabled) 828mk3 output pairs. If a bus is already
assigned to an output pair, the bus name appears
next to the output pair name to indicate that the
output pair is already taken by a bus. Only one bus
can be assigned to any given output pair. If you
choose an output already assigned to another bus,
that bus output will become disabled.
Bus fader
The bus fader (Figure 10-2) 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.
828mk3
inputs
Input name
Channel focus
Mix bus 1
master
fader
Bus name
Bus output
Bus Reverb
send/return
Input pan section
Input fader
Bus fader
Bus mute
Input mute/solo
Bus level meter
Input level meter
Scroll bar for input
channels
Mic inputs
Inputs grouped as
stereo pairs
Figure 10-2: The Mixes tab.
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Bus mute
The bus mute button (Figure 10-2) disables
(silences) the mix.
page 83). Clicking the mix bus master fader focus
button brings the assigned output into focus, if
there is one.
Bus level meter
The bus level meter, which is post-fader, shows you
the output for the mix’s output.
Input pan section
The input pan knob (Figure 10-2) pans the input
across the bus stereo outputs. If the input itself is
grouped as a stereo pair (in the Inputs tab), two
forms of panning control are provided:
Bus reverb send/return
The bus reverb send (Figure 10-2) feeds the output
of the mix bus, pre-fader, to the 828mk3’s global
reverb processor, where it is merged with any other
signals being fed to the reverb. The reverb’s output
can then be fed back into the mixer at various
return points, including the bus return (discussed
below).
The bus reverb return (Figure 10-2) feeds the
output of the 828mk3’s global reverb processor
into the mix bus, pre-fader. This includes any other
signals currently being fed to the reverb. The bus
reverb return is disabled (grayed out) when the
reverb Split Point is set to Output to eliminate the
possibility for feedback loops created by reverb
send/return loops. See “Split point” on page 95.
Input section
The horizontally scrolling area in the Mix tab to the
left of the master fader (Figure 10-2) displays
channel strips for all currently enabled 828mk3
inputs.
Naming an input
Click the input name at the top of the input channel
strip (Figure 10-2) to edit the name. Input names
are global across all mixes. This name also appears
in host audio software on the computer (if the
software supports channel names).
Input channel focus
Click the channel focus button (Figure 10-3) to
view and edit parameters in the channel settings
section of the CueMix FX window (Figure 10-7 on
Balance
Balance works like the balance knob on some
radios: turn it left and the right channel dims, turn
it right and left channel dims. But the left channel
always stays left and the right channel stays right.
Width
Width spreads the left and right channels across the
stereo image, depending on the knob position.
Maximum value (turning the pan knob all the way
up) maintains the original stereo image: the left
channel goes entirely left and right goes entirely
right, without attenuation. The minimum value
(turning the knob all the way down) creates a
mono effect: equal amounts of left and right are
combined and sent to both outputs. In between,
the left out is a mixture of the left input and some of
the right input (and vice-versa) with the effect of
narrowing the field.
Input fader and mute/solo
To add an input to a mix, or remove it, click its
Mute button. To solo it, use its Solo button. Use the
input fader (Figure 10-2) to adjust the level for the
input in the mix. Note that an input can have
different level, pan, mute and solo settings for
different mixes. Input channel level meters are
post-fader.
If any solo button on the current (active) bus is
enabled, the Solo Light (Figure 10-1) will
illuminate.
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THE INPUTS TAB
The 828mk3 provides many features for managing
analog and digital input signals. Some of these
features, such as the 828mk3’s digitally controlled
analog trims, are implemented in the analog
domain; others are implemented in the digital
domain as DSP applied to the digital signal (after
the A/D converter on analog inputs). Click the
Inputs tab (Figure 10-3) to access and control all of
these input channel settings for each 828mk3 input
or input pair.
Input tab settings are global
Except for the reverb send, all settings you make in
the Input tab are applied to the input signal before
it goes anywhere else (to a mix bus or the
computer). For example, if you apply EQ and
compression to the input signal, you will record the
processed version of the signal in your host audio
software running on the computer. If you need to
record a completely unprocessed input signal, do
not apply any changes to it in the Input tab. The
only exception to this is the reverb send, which
simply splits the input signal and feeds a copy of it
to the 828mk3’s reverb processor.
Signal flows from top to bottom
Settings in each Input tab channel strip are
generally applied to the signal in order from top to
bottom. Input channel signal flow is as follows:
trim, overload protection, phase, stereo versus M/S
decoding, width, L/R swap, EQ, dynamics and
reverb send.
Naming an input
Click the input name at the top of the input channel
strip (Figure 10-3) to edit the name. Input names
are global across all mixes. This name also appears
in host audio software on the computer (if the
software supports channel names).
Inputs tab
Input name
Channel focus
Mono/stereo paring
Invert phase
Input trim
EQ band selectors
EQ/dynamics graph
LP/HP filter selector
Compressor selector
EQ/dynamics controls
EQ/dynamics
enable/disable
Reverb send
Input scroll bar
Figure 10-3: The Inputs tab.
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Input channel focus
Click the channel focus button (Figure 10-3) to
view and edit parameters in the channel settings
section of the CueMix FX window (Figure 10-7 on
page 83).
Mono/stereo pairing
Click the Mono button (Figure 10-3) if you would
like an input to be treated as a mono channel. If you
would like to work with it as one channel of a
linked stereo pair, click the Stereo button. Inputs
are grouped in odd/even pairs (mic 1-2, Analog
1-2, 3-4, etc.) Stereo pairs appear as a single
channel strip in the CueMix FX mixer (in all tabs).
Invert phase
Click the Phase button (Figure 10-3) to invert the
phase of the input signal. For stereo pairs, you can
invert the phase for the left and right channels
independently.
Input trim
All 828mk3 inputs, both analog and digital, offer
continuously variable input trim. In all cases, trim
level can be controlled digitally in 1 dB increments.
This includes the digitally controlled analog trims
on the two mic/guitar inputs on the front panel and
the eight quarter-inch analog inputs on the back
panel. Here is a summary of input trim ranges for
each type of 828mk3 input:
Input
Trim
cut
Trim
boost
Trim
Range
Mic/Guitar
0 dB
53 dB
53 dB
TRS analog inputs
-96 dB
+22 dB
118 dB
S/PDIF (RCA)
0 dB
+12 dB
12 dB
ADAT optical
0 dB
+12 dB
12 dB
S/PDIF (TOSLink)
0 dB
+12 dB
12 dB
Input EQ and dynamics
The 828mk3 lets you apply 7-band parametric EQ
and dynamics processing (DSP) to any input,
analog or digital.
The controls in the EQ/Compression section of the
Inputs tab (Figure 10-3) let you edit EQ and
compression settings within the context of the
channel strip. This is ideal when you are comparing
settings among neighboring channels, or perhaps
even applying the same setting across all inputs.
However, for more detailed editing of EQ and
compression settings for an input channel, you can
click its Focus button and view the settings in the
Channel Section of the CueMix FX window
(Figure 10-1). This section even provides graphical
editing of EQ curves and the compressor graph,
allowing you to click and drag directly on the
graphic. For details see “The channel settings
section” on page 83.
The EQ/Dynamics graph
The EQ/Dynamics graph for each input channel
strip (Figure 10-3) provides a thumbnail view of
the EQ curves or Compressor graph for the
channel. This graphic is for display purposes only;
it cannot be edited directly. To change the EQ
settings in this graph, use the two or three knobs
below, as explained in the following sections. If,
however, you would like to edit the EQ curves
graphically, you can do so in the EQ tab
(Figure 10-10 on page 85).
EQ/Dynamics selectors
The EQ/Dynamics selector buttons along the
right-hand edge of the EQ/Dynamics section
(Figure 10-3) allow you to choose what you are
viewing and editing in the EQ/Dynamics section.
Once you adjust the trim levels, you can save them
as a file on disk for future instant recall. See “Saving
and loading hardware presets” on page 99 and
“Configurations menu” on page 116.
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Orange
Green
Blue
Red
Yellow
White
Black
EQ band selectors
LP/HP filter selector
Compressor selector
Colored knobs
Figure 10-4: The EQ/Dynamics selectors.
Click the selector (Figure 10-4) for the desired EQ
band, low-pass (LP) filter, high pass (HP) filter or
compressor to view it across all channels.
Compressor
graph
Compressor
meter
Compressor
selector
EQ/Dynamics enable/disable buttons
Click the EQ or Dynamics button at the bottom of
the input channel (Figure 10-3) to toggle the effect
on or off. Note that you can program EQ and
compressor settings, even when the effect is
currently disabled. (You just won’t hear the result
until you enable it.)
Reverb send
The input reverb send (Figure 10-3) feeds the input
signal to the 828mk3’s global reverb processor,
where it is merged with any other signals being fed
to the reverb. The reverb’s output can then be fed
back into a mix or output pair. The send occurs
after all other settings in the input channel strip
(phase invert, EQ, compression, etc.)
THE OUTPUTS TAB
Figure 10-5: The Compressor controls.
☛
Shortcut: hold down the Option/Alt key while
clicking an EQ selector button to show just that
band of EQ in the graphs. Click any selector again
to return to viewing all bands.
Using the EQ/Dynamics knobs
Once you have chosen the desired EQ band, or the
compressor, you can modify its settings using the
two or three knobs below the graph. The knobs
match the color of the currently selected effect, to
help remind you of which effect you are currently
editing.
☛
Important: before you can modify the settings
of an EQ band using the three knobs below the
graph, the EQ band must be enabled. This is done
in the EQ tab (Figure 10-10), as explained in
“Enabling EQ” on page 85.
The Outputs tab (Figure 10-6) lets you apply EQ,
dynamics and reverb to any output pair, just before
the signal leaves the 828mk3. This is processing
that occurs at the very end of the signal flow, after
everything else (host based effects, 828mk3 input
or bus processing, mixing, and so on). Processing
is done in the digital domain, just before the signal
goes analog through the D/A converter. Output tab
processing is applied to the entire output mix (all
signals being mixed to the output from various
sources).
Signal flows from top to bottom
Settings in each Output tab channel strip are
applied to the signal in order from top to bottom.
For example, EQ occurs before Dynamics, which is
applied before the reverb send and return.
Naming an output
Click the output name at the top of the output
channel strip (Figure 10-6) to edit the name.
Output names are global and will also appear in
host audio software on the computer (if the
software supports channel names).
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Output channel focus
Click the channel focus button (Figure 10-6) to
view and edit parameters in the channel settings
section of the CueMix FX window (Figure 10-7 on
page 83).
Output EQ and Dynamics
The EQ/Dynamics section in the Outputs tab
(Figure 10-6) works identically to the EQ/
Dynamics section for the Inputs tab (Figure 10-3).
See “Input EQ and dynamics” on page 80.
Output reverb send/return
The output reverb send (Figure 10-6) feeds the
signal for the output to the 828mk3’s global reverb
processor, where it is merged with any other signals
being fed to the reverb. The reverb’s output can
then be fed back into the mixer at various return
points, including the same output from which it
was sent (discussed below). The output reverb
send is disabled (grayed out) when the reverb Split
Point is set to Mix to eliminate the possibility for
feedback loops created by reverb send/return
loops. See “Split point” on page 95.
The output reverb return (Figure 10-6) feeds the
output of the 828mk3’s global reverb processor
directly to the output. This includes any other
signals currently being fed to the reverb.
Both the send and return occur after EQ and
dynamics processing, but before listenback and
talkback.
Talkback/Listenback
Click the Talkback or Listenback buttons
(Figure 10-6) to toggle whether the output pair is
included in the Talkback or Listenback group. See
“Talkback and listenback” on page 97.
Monitor group assign
Click the Monitor buttons (Figure 10-6) to toggle
whether the output pair is included in the Monitor
group. See “The Monitor Group” on page 96.
Outputs tab
Output name
Channel focus
EQ/Dynamics graph
EQ band selectors
LP/HP filter selector
Compressor selector
EQ/Dynamics controls
EQ/Dynamics
enable/disable
Output reverb
send/return
Talkback/listenback
enable/disable
Monitor group assign
Figure 10-6: The Outputs tab.
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THE CHANNEL SETTINGS SECTION
The channel settings section in the CueMix FX
window (Figure 10-1) displays three tabs for
Channel, EQ and Dynamics settings for the
channel with the current focus. There are also two
global tabs: the Meter Bridge and the Reverb
Processor, as shown below.
The Channel tab
The Channel tab (Figure 10-8) displays settings for
input channels. Click any focus button in the
Inputs tab to view the Channel tab settings for the
channel.
Figure 10-8: The Channel tab.
Tabs for the channel that
currently has the focus
Tabs for the global meter
bridge and reverb processor
Figure 10-7: The Channel Settings section.
