!828 Manual/Mac Page 1 Tuesday, May 27, 2003 1:45 PM
MOTU 828mkII
™
User’s Guide for Macintosh
1280 Massachusetts Avenue
Cambridge, MA 02138
Business voice: (617) 576-2760
Business fax: (617) 576-3609
Technical support: (617) 576-3066
Tech support fax: (617) 354-3068
Tech support email: techsupport@motu.com
Web site: www.motu.com
!828 Manual/Mac Page 2 Tuesday, May 27, 2003 1:45 PM
SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS
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 828mkII COULD CAUSE AN ELECTRICAL SHOCK.
The MOTU 828mkII 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 828mkII 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
Make sure this is connected to a
known ground.
3-prong plug
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 828mkII plug.
IMPORTANT SAFEGUARDS
1.
2.
3.
4.
5.
6.
7.
8.
Read instructions - All the safety and operating instructions should be read before operating the MOTU 828mkII.
Retain instructions - The safety instructions and owner's manual should be retained for future reference.
Heed Warnings - All warnings on the MOTU 828mkII and in the owner's manual should be adhered to.
Follow Instructions - All operating and use instructions should be followed.
Cleaning - Unplug the MOTU 828mkII from the computer before cleaning and use a damp cloth. Do not use liquid or aerosol cleaners.
Overloading - Do not overload wall outlets and extension cords as this can result in a risk of fire or electrical shock.
Power Sources - This MOTU 828mkII should be operated only from the type of power source indicated on the marking label. If you are not sure of the type of power supply to your location, consult your local power company.
Power-Cord Protection - Power-supply cords should be routed so that they are not likely to be 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 MOTU 828mkII.
9. Lightning - For added protection for the MOTU 828mkII during a lightning storm, unplug it from the wall outlet.This will prevent damage to the MOTU 828mkII due to lightning and power line surges.
10. Servicing - Do not attempt to service this MOTU 828mkII yourself as opening or removing covers will expose you to dangerous voltage and other hazards. Refer all servicing to qualified service personnel.
11. Damage Requiring Service - Unplug the MOTU 828mkII from the computer and refer servicing to qualified service personnel under the following conditions.
a. When the power supply cord or plug is damaged.
b. If liquid has been spilled or objects have fallen into the MOTU 828mkII.
c. If the MOTU 828mkII has been exposed to rain or water.
d. If the MOTU 828mkII does not operate normally by following the operating instructions in the owner's manual.
e. If the MOTU 828mkII has been dropped or the cabinet has been damaged.
f. When the MOTU 828mkII exhibits a distinct change in performance, this indicates a need for service.
12. 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.
13. Safety Check - Upon completion of any service or repairs to this MOTU 828mkII, 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°)
AVOID THE HAZARDS OF ELECTRICAL SHOCK AND 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.
INPUT
Line Voltage: 100 - 120 volts AC, RMS (US and Japan) or 220 - 250 volts AC, RMS (Europe). Frequency: 47 - 63 Hz single phase. Power: 7 watts maximum.
CAUTION: DANGER OF EXPLOSION IF BATTERY IS REPLACED. REPLACE ONLY WITH THE SAME OR EQUIVALENT TYPE RECOMMENDED BYMANUFACTURER. DISPOSE OF USED BATTERY ACCORDING TO MANUFACTURER’S INSTRUCTIONS.
!828 Manual/Mac Page iii Tuesday, May 27, 2003 1:45 PM
Contents
5
Quick Reference: 828mkII Front Panel
6
Quick Reference: 828mkII Rear Panel
7
Quick Reference: MOTU FireWire Audio
Console
9
About the 828mkII
15
Packing List and Macintosh System
Requirements
17
Installing the 828mkII Hardware
35
Installing the 828mkII Macintosh Software
41
MOTU FireWire Audio Console (Mac OS X)
47
MOTU FireWire Control Panel (Mac OS 9)
53
828mkII Front Panel Operation
59
Digital Performer
65
AudioDesk
73
Other Mac OS X Audio Software
79
Cubase, Nuendo and OS 9 ASIO Software
89
Reducing Monitoring Latency
97
CueMix Console
103
MOTU SMPTE Console
107
Troubleshooting
109
Index
III
!828 Manual/Mac Page 0 Tuesday, May 27, 2003 1:45 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 © 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 NINETY (90) DAYS
from the date of original retail purchase. This warranty applies only to hardware
products; MOTU software is licensed and warranted pursuant to separate written
statements.