Signal flow
Settings in the Channel tab occur just before the
EQ, dynamics and reverb sends in the Input tab
channel strip (Figure 10-3 on page 79). Input
channel signal flow is as follows: trim, overload
protection, phase, stereo versus M/S decoding,
width, L/R swap, EQ, dynamics and reverb send.
Pad and phantom
The Pad and phantom settings become active
(ungrayed) when the focus is on a mic input (or
both mic inputs). These are the same 20 dB pad
and 48V phantom power settings that you can also
control from the 828mk3 front panel TRIM
encoders. There are separate settings for each mic
input.
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Stereo settings
Inputs that have been grouped as stereo pairs in the
Inputs tab (Figure 10-3) provide two stereo modes
(Figure 10-8): Normal and M/S. M/S mode
provides decoding for a mid-side microphone
configuration.
The Width knob (Figure 10-8) provides control
over the stereo imaging, going from a full stereo
image to mono (both channels panned equally).
See “Width” on page 78.
The Swap L/R button (Figure 10-8) lets you switch
the left and right channels.
Reverb section
The Send in the reverb section (Figure 10-8) is the
same control as the reverb send in the Input tab
channel strip (Figure 10-3). See “Reverb send” on
page 81. If the input is currently not grouped as a
stereo pair in the Input tab (it is operating as a
mono input), use the reverb Pan knob
(Figure 10-8) to pan the mono signal for the stereo
reverb processor.
Input meter and bus activity LEDs
When the Channel tab is active (Figure 10-8), the
display above the tab provides a horizontal level
meter and eight bus activity LEDs (Figure 10-9).
Overload protection (mic/guitar inputs only)
The Overload Protection section (Figure 10-8)
provides two features that help prevent digital
clipping on the two front-panel mic/guitar inputs.
These options are only available on these two
preamp-equipped inputs.
Bus
activity
LEDs
Figure 10-9: Input meter and bus activity LEDs.
V-Limit™ (Figure 10-8) is a hardware limiter that
helps prevent digital clipping from overloaded
input signals. With V-Limit engaged, signals can go
above zero dB (with limiting applied) to as high as
+12 dB above zero with no distortion due to digital
clipping. Click the Lookahead option for even
better protection against sharp transients.
Additional or alternative protection can be applied
to the mic/guitar inputs by enabling Soft Clip
(Figure 10-8). When enabled, Soft Clip engages
just before clipping occurs and helps further
reduce perceptible distortion.
Talkback section
Click the Talkback or Listenback button
(Figure 10-8) to toggle whether the input is the
Talkback or Listenback input. Only one input can
be the talkback input, and only one input can be
the listenback input. See “Talkback and listenback”
on page 97.
The input level meter (Figure 10-9) is the same as
the input meters in the Meters tab (Figure 10-22 on
page 94) with the Pre FX button engaged, which
shows the input level on the physical input itself,
before any processing of any kind occurs within the
828mk3. This meter gives you the most accurate
reading of the actual signal level hitting the input,
regardless of any other settings (such as V-Limit,
Soft Clip and so on). The clip indicator, however,
happens after V-Limit and/or Soft Clip. This allows
you to see when clipping occurs, even with these
overload protection features engaged.
The Bus Activity LEDs (Figure 10-9) show you
which mix busses the input signal is being fed to.
For example, LED #6 will glow under the following
conditions: the input is unmuted in mix bus 6, its
fader is up, and there is signal activity from the
input going into the mix bus.
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The EQ tab
The EQ tab (Figure 10-10) displays the EQ settings
for the input or output channel that currently has
the focus. Click any focus button in the Inputs or
Outputs tab to view the EQ tab settings for the
channel.
display provides comprehensive control and visual
feedback of the EQ curve being applied. With
64-bit floating point processing, the 828mk3
Vintage EQ has been carefully crafted and
meticulously engineered to produce musical
results in a wide variety of applications.
Vintage EQ
Inspired by legendary British large console EQs,
the 828mk3 Vintage EQ section (Figure 10-10)
gives you the look, feel and sound of the most
sought-after classic equalizers. Five bands of center
frequency parametric EQ filtering are provided,
each with four EQ types that provide current
popular EQ styles and vintage analog EQ styles
alike. Two bands include shelf filtering. Two
additional bands of variable slope low pass and
high pass filtering are provided. The filter response
Enabling EQ
Each input and output channel has a global EQ
enable/disable button (Figure 10-3 and
Figure 10-6). This button enables or disables all
bands of EQ for the channel. In addition, each
individual band of EQ has a Filter enable/disable
switch (Figure 10-10), allowing you to enable as
few or as many bands as needed for each individual
channel.
Q handles
(red lines)
Filter
handle
Composite
Individual
curve
filter curve
(white line) (colored area)
Filter response
display
Filter display options menu
Parameter display
EQ tab
EQ filter
Vertical scale
Filter enable/disable
EQ Filter types
Shelf filter
Low-pass filter
High-pass filter
Slope
High-pass frequency
Figure 10-10: The EQ tab.
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Vintage EQ Quick reference
Filter response display: Shows the response curve
for the current settings.
Composite curve (white line): shows the overall
Vertical scale: Lets you zoom the vertical scale of
Individual filter curve: Each filter has a color
the filter response display.
(indicated by its knobs). When filter curves are
being displayed (the filter curve option is turned
on), each individual filter’s response curve is
displayed in the filter’s color.
Parameter display: Shows the precise numbers of
the parameter you are adjusting (or hovering over
with the arrow cursor). The labels (frequency, gain,
etc.) match the color of the filter being displayed.
When a filter handle is not selected and when the
cursor is not hovering over the display, the
parameter display shows the name of the current
channel being edited (the channel that currently
has the focus), as shown below:
The name of the
channel being
EQ’d.
Figure 10-11: When a filter handle is not selected and when the
cursor is not hovering over the display, the parameter display shows
the name of the current channel being edited (the channel that
currently has the focus).
EQ filter: one of five center bands of EQ that can be
independently enabled and programmed.
Filter type: Lets you choose from one of four or five
EQ styles for each independent band of EQ.
response curve of the current settings in the
window.
Filter display options menu: Provides several
options for controlling the filter display.
Filter enable/disable: Turns the filter on or off.
How the vintage EQ works
The Vintage EQ operates like a standard EQ filter,
but with much more sophisticated processing
algorithms “under the hood”. There are five bands
of EQ, each with their own unique knob color, plus
additional low pass and high pass filters. Each filter
can be set to any center frequency you wish.
Each filter can be independently turned on or off
with the enable/disable button (Figure 10-10).
Each filter can be set to one of four different filter
types (I, II, III or IV). The two top-most filters
(orange and green) provide an extra low and high
shelf setting, in addition to the four standard band
settings. The additional low pass and high pass
filters (lower left) have gray cutoff frequency knobs
and six settings for slope (in octaves/dB).
Low/High Pass filter: Both a low pass and high pass
filter are supplied with six different slope settings.
Slope: Lets you choose the slope (fall off) characteristics of the low pass and high pass filter.
Q handle: Drag the Q handle lines to graphically
adjust the Q setting for the currently selected filter.
To select the filter, click its filter handle.
Frequency response display
The frequency response display at the top of the
window displays the response curve of the current
settings in the window. The (horizontal) frequency
range is from 10 hertz to 20 KHz. The (vertical)
amplitude scale is in dB and is adjustable between 3
and 24 dB using the vertical scale buttons
(Figure 10-10).
Filter handle: Drag this handle to graphically
adjust the filter’s boost/cut and/or frequency.
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Adjusting filters in the display
Each filter has a handle, displayed as shown below
in Figure 10-12 (in the filter’s color), for adjusting
its boost/cut and/or frequency:
Filter handle
Filter Q
(red line)
Figure 10-12: Drag the filter handle to adjust its frequency and/or
boost/cut. Drag the Filter Q handles to adjust the Q.
For the EQ filters, when you click the handle, you’ll
also see lines on either side for adjusting the Q
parameter, as shown above.
☛
Shortcut: hold down the Option/Alt key while
clicking an EQ filter handle to enable or bypass that
EQ filter band.
EQ filters
The EQ filters have three parameters:
Control
unit
range
Gain
dB
-20.00 to +20.00
Frequency
Hertz
20 Hz to 20 kHz
Q
n/a - see note below
0.01 to 3.00
Q
The Q setting does not have a unit of measurement.
Rather, it is the ratio of the filter’s center frequency
to the bandwidth of the filter. In addition, the
actual Q value for the EQ curve being applied is
dependent on three factors: the gain setting, the
filter style, and the Q setting.
Filter types
Each filter can be independently set to one of four
different filter types: I, II, III and IV. These, and the
additional shelf filters for the LMF and HMF band,
are discussed in the section “EQ filter styles”.
Returning to zero (or nominal frequency)
To return a knob to zero, or it’s nominal frequency,
double-click it.
EQ filter styles
EQ is one of the most widely used processing tools
and can be applied to many different situations,
from minor corrective tasks to highly creative
applications. Over the years, many EQs have been
engineered for specific applications or to achieve a
certain sound. The Vintage EQ has been designed
to be flexible enough to cover a broad range of
applications. To that end, several different filter
types are supplied, varying mostly in the way they
handle the dynamic interaction between Gain and
Q. This crucial relationship has been modeled to
emulate the smooth and musical character of
classic analog EQ circuits, in which the Gain/Q
dependency was dictated by the actual circuit
design and electrical components used.
The following sections describe the character of
each type of EQ filter and their suggested
applications. In the illustrations for each filter style
(Figure 10-13 through Figure 10-16), the settings
for the three example curves are the same for the
purpose of comparison:
■
Frequency = 1.00 kHz
■
Q=1
■
Gain = +3, +10 and +20 dB
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Type I
Type II
Figure 10-13: Type I EQ filter style.
Figure 10-14: Type II EQ filter style.
The Type I EQ filter has the least amount of Gain/Q
interaction, providing the most precision and
control of all the EQ filter types. Even small
adjustments in gain or reduction produce relatively
high Q. This EQ style is best for situations that call
for precise EQ adjustments requiring the
maximum amount of individual parameter
control. For more general shaping (e.g. full mixes)
or subtle control (e.g. vocals), the other styles
discussed in the following sections might be more
appropriate. This filter type is the most similar to a
standard parametric EQ.
The Type II EQ filter produces constant Q response
during boost or cut. The Type II style emulates
several classic legacy EQs and produces good
results for resonance control on drums and
percussion because it provides relatively high Q
values with more extreme gain or cut settings.
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Type III
Type IV
Figure 10-15: Type III EQ filter style.
Figure 10-16: Type IV EQ filter style.
The Type III EQ filter increases Q as boost is
applied. Therefore, lower amounts of boost
provide a softer, “wider” EQ effect (since the
affected frequency range widens), while higher
boost tends to sound louder and more “up front”,
due to the increase in Q as the gain is increased.
The more gentle Q curve at lower settings is well
suited for overall EQ fills and more subtle
corrections in instrument and vocal sources.
Boosting or cutting by small amounts will seem to
produce the effect that your ear expects, without
the need to adjust Q. As a result, this filter style, and
similar EQs with this characteristic behavior, are
often referred to as being more “musical”. More
specifically, this style emulates the classic Neve
EQs, their modern derivatives and later SSL G
series EQs. Many current popular outboard
“boutique” EQs exhibit this same gain/Q
relationship.
The Type IV EQ filter is a more extreme form of the
Type III filter. It exhibits a high degree of
interaction between Q and gain in order to
maintain as closely as possible an equal amount of
area under the response curve as gain is adjusted.
Type IV is the most gentle of the four EQ styles and
is ideal for large scale EQ adjustments, especially
on sub-mixes and complete mixes. This EQ style is
also ideal for any applications where subtle changes
in the overall character of the sound are desired.
For example, it can be used for mastering
applications, such as the overall adjustments that
must often be applied to entire tracks to match
other tracks on the album.
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Shelf filters
response corresponds to a second order shelf, still
with no overshoot. This is the same response as
conventional parametric EQs. In some situations,
this form of accurate, clean shelving can sound
harsh, especially when compared to legacy analog
EQs. To soften the results, the overshoot is
increased as Q is increased, as shown Figure 10-17
for Q values of 1.00, 2.00 and 3.00. This overshoot
region produces a boost in frequencies just above
the cutoff, which compensates in a smooth, more
pleasing fashion for the perceived drop in low
frequencies being cut.
Conversely, when shelving boost is being applied,
overshoot cuts frequencies just above the cutoff to
again compensate in a smooth and pleasing fashion
for the perceived boost in low frequencies:
Figure 10-18: Overshoot when low shelf boost is applied.
Overshoot is also applied to high shelf boost and
cut:
Figure 10-17: Shelf filter Q parameter overshoot.
When two top-most bands in the EQ tab are set to
their shelf filter setting (Figure 10-10), the Q
parameter controls the amount of overshoot
applied to the response curve, as illustrated in
Figure 10-17. When Q = 0.01 (the lowest setting),
normal shelving is applied with no overshoot. This
produces the response provided by a first order
shelf. When Q = 1.0 (the default setting), the
Figure 10-19: Overshoot when high shelf cut and boost is applied.
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Overshoot tends to produce more of what one
would expect to hear when applying shelving and
is therefore considered to be more musical than
shelving without overshoot. This effect, which has
gained tremendous popularity among audio
engineers, was first made popular in original Neve
series EQs and later in the SSL G series.
At maximum the maximum Q setting of 3.00, the
overshoot peaks at half the total boosted (or cut)
gain. For example, with a maximum gain setting of
+20dB, the loss in the overshoot region is -10 dB.
Overshoot curves are symmetrical for both cut and
boost.
Low pass and high pass filters
The Vintage EQ low and high pass filters are similar
to those found in most conventional parametric
EQs (which usually have a fixed slope of 12 dB per
octave), except that Vintage EQ provides six
different slope (roll off) settings: 6, 12, 18, 24, 30
and 36 dB per octave. This control over the shape
of the “knee” gives you a great deal flexibility and
control for a wide variety of applications.
Slope = 6
Slope = 18
Slope = 36
Figure 10-20: The low pass filter with three example slope settings.
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The Dynamics tab
The Dynamics tab (Figure 10-21) displays the
Dynamics processing settings for the input or
output channel that currently has the focus. Click
any focus button in the Inputs or Outputs tab to
view the Dynamics tab settings for the channel.
Input
level
meter
Output
Gain Threshold
level reduction
meter meter
Trim
Dynamics tab
Compressor
enable/disable
Leveler
enable/disable
Compressor
The Compressor (Figure 10-21) lowers the level of
the input when it is above the threshold. The
amount of attenuation is determined by the Ratio
and the input level. If the input is 6 dB above the
Threshold and the Ratio is 3:1, then the output will
be 2 dB above the Threshold. When the input level
goes above the threshold, the attenuation is added
gradually to reduce distortion. The rate at which
the attenuation is added is determined by the
Attack parameter. Likewise, when the input level
falls below the Threshold, the attenuation is
removed gradually. The rate at which the
attenuation is removed is determined by the
Release parameter. Long Release times may cause
the audio to drop out briefly when a soft passage
follows a loud passage. Short Release times may
cause the attenuation to pump when the average
input level quickly fluctuates above and below the
Threshold.
These sorts of issues can be addressed by applying
the Leveler instead.
Graphic adjustment of the Threshold
The Threshold can be adjusted by turning the
Threshold knob or by dragging the Threshold line
directly in the compressor graph (Figure 10-21).
Figure 10-21: The Dynamics tab.
Enabling Dynamics
Each input and output channel has a global
Dynamics enable/disable button (Figure 10-3 and
Figure 10-6). This button enables or disables all
dynamics processing for the channel. In addition,
the Dynamics tab has two different dynamics
processors, the Compressor and Leveler, which can
be individually enabled or disabled (Figure 10-21)
for the channel.
Input level meter
The Input Level meter (Figure 10-21) shows the
level of the input signal before it enters the
compressor. It shows either the peak level or the
RMS level, depending on which mode is currently
chosen.
Gain reduction (GR) meter
The Gain reduction (GR) level meter
(Figure 10-21) displays the current amount of
attenuation applied by the compressor.
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Output level
The Output Level meter (Figure 10-21) displays the
peaks of the output signal. Trim is applied before
the Output Level meter.
Peak/RMS modes
In RMS mode the compressor uses RMS values (a
computational method for determining overall
loudness) to measure the input level. In Peak mode,
the compressor uses signal peaks to determine the
input level. RMS mode will let peaks through
because the detector sidechain is only looking at
the average signal level. Peak mode will react to
brief peaks. Peak mode is generally used for drums,
percussion and other source material with strong
transients, while RMS mode is mostly used for
everything else.
The input meters show either the peak level or the
RMS level, depending on the mode.
Leveler
The Leveler™ (Figure 10-21) provides an accurate
model of the legendary Teletronix™ LA-2A®
optical compressor, known for its unique and
highly sought-after Automatic Gain Control
(AGC) characteristics. The 828mk3 Leveler
faithfully models the LA-2A using the on-board
DSP with 32-bit floating point precision.
A model of an optical compressor
The simplest description of an optical leveling
amplifier device is a light shining on a photoresistor. The intensity of the light source is
proportional to the audio signal, and the resistance
of the photoresistor is in turn inversely
proportional to the intensity of the light. Photoresistors respond quite quickly to increases in light
intensity, yet return to their dark resistance very
slowly. Thus, incorporation of the photoresistor
into an attenuator followed by an amplifier which
provides make-up gain produces a signal which
maintains a constant overall loudness.
Automatic gain control using light
The the Automatic Gain Control (AGC) circuit of
the LA-2A uses a vintage opto-coupler known by
its model number (T4). The T4 contains an
electroluminescent panel (ELP) and photoresistor
mounted so that the emission of the panel
modulates the resistance. An ELP consists of a thin
layer of phosphorescent material sandwiched
between two insulated electrodes to form a
capacitor. Making one of the electrodes
transparent allows the light to escape. These
devices are essentially glow-in-the-dark paint on a
piece of foil covered by metalized glass or plastic,
and are the same devices used in low-power night
lights. Unfortunately, these devices need high
voltages to operate, and are best driven by tube
circuits which can supply voltage swings of several
hundred volts.
Response characteristics
Once the light has faded away, the photoresistor
then decays back to its dark state. The shape of the
decay curve varies depending on how bright the
light was, and how long the light lasted. A general
rule of thumb is that the louder the program, the
slower the release. Typically, the release can take up
to and over one minute. One thing to keep in mind
when using these types of devices is that the typical
concepts of compression ratio, attack, release, and
threshold do not apply. The light intensity is
determined by the highly non-linear interactions
of the input signal, AGC circuit, and ELP, and thus
exhibit a strong program dependence that is
impossible to describe without the mind-numbing
mathematics of statistical mechanics. The actual
results, however, can be almost mystical: even
when you feed the same material (a loop perhaps)
through the Leveler twice, you’ll often see a new
response the second time through a loop, complete
with unique attack times, release times and
compression ratios. Furthermore, two different
input signals with the same RMS levels may be
leveled in a drastically different manner.
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It is precisely this self-adjusting behavior that
makes optical compressors the tool of choice for
smoothing out vocals, bass guitar and fullprogram mixes without destroying perceived
dynamics.
Compressor/Limit buttons
The Comp and Limit buttons (Figure 10-21) model
the original LA-2A Limit/Compress mode switch.
The effect is very subtle, with the Limit option
behaving only slightly more like a limiter than a
compressor. The switch increases the level of the
input to the AGC model and runs the attenuator at
a slightly lower level. The Leveler then responds
more strongly to transients, but otherwise still
behaves like a leveling amplifier.
The Meters tab
The Meters tab (Figure 10-22) serves as a
comprehensive meter bridge for all inputs, outputs
and mix busses in the 828mk3. This tab gives you a
“bird’s-eye” view of all signal activity in the
828mk3; it is ideal for confirming your signal
routing programming and for troubleshooting.
Bus activity LEDs
(inputs only)
Channel meter
display
Meters tab
Pre/post
processing
switch
Gain Reduction
Gain Reduction (Figure 10-21) sets the strength of
the signal sent to the AGC model.
Makeup Gain
Makeup gain (Figure 10-21) amplifies the output
signal to make up for gain reduction.
Enabling or disabling the Leveler
The Leveler models the LA-2A so closely, it also
models the time it takes for an actual LA-2A to
“warm up” after it is turned on. Therefore, when
you enable the Leveler, give it a moment to “settle”
before you begin processing signals with it.
Figure 10-22: The Meters tab.
Channel meter display
The channel meter display (Figure 10-22) provides
a long-throw meter for the input or output that
currently has the focus in the Input/Output tabs.
Bus activity LEDs (inputs only)
The Bus activity LEDs (Figure 10-22) are present
only for inputs. See “Input meter and bus activity
LEDs” on page 84.
Pre/post processing switch
The pre/post processing switch (Figure 10-22)
affects all input meters (and the meter in the
channel meter display above the tab, if this area is
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displaying an input meter). Click Pre to view levels
before any input channel processing besides trim;
click Post to view levels after all channel processing
(EQ, compression, M/S decoding, L/R swap, etc.)
The Reverb tab
The Reverb tab (Figure 10-23) provides access to
the 828mk3’s single, global reverb processor, which
provides high-fidelity reverberation and graphic
control over its parameters.
Low band
(yellow)
Mid band reverb
time handle
Routing inputs, busses and outputs to the
reverb processor
The reverb processor is a single, independent unit
that provides stereo reverb.You can route multiple
signals to it from various points (sends) in the
CueMix FX mixer, but all incoming signals to the
reverb processor are merged and processed
together. The resulting stereo output from the
reverb can then be inserted into a mix bus or
output using stereo returns.
Reverb sends
The following signals can be sent to the reverb
processor via their corresponding sends (discussed
earlier in this chapter):
High band
(purple)
Crossover
handle
Reverb
enable/disable
■
Mono or stereo inputs (Figure 10-3 on page 79)
■
Mix bus output (Figure 10-2 on page 77)
■
Outputs (Figure 10-6 on page 82)
Reverb returns
The stereo output from the reverb processor can be
sent to the following destinations via their
corresponding returns (discussed earlier in this
chapter):
Figure 10-23: The Reverb tab.
Enabling reverb
Use the enable/disable button (Figure 10-23) to
turn the reverb processor on or off. Since reverb
uses considerable DSP resources, it is best to leave
it off when you are not using it.
■
Mix bus outputs
■
Outputs
■
The computer (via the Reverb Return bus)
Split point
The Split Point (Figure 10-23) prevents feedback
loops that would be caused by a signal being sent to
the reverb processor and then returned to the same
signal path.
Mix
When the Split Point is set to Mix, the returns in the
Mix bus tab become active and the sends in the
Output tab gray out. This allows you to send from
inputs and mixes and return to mixes and outputs.
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Output
When the Split Point is set to Output, the sends in
Output tab become active and the returns in the
Mix bus tab gray out. This allows you to send from
inputs, mixes and outputs and return to outputs.
Primary controls
The Primary Controls section (Figure 10-23) in the
Reverb tab provides the following basic parameters
for programming the reverb.
Reverb Time
Reverb time determines the length of decay, or tail,
of the reverb. This is a global setting for the reverb
processor. You can further refine the tails by
independently setting the reverb time of three
separate frequency bands, as discussed below in
the Reverb Design section.
PreDelay
PreDelay is the amount of time before you hear the
very first reflections. If you are in a large room, it
takes a while before the first reflections return.
PreDelay is useful for clarifying the original sound.
For example, with vocals, the reflections won’t start
until after the initial sound of a word has been
sung.
Shelf Filter
The Shelf Filter is a low-pass filter that controls the
high frequency characteristics of the overall effect.
Frequency sets the cutoff frequency for the filter
and Cut sets the amount of signal attenuation
applied by the filter.
Early reflections
Initial reflections give a space its unique sound.
The shape of the room, the angles of the walls, even
furniture in the room will produce a series of Initial
Reflections. Think of the early reflections and
room type as the “flavor” of the reverb. You can
choose between several types of rooms. These are
acoustic models for simulating these different
types of spaces. The Size and Level parameters let
you control the size of the room and the strength of
the initial reflections.
☛
Here’s a tip: try using initial reflections
without any subsequent reverb (turn the reverb
time down as far as it will go). You’ll hear
interesting and unusual effects.
Reverb design
The Reverb Design section allows you to
independently control the reverb time for three
separate frequency bands (Low, Mid and High)
with adjustable cross-over points between them
(Low and High). The reverb time for each band is
specified in percent of the overall reverb time in the
Primary Controls section at the top of the tab.
You can edit these parameters graphically by
dragging the handles in the graphic display
(Figure 10-23).
Width does what its name implies: if you turn this
control all the way up, the result is maximum stereo
imaging. A position of 12 o’clock produces
essentially a mono image. Turning the control all
the way down completely swaps the stereo image.
THE MONITOR GROUP
The monitor group is a set of 828mk3 outputs that
can be controlled with the master Monitor Level
knob in upper right corner of the CueMix FX
mixer window (Figure 10-24), as well as the
MASTER VOL knob on the 828mk3 front panel.
Monitor
group
presets
menu
Figure 10-24: Monitor group volume control from CueMix FX and the
front panel MASTER VOL knob.