If you discover a defect, first write or call Mark of the Unicorn at (617) 576-2760 to
obtain a Return Merchandise Authorization Number. No service will be performed on
any product returned without prior authorization. MOTU will, at its option, repair or
replace the product at no charge to you, provided you return it during the warranty
period, with transportation charges prepaid, to Mark of the Unicorn, Inc., 1280
Massachusetts Avenue, MA 02138.You must use the product’s original packing
material for in shipment, and insure the shipment for the value of the product. Please
include your name, address, telephone number, a description of the problem, and
the original, dated bill of sale with the returned unit and print the Return Merchandise
Authorization Number on the outside of the box below the shipping address.
This warranty does not apply if the equipment has been damaged by accident,
abuse, misuse, or misapplication; has been modified without the written permission
of MOTU, or if the product serial number has been removed or defaced.
ALL IMPLIED WARRANTIES, INCLUDING IMPLIED WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE
LIMITED IN DURATION TO NINETY (90) DAYS FROM THE DATE OF THE
ORIGINAL RETAIL PURCHASE OF THIS PRODUCT.
THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE
AND IN LIEU OF ALL OTHERS, ORAL OR WRITTEN, EXPRESS OR IMPLIED.
No MOTU/S&S dealer, agent, or employee is authorized to make any modification,
extension, or addition to this warranty.
MOTU/S&S ARE NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR
CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF
WARRANTY, OR UNDER ANY LEGAL THEORY, INCLUDING LOST PROFITS,
DOWNTIME, GOODWILL, DAMAGE OR REPLACEMENT OF EQUIPMENT
AND PROPERTY AND COST OF RECOVERING REPROGRAMMING, OR
REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH
MOTU/S&S PRODUCTS.
Some states do not allow the exclusion or limitation of implied warranties or liability for
incidental or consequential damages, so the above limitation or exclusion may not
apply to you. This warranty gives you specific legal rights, and you may have other
rights which vary from state to state.
MOTU, AudioDesk, MOTU, Mark of the Unicorn and the unicorn silhouette logo are
trademarks of Mark of the Unicorn, Inc.
This equipment has been type tested and found to comply with the limits for a class B digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with the instruction manual,
may cause harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause interference to radio
or television equipment reception, which can be determined by turning the equipment off and on, the
user is encouraged to try to correct the interference by any combination of the following measures:
• Relocate or reorient the receiving antenna
• Increase the separation between the equipment and the receiver
• Plug the equipment into an outlet on a circuit different from that to which the receiver is connected
If necessary, you can consult a dealer or experienced radio/television technician for additional
assistance.
PLEASE NOTE: only equipment certified to comply with Class B (computer input/output devices,
terminals, printers, etc.) should be attached to this equipment, and it must have shielded interface
cables in order to comply with the Class B FCC limits on RF emissions.
WARNING: changes or modifications to this unit not expressly approved by the party
responsible for compliance could void the user's authority to operate the equipment.
This is a standard quarter-inch stereo headphone
jack. From the factory, its output matches the
main outs on the rear panel. But it can be
programmed to mirror any other output pair
(digital or analog). It can even be programmed to
serve as its own independent output. Use the
volume knob above to control its level.
These switches provide
phantom power for their
respective microphone
input. Left is off; right is
on (right on!)
These Neutrik™ combo (XLR/TRS) jacks
accept either a mic cable or a cable with a
quarter-inch plug. Both the low-impedance
XLR jack and the high-impedance TRS jack are
equipped with a preamp (so don’t connect a
+4 line level XLR cable!). 48V phantom
power can be supplied via the front-panel
switch. Use the rear panel sends to route
these inputs to your favorite outboard gear.
Use any rear-panel input as a return.
The multi-purpose backlit LCD shows
system settings or CueMix DSP
settings, depending on which knobs
you turn. The labels above and below
the LCD refer to all of the 828mkII’s
inputs (both analog and digital).