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Assigning outputs to the monitor group
Any combination of outputs can be assigned to the
monitor group. To include an output pair in the
monitor group, click its Monitor button in the
Outputs tab (Figure 10-6 on page 82).
EQ on a stereo channel requires approximately
twice the DSP resources as the same EQ on a mono
channel. The Compressor (2.5 x 1 EQ band) and
Leveler (4 x 1 EQ band) require about the same
DSP resources for a mono or stereo channel.
Monitor group presets menu
The monitor group presets menu (Figure 10-24)
provides several presets for commonly used
monitor groups:
SOLO LIGHT
Monitor group preset
Output assignment
TALKBACK AND LISTENBACK
Main Outs
Main Out 1-2
Stereo
Analog Out 1-2
Quad
Analog Out 1-4
5.1
Analog Out 1-6
CueMix FX 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.
7.1
Analog Out 1-8
If you program your own monitor output group,
the presets menu displays the words user def. (user
defined).
Monitor group meters
The monitor group meters (Figure 10-1 on
page 75) show levels for any/all output pairs that
are currently included in the monitor group. The
width of the meters scales proportionally so that all
current monitor group outputs will fit within the
prescribed space for the meters. If many outputs
are included, then the meters will look fairly thin,
but they will all be included in the meter.
The Solo light (Figure 10-1) illuminates when any
input in the current (active) mix bus is soloed
(even if it is currently scrolled off-screen).
Hardware setup
Figure 10-25 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 (or just use one of the mics you
are recording from). For talkback output, set up a
headphone distribution amp or set of speakers in
the live room, and connect it to any 828mk3
output, as demonstrated below in Figure 10-25.
DSP METER
The DSP meter (Figure 10-1) shows how much of
the available DSP processing power is currently
being used by the 828mk3 for effects processing.
DSP resources are allocated in channel order from
the first input to the last output. If there aren’t
enough DSP resources for all effects to be enabled
on a channel, none of them are allocated on that
channel or any following channel.
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engaged. To completely silence all other CueMix
audio, turn them all the way down. attenuation
only occurs when talkback or listenback is
engaged. Audio playing back from disk (your host
software) is not affected.
Control room
Talkback
mic
Main outs
Analog out 7-8
Talk dim
Live room
Headphone distribution amp
Listenback
mic
Listen dim
Figure 10-25: Typical hardware setup for Talkback and Listenback.
Talkback / Listenback Mic Input
To configure the talkback mic in CueMix FX, go to
the Inputs tab (Figure 10-3 on page 79) and click
the Focus button for the input that the talkback mic
is connected to. Click the Channel tab (Figure 10-8
on page 83) and enable the Talk button.
Repeat this procedure for the Listenback mic,
except click the Listen button in the Channel tab.
Talk / Listen output
To configure the talkback and listen back outputs,
go to the Outputs tab (Figure 10-6 on page 82) and
enable the Talk button for any output pair on which
you’d like to hear the talkback mic. Similarly,
enable the Listen button for any output pair on
which you’d like to hear the listenback mic.
Talkback / Listenback Monitor Dim
Use the knobs next to the Talk and Listen buttons
(Figure 10-26) to determine the amount of
attenuation you would like to apply to all other
audio signals (besides the talkback/listenback
signal) when Talkback and/or Listenback is
Figure 10-26: The Talkback/Listenback controls.
Engaging/disengaging Talkback and
Listenback
To engage Talk back or Listenback, press on the
Talk or Listen buttons (Figure 10-26) and then
release to disengage. Talkback and/or Listenback is
engaged for as long as you hold down the mouse
button. Option/Alt-click to make the buttons
“sticky” (stay engaged until you click them again
— so you don’t have to hold down the mouse). Or
use the Talkback menu items.
If you would like to engage both Talkback and
Listenback at the same time, enable the Link button
(Figure 10-26).
Controlling Talkback and Listenback volume
To control the volume of the Talkback and/or
Listenback mics, adjust their input trim in CueMix
FX.
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SHORTCUTS
FILE MENU
Hold down the following general modifier keys as
shortcuts:
Shortcut
Result
Shift key
Applies your action to all inputs or all outputs in the mix.
Command key
Applies your action to the stereo input pair,
even when it is currently configured as mono.
Option/Alt key
Applies your action to all busses.
Shift-Option/Alt
Applies your action to all inputs and mixes.
Double-click
Returns the control to its default value (pan
center, unity gain, etc.)
Hold down the following modifier keys as
shortcuts for the EQ tab and controls:
Shortcut
Result
Shift click
Applies EQ button change to all input or outputs.
Option/Alt-click
Applies EQ enable button changes to all
bands in that input or output.
Shift-Option/
Alt-click
Applies EQ enable button changes to all
bands and all inputs or outputs.
Saving and loading hardware presets
The 828mk3 can store up to 16 presets in its onboard memory. A preset includes of all CueMix FX
settings for all for mix busses, but it excludes global
settings like clock source and sample rate.
The Load Hardware Preset and Save Hardware
Preset commands in the CueMix FX file menu let
you name, save and load presets in the 828mk3.
Peak/hold time
In CueMix FX, a peak indicator is a line
(representing a virtual LED) displayed in a level
meter that indicates the maximum signal level
registered by the meter. The Peak/hold time setting
(File menu) determines how long this indicator
remains visible before it disappears (or begins to
drop). To disable peak/hold indicators altogether,
choose Off from this sub-menu.
Mix1 Return Includes Computer
The Mix1 return includes computer File menu item
applies to other MOTU interfaces products and has
no effect on the 828mk3.
Hardware follows CueMix Stereo Settings
This File menu item applies to other MOTU
interfaces products and has no effect on the
828mk3.
Show meter in dock icon
This CueMix FX File menu item applies to other
MOTU interfaces and has no effect on the 828mk3.
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EDIT MENU
Undo/Redo
CueMix FX supports multiple undo/redo. This
allows you to step backwards and forwards
through your actions in the software.
Copying & pasting (duplicating) entire mixes
To copy and paste the settings from one mix to
another:
1 Select the source mix (Figure 10-1) and choose
Copy from the Edit menu (or press Command-C).
2 Choose the destination mix and choose Paste
from the Edit menu (or press Command-V).
Clear Peaks
Choose Clear Peaks from the Edit menu to clear all
peak indicators in all CueMix FX meters.
Choosing channels for audio analysis
The audio analysis tools follow the currently
focused audio input or output. (See “Channel
focus and settings” on page 76.) If you focus a
mono channel (e.g. Analog 3), its corresponding
stereo pair will be displayed (Analog 3–4).
Scoping host software audio output
If you want to scope audio output from your host
software, send your host’s output to an 828mk3
output pair, enable the Mix1 Return Includes
Computer Output option (File menu), and click the
Focus button for channel pair in the Outputs tab.
FFT AND SPECTROGRAM DISPLAY
FFT and spectrogram information can be
displayed in the Filter response display section in
the EQ tab (Figure 10-10 on page 85) or as a
separate window (Figure 10-29 on page 101)
opened from the Devices menu (Figure 10-27).
DEVICES MENU
If you are working with more than one MOTU
audio interface product, this menu displays all
interfaces that are currently online. Choose any
device from the menu to edit its settings using the
CueMix FX software.
Audio analysis tools
Below each device are its signal analysis tools.
Choose one to open its window. For details on
these features, see the following sections.
FFT and Spectrogram display. . . . . . . . . . . . . . . . . . . . . . . 100
Oscilloscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
X-Y Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Phase Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Filter display options
The Filter display options menu (Figure 10-10)
provides several options for the EQ filter display:
Menu option
What it does
Show no analysis
Turns off both the FFT and
Spectrogram in the Filter display.
Show FFT
Shows/hides a real time FFT analysis
of the current signal being EQ’d,
post EQ filter.
Show Spectrogram
Shows/hides a real-time spectrogram “waterfall” in the background
of the filter display, post EQ filter.
Show Band Response
Shows/hides the colored area below
EQ filter points.
Show/Hide Full Window
Analysis
Shows/hides the enlarged filter display in the CueMix FX window.
Filter display options menu
Figure 10-27: Opening the signal analysis windows.
Figure 10-28: Filter Display options menu
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FFT display
Choose Show FFT from the Filter display options
menu (Figure 10-10) to superimpose a real-time
Fast Fourier Transform (FFT) frequency
measurement curve over the EQ filter display, as
demonstrated in Figure 10-30:
Spectrogram
Choose Show Spectrogram from the Filter display
options menu (Figure 10-10) to superimpose a
real-time spectrogram “waterfall” display in the
background of the EQ filter display, as
demonstrated in Figure 10-31:
FFT curve
Figure 10-31: FFT display.
Figure 10-30: FFT display.
The FFT curve is post-filter. Therefore, the FFT
shows the results of the EQ filter(s) being applied.
Use the global EQ button for the input or output
channel (Figure 10-3 and Figure 10-6,
respectively) to toggle between the EQ’d and nonEQ’d FFT display.
The spectrogram scrolls from top to bottom, where
the top edge of the display represents what you are
hearing “now”. Color represents amplitude along
the left/right frequency spectrum. The amplitude
color scale runs from black (silence) to red (full
scale) as follows:
Silence
Black
Blue
Green
Yellow
Orange
Full scale
Red
Figure 10-32: Spectrogram color-to-amplitude spectrum.
Y-axis labels for FFT display
Y-axis labels for EQ controls
View
controls
Horizontal
controls
Vertical
controls
Spectrogram
controls
Grow handle
Figure 10-29: Full window filter display.
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Opening the FFT Analysis window
Choose FFT Analysis from the Devices menu to
open a new window with the filter EQ display for
detailed inspection and adjustment of the EQ filter,
as shown Figure 10-29.
Pausing the display
The Pause button in the upper right corner of the
View section (Figure 10-33) allows you to freeze
the display at any time. To resume, click the button
again.
View controls
The info box
When any EQ filter point is selected or dragged in
the full window graph, the info box is shown next
to the point in the full graph display
(Figure 10-34).
Pause button
Display options
Figure 10-33: View controls
You can show and hide the FFT display,
spectrogram or EQ band response curves as
desired using the Display Options menu options
(Figure 10-29). These settings are independent of
the small graph display options (Figure 10-10), so
you have the flexibility to display different
combinations in each graph.
☛
“Show EQ Controls” will be available only if
the focused pair are a stereo input pair or stereo
output pair.
Logarithmic or Linear X-Axis Scale
The x-axis defaults to a logarithmic scale, but can
be changed to a linear scale if desired. In the View
controls (Figure 10-33), click Logarithmic to access
the x-axis scale options menu. With a linear scale
selected, frequency is constant, but the width of
each octave along the x-axis is different. With a
logarithmic scale selected, octaves are displayed
with a constant width, but frequency is displayed
logarithmically within each octave.
Axes display
The Axes control (Figure 10-33) sets the opacity of
the grid displayed in the graph, from 100% (fully
visible) down to 0% (fully hidden).
Figure 10-34: The Info Box.
The info box includes the industry standard
scientific note (pitch) name when the control point
is located at a frequency that resides within a
prescribed note range, where C4 is middle C. The
note number is accompanied by the number of
cents (±50) above or below the exact frequency for
the note. If the control point is dragged outside the
note range, only the frequency is shown.
Horizontal controls (frequency axis)
The Horizontal controls (Figure 10-35) configure
the value range of the x-axis (frequency). Click and
drag the values up or down to set them, or doubleclick to return to the default value.
There are two modes for the controls: Zoom/Offset
and Min/Max. To change the mode, use the
Horizontal control menu (Figure 10-35).
Figure 10-35: Horizontal control menu
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In Zoom/Offset mode, Zoom sets the display zoom
from 1x to 100x, where the number represents the
zoom factor relative to the entire frequency range.
For example, when the horizontal zoom value is 1x,
the entire frequency range from 10 to 24000 Hertz
is displayed; when the horizontal zoom value is 2x,
one half of the entire frequency range is displayed.
Pos determines which frequency is displayed at the
center of the graph.
OSCILLOSCOPE
In Min/Max mode, Min and Max set the lowest and
highest displayed frequencies (in Hertz).
Level meters are displayed to the right of the graph.
One or two meters are shown, depending on the
current view mode (see “View controls”).
Vertical controls (amplitude axis)
The Vertical controls (Figure 10-29) operate
similarly to the Horizontal controls, except that
they configure the y-axis (amplitude). In Zoom/
Offset mode, Zoom sets the display zoom from 1x
to 100x, and Pos sets the center amplitude of the
graph. In Min/Max mode, Min and Max set the
smallest and largest displayed amplitude.
Spectrogram controls
The Floor control (Figure 10-29) sets the amplitude
threshold for the spectrogram display, from -144
dB up to 0 dB.
The Alpha control (Figure 10-29) sets the opacity
of the spectrogram information displayed in the
graph, from 100% (fully visible) to 0% (hidden).
The Oscilloscope (Figure 10-36) graphs the
amplitude of an audio signal over time.
Amplitude is displayed on the y-axis and time is
displayed on the x-axis. A thick white vertical line
marks where time equals zero; a thick white
horizontal line marks where amplitude equals zero
(Figure 10-36, below).
Opening the oscilloscope
Each 828mk3 has its own oscilloscope. To open an
oscilloscope, choose the Oscilloscope item from the
Devices menu under the desired interface.
Choosing a channel to display
The oscilloscope follows the currently focused
audio input or output. If you focus a mono channel
(e.g. Analog 3), its corresponding stereo pair will
be displayed (Analog 3–4).
View controls
The View controls (Figure 10-37) provide several
options for the oscilloscope display.
Figure 10-36: Oscilloscope
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Pause button
View menu
Figure 10-37: View controls
View menu
The View menu (Figure 10-37) lets you choose how
you wish to display the audio channel(s) being
displayed.
Horizontal controls (time axis)
The Horizontal controls (Figure 10-38) configure
the value range of the x-axis (time). Click and drag
the values up or down to set them, or double-click
to return to the default value.
There are two modes for the controls: Zoom/Offset
and Min/Max. To change the mode, use the
Horizontal control menu (Figure 10-38).
View menu settingWhat it displays
Left
Left channel only
Right
Right channel only
Split screen
Left channel on top; right channel on the bottom
Shared
Left and right on top of each other; left is
green, right is red
Add
Left and right channels’ amplitudes are added
together
Subtract L-R
The right channel’s amplitude is subtracted
from the left channel’s amplitude
Display options
The Axes control (Figure 10-37) sets the opacity of
the grid displayed in the graph, from 100% (fully
visible) down to 0% (fully hidden). The Show Ruler
option toggles the measurement items (see
“Measurement information” on page 106).
Pausing the display
The Pause button in the upper right corner of the
View section (Figure 10-37) allows you to freeze
the display at any time. To resume, click the button
again. The level meters will remain active while the
display is paused.
Figure 10-38: Horizontal control menu
In Zoom/Offset mode, Zoom sets the display zoom
from 1/1000x to 10x, where the number represents
the number of pixels per sample. For example,
when the horizontal zoom value is 10x, 10 samples
are displayed in 100 pixels; when the horizontal
zoom value is 1/10x, 100 samples are displayed in
10 pixels. Offset moves the line marking time
equals zero left or right.
In Min/Max mode, Min and Max set the earliest
and most recent displayed time.
Time Units
The Time Units sub-menu (Figure 10-38) provides
the option to view the X axis in Seconds or
Samples.
Vertical controls (amplitude axis)
The Vertical controls (Figure 10-38) operate
similarly to the Horizontal controls, except that
they configure the y-axis (amplitude).
In Zoom/Offset mode, Zoom sets the display zoom
from 1/2 to 100x, and Offset moves the line
marking amplitude equals zero line up or down.
In Min/Max mode, Min and Max set the smallest
and largest displayed amplitude.
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Waveform Recognition
The Waveform Recognition option searches
through new audio data looking for a waveform
which most resembles that which was previously
displayed. The region where this takes place is a
small window around the line marking time equals
zero, denoted by the extra vertical graph lines
surrounding it. There are two kinds of waveform
recognition available: Type I and Type II.
Figure 10-39: Waveform Recognition menu
Type I recognition provides the most stable display
of the waveform. It is the most resistant to change.
Louder transients, such as those produced by a
snare drum, are not displayed inside of the
waveform window. Type I is best for observing the
shape of a signal produced by a synthesizer or
observing the tone of a guitar through a chain of
pedals.
Type II recognition is less resistant to change. It will
include loud transients within the waveform
recognition window. Type II is better for observing
percussive music where the beat itself is to be
centered within the waveform window.
Trigger
When the Trigger (Figure 10-40) is not enabled
(the Trigger menu is set to None), the graph
updates based on time: after every n samples of the
monitored audio signal, the most recent samples
are displayed. When the Trigger is enabled (set to
any mode other than None), the graph updates in
response to specific conditions in the signal. The
Trigger section defines that criteria and how the
graph will display the events that match.
Trigger indicator
Trigger menu
Criteria check boxes
Figure 10-40: Trigger settings
Criteria
The criteria checkboxes (Figure 10-40) determine
the conditions that the trigger is looking for and
where it will look for them.
The Left checkbox causes the condition to be
looked for in the left channel of the signal; likewise,
the Right checkbox looks for the condition in the
right channel. One or both of these can be enabled
simultaneously. If neither is enabled, the criteria
will not be found because the trigger is not looking
at any audio signal.
The Pos and Neg checkboxes determine the slope of
the event. When the Pos checkbox is enabled, the
trigger will look for an event where amplitude is
increasing; likewise, enabling the Neg checkbox
tells the trigger to look for an event where
amplitude is decreasing. One or both of these can
be enabled simultaneously. If neither is enabled,
the criteria will not be found because the trigger is
not looking for any particular kind of event.
The Level setting defines the amplitude threshold
that the trigger is looking for. The Level is indicated
on the graph by a blue horizontal line (or two blue
horizontal lines, if Magnitude is enabled). Events
which cross this threshold using the enabled
slope(s) in the enabled channel(s) will activate the
trigger. The response of the trigger is set by the
Trigger mode (see “Trigger modes”, below).
Enabling the Magnitude checkbox tells the trigger
to look for both positive and negative Level values,
regardless of whether the Level value is positive or
negative. For example, if Level is set to +0.500 and
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Magnitude is enabled, the trigger will look for both
+0.500 and -0.500. You will see a second blue line
appear in the display when Magnitude is enabled to
denote the second value.
Holdoff
Holdoff defines a time interval during which the
oscilloscope does not trigger. The most recent trace
will be displayed during that period. When the
period is over, the trigger is “re-armed’, i.e. it will
begin looking for the criteria again.
Trigger indicator
The Trigger indicator (Figure 10-40 on page 105)
displays the state of the trigger, and also provides a
way to manually interact with it. The Trigger
indicator always displays one of three colors:
Color
Status
Green
When the current Trigger criteria has been met (including when the Trigger mode is None).
Yellow
When the Trigger is armed, but has not yet found an
event which matches its criteria. Yellow can also indicate that the graph has been manually paused using the
Pause button in the View section (see “Pausing the display” on page 104).
Red
When the Trigger is being held off, either because the
Trigger mode is set to Single Sweep or the Holdoff time
is not set to zero.
Click and drag this value up or down to set it, or
double-click to return to the default value.
Trigger modes
The Trigger menu (Figure 10-40 on page 105)
provides four modes:
Trigger modeWhat it does
None
The Trigger is not active; this is the default mode.
The incoming audio signal will be displayed continuously as audio is received.
Auto
The display is always updating, but when the condition is met, the trigger event will be displayed centered around the line marking time equals zero.
Normal
The display updates only when the condition is met;
the last trace will be displayed until the next matching event is found.
Single
Sweep
Similar to Normal mode, but the last trace will be
displayed until you manually arm the trigger by
clicking the Trigger indicator (Figure 10-40 on
page 105) or by pressing the spacebar.
You can also click on the Trigger indicator to force
certain actions, depending on the Trigger mode. In
Auto and Normal modes, clicking on the Trigger
indicator causes the display to run freely; you may
click & hold to force this to occur for as long as
you’d like. In Single Sweep mode, clicking on the
Trigger indicator re-arms the trigger. When the
Trigger mode is None, clicking on the Trigger
indicator has no effect.
Measurement information
You can view detailed information about a
particular time range by using the measurement
bars.
Figure 10-41: Measurement information
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To adjust the left and right edges of the
measurement area, click and drag the blue bars in
the graph, or click and drag the blue numbers in
the upper left or right corners. To reset them to the
default value, double-click the numbers.
Information about the measured area is displayed
at the center of the top ruler: the duration (in
seconds and samples), the approximate frequency,
and the scientific note name. If the measured area is
long enough, the approximate beats per minute
(bpm) is displayed.
Ideas for using the Oscilloscope
The Oscilloscope can be used in many useful ways
during the routine operation of your recording
studio. Here are just a few examples.
Analyzing and comparing harmonic content
The oscilloscope lets you “see” the nature of the
harmonic profile in any audio material. You can
also view two signals side by side (in stereo mode)
to compare their profiles and, if necessary, make
adjustments to the source of each signal and view
your changes in real time.
Viewing transients such as drum hits
If you loop a snare hit or other similar transient
audio clip and feed it through the oscilloscope, you
can more or less “freeze” the transient waveform in
the oscilloscope frame. This can be useful, for
example, for viewing the results of real-time
compression that you are applying with an effects
plug-in, as demonstrated in Figure 10-42. In this
example, a snare hit is being compressed by Digital
Performer’s Dynamics plug-in. As you make
adjustments to the compression plug-in’s settings,
you can see the transient waveform change the next
time the Oscilloscope triggers. For compression,
this can be particularly useful for balancing the
effect of the attack on the transient, relative to the
decay portion of the waveform. Conversely, you
can see the effect of the threshold setting directly
on the decay portion, relative to the attack. In
effect, you can see as well as hear the results of your
compression adjustments.
To view a transient waveform in the Oscilloscope
display, turn off Waveform Recognition and use the
Normal Trigger mode. Adjust the level high enough
to encompass the vertical amplitude of most of the
transient. If the transient pulse sweeps across the
screen, try raising the Holdoff level. Once the
Figure 10-42: Viewing transients in the Oscilloscope
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transient is settled in the display and fairly stable,
you may need to adjust the horizontal position to
center it in the display. These settings are depicted
in the example in Figure 10-42.
You can also pause the display at any time and
adjust the horizontal bounds to locate a transient.
Clip detection
You can use the Oscilloscope to detect clipping in a
digital audio signal. To do so, enable all criteria
(Figure 10-40 on page 105), choose Single Sweep
from the trigger menu (Figure 10-40), set the level
to 0.999 and click the trigger indicator
(Figure 10-40) to arm it (yellow). As soon as the
signal clips, the trigger indicator will turn red, and
the display will show the offending clip at the line
marking time equals zero.
Viewing timing pulses
If you have two audio signals with recognizable,
timed pulses in them, and you wish to compare
their timing with respect to each other, you can use
Split Screen or Shared view to visually compare the
timing of the two signals. You can zoom in to the
sample level for sample accurate viewing.
Building synthesizer patches
If you are building a synth patch on a synthesizer
(or forming similar highly periodic audio
material), you can run the audio signal through the
Oscilloscope as you adjust its sound to check in real
time for undesirable (and possibly inaudible)
characteristics, which are easily seen in the
Oscilloscope display. A good example is DC offset.
If a signal develops DC offset, the apparent vertical
center of its overall waveform will drift above or
below the line marking amplitude equals zero. Try
setting Waveform Recognition to Type I and setting
Trigger to None.
determining the resulting sound. You can use the
Oscilloscope to easily view and compare polarities
to see if they are inverted from one another or not.
The Add and Subtract L - R View menu settings are
particularly useful here.
You can also use the Oscilloscope to help you apply
waveform modulation and keep it “in bounds”. For
example, you could easily see if pulse width
modulation is collapsing in on itself to choke the
sound, an effect that is readily seen in the
Oscilloscope display but not necessarily easy to
determine by ear when using multiple modulation
sources.
Guitarists can also visually observe the effects of
their pedals and processing, while playing. With
the Trigger mode set to None and Waveform
Recognition set to Type I, the waveform will be
tracks automatically.
When applying filters and filter resonance, the
visual effect on the waveform can be invaluable in
reinforcing what you are hearing as you make
adjustments.
Monitoring control voltage output from Volta
MOTU’s Volta instrument plug-in for Mac OS X
turns your audio interface into a control voltage
interface, giving you precise digital control from
your favorite audio workstation software of any
hardware device with a control voltage (CV) input.
The CV signals output from Volta can be
monitored in the Oscilloscope, giving you visual
feedback on LFOs, envelopes, ramps, step
sequencers, and more.
For more information on Volta, see
www.motu.com.
Another example is waveform polarity. If you are
combining several raw waveforms, polarity is a
critical, yet not always obvious, factor in
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X-Y PLOT
The X-Y Plot window (Figure 10-43) graphs the
amplitude of a stereo audio signal on a twodimensional grid.
For each unit of time (i.e., each sample), the
amplitude of the left channel is displayed on the xaxis and the amplitude of the right channel is
displayed on the y-axis. A thick white vertical line
marks where left channel amplitude equals zero; a
thick white horizontal line marks where right
channel amplitude equals zero (Figure 10-43,
below). There are also thick white diagonal lines
for y = x and y = -x.