This section controls the 828mkII’s built-in CueMix DSP monitor
mixer. There are four independent mix busses: each mixes all
inputs (or any subset you wish) to a stereo output of your choice.
To edit a mix, choose it by pressing the MIX BUS knob. Each mix
has parameters (volume, pan, etc.) for each input: choose the
parameter you wish to edit with the PARAM knob. The LCD shows
each 828mkII input (rear-panel analog TRS, front-panel mic/
instrument inputs, ADAT and SPDIF), along with the current mix
parameter setting for each input. To change a setting, scroll to it
with the CURSOR knob and change it with the VALUE knob.
Use the SETUP and SELECT knobs to
change system settings like the
828mkII sample rate and clock
source. The SETUP knob chooses the
setting; the SELECT knob modifies
the current system setting displayed
in the LCD. Some settings require that
you push SELECT instead of turning it.
Controls the
headphone
volume or main
out volume.
Push to toggle
between them.
The LCD
provides
feedback.
ADAT
bank
signal
present
LEDs.
FireWire is a “plug-and-play”
protocol. That means that you
can turn off the 828mkII and
turn it back on without
restarting your computer.
These lights indicate the global sample rate at
which the 828mkII is operating. Use the MOTU
FireWire Audio Console 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.
For example, if you’ve set the 828mkII to slave to an
external clock, such as ADAT, but there is no clock
signal currently being detected, it flashes.
5-segment metering for the main outs.
Push and then turn the front-panel
volume knob for volume control.
When the 828mkII is resolving to SMPTE time code,
the LOCK light glows green when lockup has been
achieved. The TACH light blinks once per second
when the 828mkII is successfully reading address
(time code) information.
MIDI
activity
LEDs.
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 input
metering is for
the 8 analog TRS
input jacks on the
rear panel.
4-segment
metering for
SPDIF input.
This pair of 5-segment
meters are for the two
mic/instrument inputs
on the front panel.
Quick Reference: 828mkII Front Panel
These two trim knobs provide approximately 42dB of gain for the lo-Z XLR mic input and 17dB for 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.
0
!828 Manual/Mac Page 5 Tuesday, May 27, 2003 1:45 PM
One special note: you can choose independent formats for the optical IN and OUT. For
example, you could choose ADAT for the
optical IN (for, say, eight channels of input
from your digital mixer) and S/PDIF for the
optical 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 FireWire Audio Console software.
(see “Optical input/output” on page 44) for
details.) ADAT optical supplies eight
channels of 24-bit digital I/O (4 channels at
96kHz). TOSLink is stereo.
When the 828mkII is operating at a high sample rate (88.2
or 96 kHz), you can switch the word clock output rate (via
software) to halve the 828mk2’s system word rate.
These are standard 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 828mkII.
These are quarterinch analog SMPTE
input and output
jacks. Use them to
resolve the 828mkII
directly to time code,
and transmit time
code to other devices.
Connect the 828mkII to the computer
here using the standard 1394 FireWire
cable provided with your 828mkII. Use
the second FireWire port to daisy-chain
up to four MOTU FireWire audio interfaces to a single FireWire bus. You can
also connect other FireWire devices. For
details, see “Connecting multiple MOTU
FireWire interfaces” on page 32.
These jacks provide
stereo, 24-bit S/PDIF
digital input and
output at all supported
sample rates.
Connect the 828mkII to
the computer here using
the standard 1394
FireWire cable provided
with your 828mkII. Use
the second FireWire port
to daisy-chain up to four
MOTU FireWire audio
interfaces to a single
FireWire bus.You can also
connect other FireWire
devices. For details, see
“Connecting multiple
MOTU FireWire interfaces” on page 32
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 45.
These 8 analog inputs are gold-plated,
balanced TRS (tip/ring/sleeve) quarterinch connectors that can also accept an
unbalanced plug. The front panel LCD
lets you adjust them for either +4dB or
-10dB input signals. They have 24-bit,
64x oversampling converters. These
inputs (1 through 8) do not have microphone preamps, so they are best used for
synthesizers, drum machines, effects
processors, and other instruments with
line level signals.
The 828mkII’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,
128x oversampling converters.