Metering
Level meters are displayed above and to the right of
the graph for the left (green) and right (red)
channels, respectively. An additional Correlation
meter (blue) is displayed on the right. This meter
displays the correlation between the two channels.
The higher the meter, the higher the correlation
between the two channels. Below are a few
examples:
Situation
Meter level X-Y Plot graph
Mathematical
relationship
Perfect correlation
+1
Diagonal line
going from
lower left to
upper right:
y=x
Zero correlation
0
No discernible pattern
None
Perfectly out of
phase
-1
Diagonal line
going from
upper left to
lower right:
y = -x
Opening the X-Y Plot
Each 828mk3 interface has its own X-Y Plot
window. Choose the X-Y Plot item from the
Devices menu under the desired interface.
Choosing a channel pair to display
The X-Y Plot follows the currently focused audio
input or output. If you focus a mono channel (e.g.
Analog 3), its corresponding stereo pair will be
displayed (Analog 3–4).
Figure 10-43: X-Y Plot
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View controls
The View controls (Figure 10-44) provide several
options for the X-Y Plot display.
Pause button
Figure 10-44: View controls
Pausing the display
The Pause button in the upper right corner of the
View section (Figure 10-44) allows you to freeze
the display at any time. To resume, click the button
again. The level meters will remain active while the
display is paused.
Line/Scatter
Choose either Line or Scatter from the menu in the
View section (Figure 10-44) to plot each point
(sample) as either a single pixel or as a continuous
line that connects each plot point to the next, as
shown below in Figure 10-45.
shown in white and then fades to gray. To adjust the
scale of this color/brightness change, see “Decay”
on page 111.
Axes
The Axes control (Figure 10-44) sets the opacity of
the grid displayed in the graph, from 100% (fully
visible) down to 0% (fully hidden).
Horizontal and vertical controls
The Horizontal and Vertical controls
(Figure 10-46) configure the value range of the xaxis (left channel amplitude), and y-axis (right
channel amplitude), respectively. Click and drag
the values up or down to set them, or double-click
to return to the default value.
There are two modes for the controls: Zoom/Offset
and Min/Max. To change the mode, use the menu
shown in Figure 10-46.
Figure 10-46: Setting the Horizontal or Vertical control modes.
In Zoom/Offset mode, Zoom scales the axis. Pos
moves the lines marking x = 0 left and right, or y =
0 up and down.
Figure 10-45: The same X-Y Plot displayed in Line versus Scatter
mode.
☛
Line mode is significantly more CPU intensive
than Scatter. You can reduce Line mode CPU
overhead on the X-Y Plot by reducing the Length
parameter (described below).
Color/Grayscale
In Color mode (Figure 10-44) the most recently
displayed audio data is shown in red, which fades
to yellow, green and then finally blue, before
disappearing. In Grayscale mode, data is first
In Min/Max mode, Min and Max let you scale the
grid by moving the -1.0 and +1.0 points along the
axis. Min/Max mode lets you control the graph
boundaries directly.
Persistence
The Persistence controls (Figure 10-47) affect the
appearance of data from when it is first displayed
until it disappears from the grid.
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Using the X-Y Plot
The X-Y Plot helps you “see” the width of the stereo
field of a mix. It also helps you determine if a mix
has issues with polarity, as follows:
Figure 10-47: The Persistence controls.
Length
Length (Figure 10-47) sets the number of recent
samples to show on the plot. For example, when
Length is set to 10,000, the 10,000 most recent
samples are shown.
Decay
The brightness (in Grayscale mode) or hue (in
Color mode) of each sample on the plot is
determined by a linear scale, with the most recent
sample displayed at the maximum value and the
oldest sample displayed at the minimum value.
Decay (Figure 10-47 on page 111) determines the
brightness or hue of the minimum value. When
Decay is zero, the oldest sample is black. When
Decay is +1.000, the oldest sample is fully opaque
(in Grayscale mode) or red (in Color mode).
Activity on the X-Y Plot
What it indicates
Signal activity occurs mostly
along the x = y axis (lower left
to upper right) and the Correlation meter reading is high
Left and right channels are predominantly in polarity (the stereo field is relatively narrow)
Signal activity occurs mostly
along the y = -x axis (upper left
to lower right) and the Correlation meter reading is low
(near -1)
Left and right channels are predominantly out of polarity (not
in phase)
Signal activity occurs in a
seemingly random fashion
throughout the grid
No phase relationship exists
(i.e. it is probably a wide stereo
field)
If a stereo signal is out of phase, it is not mono
compatible because it can cancel itself out, either
partially or nearly completely, when collapsed to
mono.
In polarity
Warp
Warp (Figure 10-47) determines the position of
data points after they are first drawn. When warp is
zero, data points remain in the same position.
When warp is positive, they contract towards the
origin (center of the grid). When warp is negative,
they expand away from the origin. The further the
warp value is from zero, the greater the effect.
Out of polarity
No polarity
Figure 10-48: Checking polarity in a stereo signal with the X-Y Plot.
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PHASE ANALYSIS
The Phase Analysis window (Figure 10-49 on
page 112) graphs frequency versus phase
difference versus amplitude of a stereo signal on
either rectangular or polar coordinates.
In rectangular coordinates, the vertical axis
represents frequency, and the horizontal axis
represents the phase of the left channel minus the
phase of the right channel (measured in radians).
In polar coordinates, the radius represents
frequency and the angle (theta) from the +y
vertical axis represents the phase difference of left
channel minus the right channel.
Opening the Phase Analysis
Each 828mk3 interface has its own Phase Analysis
window. Choose the Phase Analysis item from the
Devices menu under the desired interface.
Choosing a channel pair to display
The Phase Analysis window follows the currently
focused audio input or output. If you focus a mono
channel (e.g. Analog 3), its corresponding stereo
pair will be displayed (Analog 3–4).
View controls
The View controls (Figure 10-50) provide several
options for the Phase Analysis display.
Pause button
Correlation Meter
The blue Correlation Meter to the right of the
display shows the correlation between the two
channels. The higher the meter, the higher the
correlation between the two channels.
Figure 10-50: View controls
Figure 10-49: Phase Analysis
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Pausing the display
The Pause button in the upper right corner of the
View section (Figure 10-50) allows you to freeze
the display at any time. To resume, click the button
again. The correlation meter will remain active
while the display is paused.
A/B (stereo audio channels)
The View section (Figure 10-50) displays the pair
of input or output audio channels you are viewing.
See “Choosing a channel pair to display” above.
Line/Scatter
Choose either Line or Scatter from the menu in the
View section (Figure 10-50) to plot each data point
as either a single pixel or as a continuous line that
connects each frequency data point to the next, as
shown below in Figure 10-45.
and in polar coordinates, the radius from the
center is frequency. With a linear scale, frequencies
are spaced evenly; in a logarithmic scale, each
octave is spaced evenly (frequencies are scaled
logarithmically within each octave).
Linear is better for viewing high frequencies;
logarithmic is better for viewing low frequencies.
Rectangular/Polar
Choose either Rectangular or Polar from the menu
in the View section (Figure 10-50) to control how
audio is plotted on the Phase Analysis grid.
Rectangular plots the audio on an X-Y grid, with
frequency along the vertical axis and phase
difference on the horizontal axis. Polar plots the
data on a polar grid with zero Hertz at its center.
The length of the radius (distance from the center)
represents frequency, and the angle (theta)
measured from the +y (vertical) axis represents the
phase difference in degrees.
Figure 10-51: The same Phase Analysis displayed in Line versus
Scatter mode.
☛
Line mode is significantly more CPU intensive
than Scatter. You can reduce Line mode CPU
overhead for the Phase Analysis display by
increasing the Floor filter and reducing the Max
Delta Theta filters (see “Filters” on page 114).
Color/Grayscale
In Color mode (Figure 10-50) signal amplitude is
indicated by color as follows: red is loud and blue is
soft. In grayscale mode, white is loud and gray is
soft.
Linear/Logarithmic
Choose either Linear or Logarithmic from the
menu in the View section (Figure 10-50) to change
the scale of the frequency axis. In rectangular
coordinates, the vertical axis represents frequency,
Figure 10-52: Rectangular versus Polar display (with a linear plot).
Above, Figure 10-52 shows Rectangular versus
Polar display with a Linear plot. Below,
Figure 10-53 show s the same displays (and the
same data) with a Logarithmic plot:
Figure 10-53: Rectangular versus Polar display with a logarithmic
plot.
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Axes
The Axes control (Figure 10-50) sets the opacity of
the grid displayed in the graph, from 100% (fully
visible) down to 0% (fully hidden).
Horizontal and vertical controls
The Horizontal and Vertical controls
(Figure 10-54) let you scale each axis of the grid
and offset its zero point. Click and drag the values
up or down to set them, or double-click to return
to the default value.
There are two modes for the controls: Zoom/Offset
and Min/Max. To change the mode, use the menu
shown in Figure 10-54.
Figure 10-54: Setting the Horizontal or Vertical control modes.
In Zoom/Offset mode, Zoom scales the axis. Pos
moves the zero line.
In Min/Max mode, Min and Max let you scale the
grid by moving the end points along the axis. Min/
Max mode lets you set the boundaries of the graph
directly.
Filters
The Filters section (Figure 10-55) lets you control
the density of the Phase Analysis display.
Figure 10-55: Filters
Floor
Floor (Figure 10-55) determines the amplitude
threshold for the display. When the amplitude of
both channels drops below this threshold, the
signal is not shown.
Max delta theta
Max delta theta (Figure 10-55) only affects Line
view (see “Line/Scatter” on page 113) and sets the
maximum difference in frequency between plot
points in the line plot. For two adjacent
frequencies, if the distance (phase difference)
between the two frequencies is greater than the
Max delta theta, then the line is not drawn.
Using the Phase Analysis
In the polar display (top row of Figure 10-56 on
page 115), stereo material that is predominantly
phase-aligned (correlated) appears along the
vertical axis, as demonstrated in the first column
(Perfectly in phase) in Figure 10-56. If the vertical
line tilts left or right, this indicates general
differences in phase; the more the tilt (delta theta),
the more the phase difference. If the vertical line
points downwards in the polar display, this
indicates that the stereo image is predominantly
out of polarity, as demonstrated by the fourth
column (Inverted) in Figure 10-56. Delays appear
as spirals in the polar display.
The rectangular display (bottom row of
Figure 10-56) also shows a predominantly phasealigned stereo image along the vertical axis, and tilt
(or left-right offset) from the center vertical axis
represents differences in phase. If a signal is
predominantly out of polarity, it appears along the
theta = -1.0 or theta = +1.0 lines in the rectangular
display, as demonstrated in the fourth column
(Inverted) in Figure 10-56 on page 115.
Using Phase Analysis for multiple mic placement
The polar display can be very useful when
recording drums or another instrument with
multiple microphones. The slight delays caused by
the differences in distance to the source can often
create a comb filtering (delay) effect between two
mic signals, due to phase cancellation. These comb
filter effects appear as spirals in the polar display. If
you arrange the mics so that the null points (where
the spiral pattern meets the negative y axis) are
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outside the critical frequency range of the
instrument being recorded, you can avoid phase
problems among the mic signals.
In the polar view, any signal that falls on the
negative y axis (below zero) in polar view will be
canceled out when the signal is summed to mono.
Tuning PA systems
The Phase Analysis window can also be used to
troubleshoot and tune PAs and sound
reinforcement systems by placing microphones in
strategic locations, comparing the two signals in
the Phase Analysis grid and looking for phase
issues at various locations.
Checking for phase issues in stereo tracks
You can use the Phase Analysis window to check
the overall polarity of a stereo mix. Figure 10-57 is
an example of a full stereo mix that has phase
issues, as indicated by the majority of the signal’s
energy, which is predominantly skewed to the left
side of the rectangular view (left) and spread along
the -y axis in the polar view (right).
Summing to mono
The Phase Analysis window is ideal for checking
stereo audio that needs to be summed to mono.
The Phase Analysis lets you see what frequencies
will be canceled out when summed.
In the rectangular view, any lines in the signal that
touch the +1.0 or -1.0 vertical lines in the grid will
be canceled out at the frequency where they touch,
when the signal is summed to mono.
Perfectly in phase
Figure 10-57: A stereo mix with phase issues.
One-sample delay
Twenty-sample delay
Inverted
Polar view
Rectangular
view
Figure 10-56: Two identical audio streams in the Phase Analysis.
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TUNER
Meter value: difference between the detected note
and the detected frequency, in cents.
Arrows: the direction in which the detected
The Tuner window is an accurate and easy to use
tuner.
Opening the Tuner
Each 828mk3 interface has its own Tuner window.
Choose the Tuner item from the Devices menu
under the desired interface.
Choosing a channel pair to display
The Tuner window follows the currently focused
audio input or output. If you focus a mono channel
(e.g. Analog 3), its corresponding stereo pair will
be displayed (Analog 3–4).