Quick Reference: 828mkII Rear Panel
If you are using the 828mkII with an ADAT, use this standard ADAT SYNC INPUT to connect the 828mkII to the end of your ADAT sync chain. For example, if you have three
ADATs, chain the ADATs in the usual fashion (SYNC OUT to SYNC IN, etc.), and then connect the last ADAT’s SYNC OUT to this SYNC IN. This connection allows you to make
sample-accurate audio transfers between AudioDesk (or other sample-accurate software) and the ADATs. If you have a MOTU MIDI Timepiece AV or Digital Timepiece,
make it the master of the ADAT SYNC chain so that you can control everything from AudioDesk (or your other MIDI Machine Control compatible software).
0
To hear disk tracks in your audio software
on these main outs, assign the disk tracks
(and master fader) to these main outs.
You can also use CueMix DSP to monitor
live 828mkII inputs here as well.
These two balanced, quarter-inch jacks
serve as the 828mkII’s main outputs. You
can connect them to a set of powered
studio monitors and then control the
volume from the front panel volume
knob. (Push the knob first to switch to
main out volume control.)
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.
!828 Manual/Mac Page 6 Tuesday, May 27, 2003 1:45 PM
!828 Manual/Mac Page 7 Tuesday, May 27, 2003 1:45 PM
Quick Reference:
CHAPTER FireWire Audio Console
MOTU
If you are running under Mac OS 9, and any of these settings are grayed
out (not available), see “If 828mkII settings are grayed out” on page 51.
Click the tabs to access general
MOTU FireWire interface settings
or settings specific to the 828mkII
(or other connected interface.)
Determines the clock source for your
828mkII. 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 external synchronization via the ADAT
SYNC in port.
This menu lets you choose what you will
hear from the headphone jack.To mirror the
main outs, choose Main Outs. Or you can
mirror any other output pair. To hear the
phones as their own independent output,
choose Phones.
Choose the global sample rate
for the system here.
Choose the desired optical format
you’d like to use for the optical
input and output. Note that they
don’t have to be the same.
If you are running an 828mkII
interface at a high sample rate
(96 or 88.2), 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 halves
the global rate (e.g. 48kHz
instead of 96kHz).
If you are using the 828mkII
with Mac OS 9, see chapter 6,
“MOTU FireWire Control Panel
(Mac OS 9)” (page 47).
Click the General tab to access these settings.
Check this option if you would like the MOTU
FireWire Audio Console icon to appear in the
application dock as soon as a MOTU FireWire
interface is detected (switched on, plugged
in, etc.)
If you have a foot switch
connected to the 828mkII,
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 45.
In the standard Mac OS X fashion, the console appears in the dock when you launch it. If the
Launch console automatically option is checked (as shown above), the icon appears as soon as
you switch on your 828mkII 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
!828 Manual/Mac Page 8 Tuesday, May 27, 2003 1:45 PM
8
!828 Manual/Mac Page 9 Tuesday, May 27, 2003 1:45 PM
CHAPTER 1
About the 828mkII
OVERVIEW
The 828mkII is a computer-based hard disk
recording system for Mac OS and Windows that
offers 20 inputs and 22 outputs at any standard
sample rate up to 96kHz. All inputs and outputs
can be accessed simultaneously. The 828mkII
consists of a standard 19-inch, single-space, rackmountable I/O unit that connects directly to a
computer via a standard IEEE 1394 FireWire™
cable. The 828mkII offers the following:
■
Eight 24-bit analog TRS inputs
■
Ten 24-bit analog TRS outputs
■ Two combo XLR/TRS mic/guitar inputs with
preamps, rear-panel quarter-inch sends and 48V
phantom power
■
Eight-channel ADAT optical digital I/O
■
S/PDIF (optical and RCA)
■
ADAT sync in
■
Word clock I/O
■
MIDI I/O
■ On-board SMPTE synchronization with
dedicated SMPTE I/O jacks
portable “studio in a box” when used with a
Macintosh or Windows computer. The 828mkII
system includes AudioDesk™, full-featured audio
workstation software for Mac OS that supports
both 16-bit and 24-bit recording. Also included is
an ASIO driver for multi-channel operation with
any Macintosh audio software that supports ASIO
drivers.
THE 828MKII I/O REAR PANEL
The 828mkII rear panel has the following
connectors:
Ten gold-plated, balanced +4dB quarter-inch
(TRS) analog outputs (with 24-bit 96kHz
converters)
■
■ Two gold-plated, balanced +4dB quarter-inch
(TRS) analog sends (for the front-panel mic/guitar
inputs)
Eight gold-plated, balanced +4 dB quarter-inch
(TRS) analog inputs (with 24-bit 96kHz
converters)
■
■ One set of ADAT optical ‘light pipe’ connectors
(8 channels of ADAT optical I/O at 44.1/48kHz or 4
channels at 88.2/96kHz), individually switchable
to optical S/PDIF (‘TOSLink’)
■
Foot switch for hands-free punch-in/out
■
Headphone jack
■
Main volume knob (for headphone + main outs)
■
CueMix™ DSP no-latency mixing & monitoring
■ Gold-plated balanced TRS quarter-inch analog
in/out dedicated for SMPTE time code
■
Front-panel programming
■
One 9-pin ADAT SYNC IN connector
■
Stand-alone mixing
■
Word clock in/out
■
Foot pedal jack
■
Two 1394 FireWire jacks
With a variety of I/O formats, mic preamps, nolatency monitoring of live input and synchronization capabilities, the 828mkII is a complete,
■
RCA S/PDIF in/out
■
MIDI IN and MIDI OUT
9
!828 Manual/Mac Page 10 Tuesday, May 27, 2003 1:45 PM
20 inputs and 22 outputs
All 828mkII inputs and outputs can be used simultaneously, for a total of 20 inputs and 22 outputs:
Connection
Input
Output
Analog 24-bit 96kHz on +4/-10 bal/unbal TRS
8
8
Mic preamps 24-bit 96kHz on XLR/TRS combo
2
-
Main outputs 24-bit 96kHz on bal/unbal TRS
-
stereo
Headphone output
-
stereo
ADAT optical digital (at 44.1 or 48kHz)
8
8
SPDIF 24-bit 96kHz digital
stereo
stereo
Total
20
22
All inputs and outputs are discrete. In other words,
using a mic input does not “steal” an input from the
TRS analog I/O bank. The same is true for the
headphone outs and the main outs.
The ADAT optical ports provide 4 channels of I/O
at 88.2 or 96kHz. They can also be independently
configured as stereo TOSLink SPDIF at any
supported sample rate.
The headphone outputs can operate as an
independent output pair, or they can mirror any
other 828mkII output pair, such as the main outs.
Analog
All 10 analog inputs are equipped with 24-bit
96kHz, 64x oversampling A/D converters. All 10
analog outputs have 24-bit 128x oversampling D/A
converters. All audio is carried to the computer in a
24-bit data stream. All 10 analog outputs and the 8
rear-panel quarter-inch inputs are on balanced
TRS +4dB quarter-inch jacks. All of these jacks can
also accept unbalanced plugs.
All quarter-inch analog inputs can be individually
switched between a +4 and -10dB reference level.
An additional 6dB of software boost can be applied
via the CueMix Console software application or via
the front panel LCD display.
Mic 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 828mkII via
one of the eight TRS analog inputs on the rear
panel, for routing to the computer and/or inclusion
in the 828mkII’s built-in monitor mixes.
Main Outs
The main outs are equipped with 24-bit 128x
oversampling D/A converters and serve as
independent outputs for the computer or for the
828mkII’s on-board CueMix DSP mixes.
Optical
The 828mkII optical jacks support two digital
audio formats: ADAT and S/PDIF. The ADAT
optical format provides eight channels of 24-bit
digital audio at either 44.1 or 48 kHz, and four
channels at 88.2 or 96kHz. The optical S/PDIF
format (often referred to as TOSLink), supplies
stereo S/PDIF input or output.
S/PDIF
The 828mkII 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. The
optical input /output jacks can operate independently. For example, the optical input can be set to
TOSLink while the optical output is set to ADAT.
MIDI I/O
The 828mkII’s standard MIDI IN and MIDI OUT
jacks supply 16 channels of MIDI I/O to and from
the computer via the 828mkII’s FireWire
connection. Timing accuracy can be sampleaccurate with host software that supports it.