Choosing the channels to tune
The displayed channel pair is shown in the lower
left corner. Each channel has a checkbox to enable
or disable its input to the tuner.
Tuner controls
Detected frequency: fundamental frequency of the
incoming signal, in Hertz (Hz).
Detected note: note name and octave that
correspond to the detected fundamental
frequency.
Meter: representation of the pitch difference
between the detected note and the detected
fundamental frequency. The horizontal position of
the illuminated segments indicates how far the
detected frequency is from the detected note. The
number of illuminated segments indicates
uncertainty or inharmonicity in the signal; a
greater number of illuminated segments represents
greater uncertainty. The color of the segments
changes gradually from green (in tune) to yellow,
orange, and red (progressively further out of tune).
frequency needs to move to match the frequency of
the detected note. The color of the arrows changes
progressively in the same manner as the meter
segments. When the detected fundamental
frequency matches the detected note within
three cents, both arrows will be illuminated.
Reference frequency: sets the frequency reference
for the pitch A4, between 400 and 480 Hz. The
default frequency is 440 Hz.The reference
frequency can be adjusted by dragging on the bar
below the number, or by clicking the number and
typing a value. To reset the tuner to the default
frequency, double-click the slider, or click the
number, press the Delete key, and press Enter.
Tuning stereo signals
When tuning a stereo signal, the tuner analyzes the
sum of the two channels. If the channels are not
phase coherent, the tuner may not be able to
measure the frequency of the signal. To tune only
one channel of the channel pair, disable one of the
channels as described in “Choosing the channels to
tune”.
CONFIGURATIONS MENU
A configuration is just like a hardware preset (a
“snapshot” of all settings in CueMix FX and
therefore the 828mk3 hardware itself), except that
it can be created and managed using the CueMix
FX software on your computer, completely
independently of the 828mk3 hardware. The
commands in the Configurations menu let you
create, save, load, import, export and otherwise
manage as many configurations as you wish.
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Here is a summary of Configurations menu
operations:
3 Type in a name, choose a preset slot and click
OK.
Configurations
Menu item
Saving a hardware preset as a CueMix FX
configuration
To save a hardware preset as a CueMix FX configuration:
What it does
Create New
Lets you name and save a new configuration,
which appears at the bottom of the Configurations menu.
Save
Overwrites the current configuration
(checked in the list at the bottom of the menu)
with the current settings in CueMix FX.
Save To
Same as Save above, except that it lets you first
choose the configuration you wish to save to
(instead of the current one).
Delete
Lets you choose a configuration to permanently remove from the menu.
Import
Loads all configurations from a configuration
file on disk.
Export
Saves all current configurations as a file on
disk.
Configuration
list
Choose any configuration to load it. The current (last loaded or saved) configuration has a
check mark next to it.
Modifying a configuration
The name of the current configuration is displayed
in the CueMix FX window title bar. If you make any
changes to the settings in CueMix FX, an asterisk
appears in front of the name to remind you that the
current state of CueMix FX doesn’t match the saved
configuration. If you wish to update the saved
configuration with the new changes, use the Save
command. To save the current state of CueMix FX
to another configuration, choose Save To. To save
as a new, separate configuration, choose Create
New.
Saving a CueMix FX configuration as a
hardware preset
To save a CueMix FX configuration as a hardware
preset:
1 Choose the configuration from the
Configurations menu to make it the current active
configuration.
1 Choose File menu> Load Hardware Preset to
make it the current active preset.
2 Choose Configuration menu> Create New (or
Save To) to save it as a configuration.
TALKBACK MENU
Choose the commands in the Talkback menu to
engage or disengage Talkback or Listenback.
PHONES MENU
The Phones menu allows you to choose what you
will hear on the headphone output, just like the
Phones setting in MOTU Audio Setup. However,
this menu provides one extra option that is
exclusive to CueMix FX: Follow Active Mix. This
menu item, when checked, causes the headphone
output to mirror the output of the current mix
being viewed in CueMix FX. For example, if you
are currently viewing mix bus 3, the headphones
will mirror the mix bus 3 output (whatever it is
assigned to).
CONTROL SURFACES MENU
CueMix FX 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 FX
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
2 Choose File menu> Save Hardware Preset.
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that is not currently being displayed, CueMix FX
will jump to the appropriate tab to display the
control you are adjusting.
Share surfaces with other applications
When the Share surfaces with other applications
menu command is checked, CueMix FX releases
the control surface when you switch to another
application. This allows you to control your other
software with the control surface. Here’s a simple
way to understand this mode: the control surface
will always control the front-most application. 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 FX from the control surface, just bring
CueMix FX to the front (make it the active
application).
When this menu item is unchecked, your control
surface will affect CueMix FX all the time, even
when CueMix FX 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 FX 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.
CueMix Control Surfaces
CueMix FX includes support for the following
control surface products:
■
Mackie Control™
■
Mackie HUI™
■
Mackie Baby HUI™
Use the sub-menu commands in the CueMix
Control Surfaces menu item to turn on and
configure control surface support, as described
briefly below.
Enabled
Check this menu item to turn on control surface
operation of CueMix FX. Uncheck it to turn off
control surface support.
Configure…
Choose this menu item to configure your control
surface product. Open the help files for specific,
detailed instructions on configuring CueMix FX
for operation with your control surface product.
Figure 10-58: Refer to the extensive on-line help for details about
configuring CueMix FX 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 FX. Just
add a Mackie HUI to Audio MIDI Setup and put
the control surface hardware into HUI emulation
mode. Consult the control surface manual for
details about how put it into HUI emulation mode.
Other control surface hardware products
If you install other control surface drivers written
for CueMix FX, they will appear as separate menu
items at the bottom of the Control Surfaces menu,
with the same sub-menu items described above.
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CHAPTER 11
MOTU SMPTE Setup
OVERVIEW
MOTU SMPTE SETUP
The 828mk3 can resolve directly to SMPTE time
code via any analog input, without a separate
synchronizer. The 828mk3 can also generate time
code via its time code output. The 828mk3
provides a DSP-driven phase-lock engine with
sophisticated filtering that provides fast lockup
times and sub-frame accuracy. Direct time code
synchronization is supported by AudioDesk and
Digital Performer on Mac OS X. Other hosts, such
as Pro Tools, can resolve to MIDI Time Code
generated by the 828mk3 Hybrid.
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.
MOTU SMPTE Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Clock/Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Reader section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Generator section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Setting up for SMPTE time code sync . . . . . . . . . . . . . . . 121
Resolving DP or AudioDesk to time code . . . . . . . . . . . 121
Resolving Pro Tools to time code . . . . . . . . . . . . . . . . . . . 122
Resolving other hosts to time code . . . . . . . . . . . . . . . . . 122
The Reader section provides settings for
resolving to SMPTE time code.
CLOCK/ADDRESS
The Clock/Address menu (Figure 11-1) provides
the same global Clock Source setting as in MOTU
Audio Setup (“Clock Source” on page 39), 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 828mk3 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 828mk3 can autoThe Generator section provides settings
for striping SMPTE time code.
Figure 11-1: SMPTE Setup gives you access to your 828mk3’s on-board SMPTE time code synchronization features.
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detect and switch to the incoming frame rate,
except that it cannot distinguish between 30 fps
and 29.97 fps time code, or 23.976 and 24 fps time
code. So if you are working with either of these
rates, make sure you choose the correct rate from
this menu. The 828mk3 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 828mk3 can freewheel past the dropout and then resume lockup again as soon as it
receives readable time code. Choose the amount of
time you would like the 828mk3 to freewheel
before it gives up and stops altogether.
READER SECTION
The 828mk3 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 Reader section (on the left-hand side of the
window in Figure 11-1) provides settings for
synchronizing the 828mk3 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
828mk3 has successfully achieved lockup to
SMPTE time code and SMPTE frame locations are
being read.
Clock
The Clock light glows continuously when the
828mk3 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
828mk3 has successfully achieved lockup to
SMPTE time code.
Freewheel
The Freewheel light illuminates when the 828mk3
is freewheeling address (time code), clock or both.
For details about Freewheeling, see “Freewheel
Address” and “Freewheel clock” below.
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 828mk3 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 828mk3 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 that is connected to the
time code source. This is the input that the 828mk3
“listens” to for time code.
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The 828mk3 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 828mk3 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 11-1) 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 828mk3.
The level knob disappears when the Destination is
set to None.
Tach light
The Tach light blinks once per second when the
828mk3 is generating SMPTE time code.
Destination
In the Destination menu, choose either SMPTE (to
generate time code) or None (to turn it off).
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.
Click here to edit
the start time, or
drag vertically
on the numbers.
Figure 11-2: Setting the time code start time.
Regenerate
This option, when enabled, causes the generator to
generate time code whenever the 828mk3 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.
SETTING UP FOR SMPTE TIME CODE SYNC
To set up direct SMPTE time code synchronization, see “Syncing to SMPTE timecode” on
page 27.
RESOLVING DP OR AUDIODESK TO TIME
CODE
To resolve Digital Performer or AudioDesk directly
to time code with no additional sync devices, use
the setup shown in “Syncing to SMPTE timecode”
on page 27. Choose Receive Sync from the Setup
menu and choose the Sample accurate option.
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 the 828mk3 time
code input, and that you’ve specified that input in
SMPTE Source menu in SMPTE Setup.
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RESOLVING PRO TOOLS TO TIME CODE
RESOLVING OTHER HOSTS TO TIME CODE
To resolve your Pro Tools system directly to
SMPTE time code with no additional synchronization devices, use the setup shown in “Syncing to
SMPTE timecode” on page 27.
The 828mk3 Hybrid has the ability to convert
incoming SMPTE time code (LTC) to MIDI Time
Code and send it to your host audio software,
which can resolve to it. To do so, use the setup
shown in “Syncing to SMPTE timecode” on
page 27. Here is the basic procedure:
1 Connect an LTC signal to the 828mk3 time code
input (or other analog input).
2 In MOTU SMPTE Setup, go to the SMPTE
Source menu and choose the SMPTE input (or
other analog input that is receiving the time code).
3 In MOTU SMPTE Setup, go to the Clock Source
menu and choose SMPTE/SMPTE as the clock
source.
4 Make the other settings in MOTU SMPTE Setup
as desired. Refer to their sections in this chapter for
more information.
5 In Pro Tools, choose Peripherals from the Setup
menu and click the Synchronization tab.
6 Choose the 828mk3 Hybrid Sync Port from the
MTC Reader Port menu.
1 Connect an LTC signal to the 828mk3 time code
input (or other analog input).
2 In MOTU SMPTE Setup, go to the SMPTE
Source menu and choose the SMPTE input (or
other analog input that is receiving the time code).
3 In MOTU SMPTE Setup, go to the Clock Source
menu and choose SMPTE/SMPTE as the clock
source.
4 Make the other settings in SMPTE Setup as
desired. Refer to their sections in this chapter for
more information.
5 In your host audio software, make the necessary
settings for resolving it to MIDI Time Code. Refer
to your host audio software documentation for
further information. The 828mk3 Hybrid driver
provides a separate MIDI Sync Port for the time
code, so when you specify the MIDI port to follow,
be sure to choose the Sync Port.
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CHAPTER 12
Troubleshooting
Slaving directly to time code in AudioDesk or
Digital Performer
To slave Digital Performer or AudioDesk directly to
time code, be sure to go to the Receive Sync dialog
in Digital Performer or AudioDesk and switch
from “MTC” to “Sample-accurate.”
Can’t authenticate AudioDesk
When authenticating AudioDesk, the OK button
does not become active until you have entered in
your name and a valid keycode. Your name must
contain at least three characters, and you must
enter the keycode exactly as it appears (on the
jacket of your AudioDesk installer disc). If you
continue to have difficulties, try repairing
Mac OS X disk permissions using Disk Utility.
Clicks and pops under word clock sync
Many problems result from incorrect word
clocking. It is essential that all digital devices in the
system be word locked. Consult “Making sync
connections” on page 26 for detailed information
on how to word clock your gear. Whenever there is
any weird noise or distortion, suspect incorrect
word lock.
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 828mk3. 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 or there are other drive-related issues.
If you are using a FireWire drive on the same bus as
the 828mk3, it could be that the FireWire bus is
overloaded (too many devices on the same bus).
Try removing all devices except the 828mk3.
Connecting or powering gear during operation
It is not recommended that you connect/
disconnect, or power on/off devices connected to
the 828mk3 while recording or playing back audio.
Doing so may cause a brief glitch in the audio.
828mk3 inputs and outputs are not available in
host audio software
Make sure that the inputs and outputs are enabled.
See “Working with 828mk3 inputs and outputs” on
page 57.
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 the 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 828mk3’s hardware-based CueMix FX
monitoring feature. Please see chapter 9,
“Reducing Monitoring Latency” (page 67).