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On-board SMPTE synchronization
The 828mkII 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 828mkII
provides a DSP-driven phase-lock engine with
sophisticated filtering that provides fast lockup
times and sub-frame accuracy.
The included MOTU SMPTE Console™ software
provides a complete set of tools to generate SMPTE
for striping, regenerating or slaving other devices
to the computer. Like CueMix DSP, the synchronization features are cross-platform and compatible
with all audio sequencer software that supports the
ASIO2 sample-accurate sync protocol.
ADAT sync: sample-accurate synchronization
The 828mkII’s standard 9-pin ADAT SYNC IN
connector provides sample-accurate synchronization with all Alesis ADAT tape decks connected
to the system—or any device that supports the
ADAT sync format. For example, if you digitally
transfer a single track of material from an ADAT
via light pipe into audio workstation software on
the computer, and then transfer the track back to
the ADAT, it will be recorded exactly at its original
location, down to the sample.
Word clock
The 828mkII 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 828mkII
global sample rate is set to 96 kHz, the word clock
input can resolve to a “low” rate of 48 kHz.
Similarly, when the 828mkII is operating at 96 kHz,
the MOTU FireWire Audio Console lets you
choose a word clock output rate of 48 kHz
(“System clock ÷ 2”).
Punch in/out
The quarter-inch Punch in/out jack accepts a
standard foot switch. When you push the foot
switch, the 828mkII 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
828mkII Control Panel software lets you program
any keystroke you wish.
1394 FireWire
The two 1394 FireWire jacks accept a standard
IEEE 1394 FireWire cable to connect the 828mkII
to a FireWire-equipped Macintosh or Windows
computer. The second jack can be used to daisy
chain multiple interfaces — up to four MOTU
FireWire interfaces — on a single FireWire bus. It
can also be used to connect other FireWire devices
without the need for a FireWire hub.
THE 828MKII FRONT PANEL
Mic inputs with 48V phantom power
Two front-panel Neutrik™ combo (XLR/TRS)
jacks with preamps and phantom power let you to
connect a microphone, guitar or any quarter-inch
input with front-panel convenience. The XLR jack
serves as a low-impedance mic input, and the TRS
jack serves as a high-impedance guitar/instrument
input. Dedicated front-panel trim knobs allow you
to adjust each input independently. Defeatable 48V
phantom power is supplied by a front panel switch.
As explained in “Mic sends” on page 10, the pre
amplified signal can be routed to external outboard
gear before being routed back into the 828mkII.
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Headphone output and main volume control
The 828mkII front panel includes a quarter-inch
stereo headphone output jack and volume knob.
The volume knob also controls the rear-panel main
outs. Push the knob to toggle between them. The
LCD display provides feedback.
CueMix™ DSP no-latency on-board mixing
The CueMix DSP section of the front-panel
provides access to the 828mkII’s on-board mixing
features, as well as global system settings, Together,
these features provide complete stand-alone
operation, without a computer. The 828mkII can
mix all inputs to any output pair, and up to four
such mixes can be independently programmed
and simultaneously operated.
Backlit LCD display
Any 828mkII setting can be accessed directly from
the front panel using the six rotary encoders and
the 2x16 backlit LCD display. CueMix DSP settings
such as input gain, panning, +4/-10 input level,
6dB boost, stereo pair grouping, mix output
assignment and others are quickly accessed, clearly
marked and easy to adjust. Sixteen presets can be
created, saved, recalled and duplicated.
16-BIT AND 24-BIT RECORDING
The 828mkII 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 828mkII’s
analog or digital inputs and outputs. 24-bit audio
files can be recorded with any compatible host
application that supports 24-bit recording.
AUDIODESK
AudioDesk is a full-featured, 24-bit audio
workstation software package included with the
828mkII system (for Macintosh only). AudioDesk
provides multi-channel waveform editing,
automated virtual mixing, graphic editing of ramp
automation, real-time effects plug-ins with 32-bit
floating point processing, crossfades, support for
many third-party audio plug-ins, background
processing of file-based operations, sampleaccurate editing and placement of audio, and more.