Controlling monitoring latency
See chapter 9, “Reducing Monitoring Latency”
(page 67).
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 online at
MOTU.com, or fill out and mail the included
registration card. Doing so entitles you to technical
support and notices about new products and
software updates.
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REPLACING DISCS
If your installer disc becomes damaged, 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.
TECHNICAL SUPPORT
If you are unable, with your dealer’s help, to solve
problems you encounter with the 828mk3 system,
you may contact our technical support department
in one of the following ways:
■ Tech support hotline: (617) 576-3066 (Monday
through Friday, 9 a.m. to 6 p.m. EST)
■
Online support: www.motu.com/support
Please provide the following information to help us
solve your problem as quickly as possible:
■ The serial number of the 828mk3 system. This is
printed on a sticker placed on the bottom of the
828mk3 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 828mk3 or AudioDesk with which you are
having trouble.
The version of your computer’s operating
system.
■
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 828mk3 Development Team, MOTU
Inc., 1280 Massachusetts Avenue, Cambridge, MA
02138.
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1
Index
+4dB analog input 20
.kext 33
-10dB analog input 20
1394 connector 6, 12, 17, 18
192kHz
multiple interfaces 31
operation 38
24-bit
Digital Performer 55
optical 6, 11
recording 13
828/828mkII
connecting to 828mk3 31
828mk3
connecting multiple interfaces 31
expansion 29
installing 17
rear panel overview 10
SMPTE setting 40
summary of features 9
tab (MOTU Audio Setup) 38
Word Clock In setting 39
896HD
connecting to 828mk3 31
A
Ableton Live 62
Activity LEDs 5, 13
ADAT optical 6, 11
clock source setting 39, 40
connecting 21
SMUX Type 46
sync 27
trim 80
All Notes Off (LCD) 46
Analog activity lights 5, 13
Analog inputs/outputs 6
making connections to 20
trim 80
Analysis tools 100
Apple
GarageBand 61
Logic Pro/Express 61
Soundtrack Pro 61
Application follows control surface 117
Attack
compressor 92
Audio
bit resolution 38
MIDI Setup utility 34
Audio menu (LCD) 46
Audio Setup software 33
AudioDesk 14, 33, 35, 53
accessing 828mk3 settings 37
Avid Pro Tools 60
resolving to time code 122
B
Balance 78
Balanced analog 20
Buffer Size 54
Built-in Audio (clock source setting) 40
Bus
activity LEDs 84, 94
fader 77
C
Channel tab 83
reverb settings 84
Clear Peaks 100
Clock
192kHz operation 38
Clock LEDs 5, 13
Clock source 7, 26, 39
SMPTE setting 40
Coax 11
Cockos Reaper 63
Comp button 94
Compressor 92
enabling 92
Condenser mic input 5, 20
Configurations menu 116
Configure Hardware Driver 37
Configure interface 30
Connecting multiple 828mk3s 29
Control Surfaces menu 117
Controller
connecting 23
Converter mode
setup/example 25
Converters 6
Copy/Paste 100
Core Audio
defined 33
CoreMIDI
Audio MIDI Setup 34
benefits 34
Correlation Meter 112
Cubase 37
Audio Buffer Size 62
clock source 59
Mac OS X 62
Main Outs Assign 60
optical I/O 60
phones 60
Return Assign 60
reverb return 60
sample rate 59
CueMix FX 71, 73-118
Application follows control surface
117
Configurations menu 116
control surfaces 118
Control Surfaces menu 117
CueMix control surfaces 118
Devices menu 100
Digital Performer 56
Edit Channel Names 7
Edit menu 100
File menu 99
focus 76
installation 75
Listenback explained 97
listenback settings 98
Mac OS X software 65
Mixer 43
output jacks 6, 21
overview 74, 75
Phones menu 117
Share surfaces with other applications 118
shortcuts 99
signal flow 79
stand-alone operation 74
Talkback menu 117
talkback settings 97, 98
CueMix menu 47
Customer
support 123
D
Daisy-chaining 31
DAT
connecting 24
Default Stereo Input/Output 7, 40
Devices menu 100
Digital converter (see Optical converter)
Digital Performer 14, 53
accessing 828mk3 settings 37
clock source 54
Main Outs Assign 55
Optical input/output 55
phones 54
reverb return 55
sample rate 54
synchronization 56
Disc, replacing 124
Drivers, installing 33
DSP
meter 75, 97
resources 74, 97
Dynamic mic 20
Dynamics
enabling 81, 92
graph 80
inputs 80
outputs 82
tab 92
E
Early reflections 96
Edit Channel Names 7, 42
EQ
enabling 81, 85
filter types 87
frequency 87
gain 87
graph 80
inputs 80
outputs 82
Q 87
tab 85
Expansion 29
F
Factory defaults 46
Feedback loops 55, 60
FFT display 100
File menu
Clear Peaks 100
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Copy/Paste 100
Hardware Follows CueMix Stereo
Settings 99
Load Hardware Preset 99
Mix1 return includes computer 99
Mix1 return includes computer output 100
Peak/Hold Time 99
Save Hardware Preset 99
Show meter in dock icon 99
undo/redo 100
FireWire 12
connecting 17, 18
connector 6
Focus 76
Inputs tab 80
Mixes tab 78
Outputs tab 82
Follow Active Mix 117
Foot switch 12, 42
3rd party OS X software 66
configuring 7
connecting 23
Digital Performer 57
jack 6
Force 1x word out rate 29
Freewheel
address 120
clock 120
infinite 120, 121
Frequency
EQ 87
Front panel 43
metering 44
G
Gain
EQ 87
reduction 92
reduction (Leveler) 94
GarageBand 61
clock source 59
Main Outs Assign 60
optical I/O 60
phones 60
Return Assign 60
reverb return 60
sample rate 59
General tab 38
Generate from sequencer 121
GR (gain reduction) 92
Guitar
connecting 20
Guitar/mic inputs
connecting 24
phantom power 5
H
Hardware Follows CueMix Stereo Settings
99
Hardware follows CueMix Stereo Settings
99
Hardware reset 46
Headphone jack 5, 12, 43
Headphones
connecting 24
controlling output 41
HUI 118
IiMovie
audio input/output 40
In menu (LCD) 47
Infinite freewheel 120, 121
Inputs
analog 6
naming 78, 79
optical 6
pan 78
reverb send 81
S/PDIF (RCA) 6
tab 79
trim 80
Installation
hardware 17
Installer disc, replacing 124
Internal (sync setting) 39
Invert phase 80
iTunes
audio input/output 40
K
kext 33
Keyboard controller
connecting 23
L
Latency 67, 70, 74
Launch MOTU Audio Setup when hardware becomes available 42
LCD
contrast 46
LCD display 45
Level meter
bus 78
monitor group 97
Leveler 92, 93
Lightpipe
2x mode 46
Limit button 94
Listenback
button (channel tab) 84
button (Outputs tab) 82
explained 97
Live 62
Load Hardware Preset 99
Logic Pro/Express 61
clock source 59
Main Outs Assign 60
optical I/O 60
phones 60
Return Assign 60
reverb return 60
sample rate 59
M
M/S 84
Mac OS X 59
3rd party software sync 65
input and output names 63
sound input/output 7, 40
Mackie Control 118
Main outs
jacks 6
making connections to 21
volume 5, 43
Main Outs Assign 41
Digital Performer 55
Mac OS X audio software 60
Makeup gain 94
Master fader
mix busses 77
Master volume 5, 43, 96
Meters
monitor group 97
Meters tab 94
Mic/guitar inputs 19, 43
connecting 24
phantom power 5
trim 80
V-Limit 44
Mic/instrument inputs
overview 12
MIDI
driver 33
Mid-side micing 84
Mix bus
activity LEDs 84, 94
level meter 78
master fader 77
mute 78
Mix1 return includes computer 99
Mix1 return includes computer output 100
Mixes tab 77
Monitor group 96
assigning outputs 97
assigning outputs to 82
level 96
meters 97
presets menu 97
Monitoring 68
thru main outs 21
Mono button 80
MOTU
Audio System
bit resolution 38
MIDI driver 33
MOTU Audio Setup 33, 37
Edit Channel Names 42
MOTU SMPTE Setup 119
N
Naming
inputs 79
outputs 81
Normal 84
Nuendo 37
clock source 59
Mac OS X 62
Main Outs Assign 60
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optical I/O 60
phones 60
Return Assign 60
reverb return 60
sample rate 59
O
Optical
2x mode 46
choosing format (ADAT or
TOSlink) 41
connectors 6, 21
LEDs 5, 13
overview 11
trim 80
Optical converter mode 46
setup/example 25
Optimization 70
OS X audio software
clock source 59
Main Outs Assign 60
optical I/O 60
phones 60
Return Assign 60
reverb return 60
sample rate 59
Oscilloscope 103
Output level (meter in Dynamics plug-in)
93
Outputs
analog 6
dynamics 82
EQ 82
naming 81
optical 6
reverb send/return 82
S/PDIF (TOSLink) 6
signal flow 81
tab 81
Overload Protection 84
P
Packing list 15
Pad 19
Paste 100
Patch thru
latency 70
Peak mode 93
Peak/Hold Time 99
Pedal 12, 42
3rd party OS X software 66
configuring 7
Digital Performer 57
jack 6
Pedal A 23
Pedal B/LRC 23
Performance 70
Phantom power 19, 20
Phase 80
Phase Analysis 112
Phase-lock 26
Phones 5, 41, 43, 44, 64, 65
Digital Performer 54
menu 117
Phones 1-2 output
3rd party software 60
Digital Performer 55
Pre/post FX buttons 84, 94
PreDelay 96
Presets
naming/saving in LCD 46
Pro Tools 60
resolving to time code 122
Propellerhead Reason 63
Propellerhead Record 63
Punch in/out 12
Q
Q 87
R
Ratio
compressor 92
Reaper 63
Reason 63
Record 63
Regenerate 121
Registration 15
Release
Dynamics 92
Return Assign 41
Digital Performer 55
Mac OS X audio software 60
Reverb 76
design section 96
early reflections 96
enabling/disabling 95
input sends 81
mix bus send/return 77, 78
outputs send/return 82
predelay 96
returns 95
routing to/from 95
send (channel tab) 84
sends 95
shelf filter 96
tab 95
time 96
trim (channel tab) 84
width 96
Reverb return 95
Digital Performer 55
OS X audio software 60
RMS mode 93
S
S/MUX 46
S/PDIF 11
clock source setting 39
connection 22
lights 5, 13
optical 6, 11
RCA 6
sync 28
trim 80
Sample rate 7, 38
192kHz operation 38
Samplers
connecting 24
Save Hardware Preset 99
Setup menu (LCD) 46
Share surfaces with other applications 118
Shelf Filter 96
Shortcuts 99
Show
Band Response 100
FFT 100, 101
no analysis 100
Spectrogram 100, 101
Show EQ Controls 102
Show meter in dock icon 99
Show/Hide Full Window Analysis 100
Signal flow (CueMix FX mixer) 79
SMPTE
overview 119
Setup application 119
source setting 120
sync 26, 119
Soft Clip 12, 44, 84
Solo
light 78, 97
Sound module
connecting 23
Soundtrack Pro 61
clock source 59
Main Outs Assign 60
optical I/O 60
phones 60
Return Assign 60
reverb return 60
sample rate 59
Spectrogram 100
Split Point 95
Stand-alone operation 43, 51, 74
Stereo button 80
Stereo settings (Channel tab) 84
Stop Freewheeling 120
Stripe button 121
Studio setup (example) 24
Swap L/R 84
Synchronization 26
Digital Performer 56
Mac OS X software 65
multiple interfaces 30
word clock 31
Synths
connecting 24
System preferences
sound input/output 7, 40
System requirements
minimum 15
recommended computer 15
T
TACH
light (SMPTE Setup Console) 120
Talkback
button (Channel tab) 84
button (Outputs tab) 82
explained 97
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menu 98, 117
settings 98
Tascam
Sync 27
Technical support 123, 124
Threshold
dynamics 92
Time code sync 119
TOSLink 6, 11
clock source setting 40
connecting 21
trim 80
Trim 19, 80
Troubleshooting
EQ knobs don’t work 81
feedback loop 55, 60
TRS connectors 20
Tuner 116
Type I, II optical mode 46
U
UltraLite
connecting to 828mk3 31
Unbalanced analog 20
Undo/Redo 100
USB2 12
User def. (monitor group menu) 97
V
Video sync 26, 119
V-Limit 44, 84
Volume
headphone 12
W
Width 78
reverb 96
Width knob 84
Word clock 6, 12, 26, 28, 31
In setting 39
sync setting 39
Word Out 42
X
X-Y Plot 109
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