DIGITAL PERFORMER
The 828mkII system is fully integrated with
MOTU’s award-winning Digital Performer audio
sequencer software package.
OTHER HOST AUDIO SOFTWARE
Metering section
The front panel of the 828mkII displays several
banks of input and output metering. The round
analog output, SPDIF output and ADAT optical
LEDs display the presence of an output signal. The
threshold for these lights is approximately -42 dB.
The four- and five-segment input meters provide
dedicated multi-segment metering for their
respective inputs, as do the five-segment main out
meters.
The Clock lights indicate the global sample rate (as
chosen in the MOTU FireWire Audio Console
software). The LOCK and TACH LEDs provide
feedback for the 828mkII’s on-board SMPTE
synchronization features.
The 828mkII system includes a standard Mac OS X
CoreAudio driver for multichannel I/O with any
audio application that supports CoreAudio.
The 828mkII also includes a Mac OS 9 Macintosh
ASIO driver for multi-channel compatibility with
any Mac OS 9 audio application that supports
ASIO drivers.
A COMPUTER-BASED SYSTEM
Regardless of what software you use with the
828mkII, the host computer determines the
number of tracks the software can record and play
simultaneously, as well as the amount of real-time
effects processing you can apply to your mix. A
faster computer with more RAM and faster hard
drives will allow more simultaneous tracks and
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ABOUT THE 828MKII
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real-time effects than a slower computer with less
RAM and slower hard drives. Today’s fastest
computers can typically play as many as 72 tracks
or more. Standard third-party SCSI acceleration
products can also help you achieve higher track
counts.
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ABOUT THE 828MKII
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ABOUT THE 828MKII
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CHAPTER 2
Packing List and
Macintosh System Requirements
PACKING LIST
PLEASE REGISTER TODAY!
The 828mkII ships with the items listed below. If
any of these items are not present in your 828mkII
box when you first open it, please immediately
contact your dealer or MOTU.
Please send in the registration card included with
your 828mkII system. As a registered user, you will
be eligible to receive on-line technical support
email and announcements about product
enhancements as soon as they become available.
Only registered users receive these special update
notices, so please, complete and mail this
registration card!
■
One 828mkII I/O rack unit
■
One 1394 “FireWire” cable
■
Power cord
■
One 828mkII Mac/Windows manual
■
One AudioDesk Manual
■
One cross-platform CD-ROM
■
Product registration card
MACINTOSH SYSTEM REQUIREMENTS
The 828mkII system requires the following
Macintosh system:
There is also an AudioDesk software registration
card found at the beginning of your AudioDesk
manual. Please be sure to fill out and return this
card as well, so that you will be eligible to receive
on-line technical support email and
announcements about AudioDesk software
enhancements as soon as they become available.
Thank you for taking the time to register your new
MOTU products!
■ A G3/300Mhz Power Macintosh or faster
equipped with at least one FireWire port
At least 64 Mb (megabytes) of RAM (128 Mb or
more is recommended)
■
■
Mac OS 9 or Mac OS X (version 10.2 or later)
For Mac OS 9 users only: FireWire Enabler and
FireWire Support system extensions 2.4 or later
■
■
A large hard drive (preferably at least 20 Gb)
15
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PACKING LIST AND MACINTOSH SYSTEM REQUIREMENTS
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CHAPTER 3
Installing the 828mkII Hardware
OVERVIEW
CONNECT THE 828MKII INTERFACE
Here’s an overview for installing the 828mkII:
1 Plug one end of the 828mkII FireWire cable
(included) into the FireWire socket on the
computer as shown below in Figure 3-1.
Connect the 828mkII interface. . . . . . . . . . . . . . . . . . . . . . . 17
Connect the 828mkII to the computer.
Connect audio inputs and outputs . . . . . . . . . . . . . . . . . . 18
2 Plug the other end of the FireWire cable into the
828mkII I/O as shown below in Figure 3-1.
Make optical and analog connections as desired.
Connect MIDI gear. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Connect a controller, synth or control surface.
Connect a foot switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Connect a footswitch to trigger any keystroke.
A typical 828mkII setup (no mixer). . . . . . . . . . . . . . . . . . . 20
An example setup for computer-based mixing/FX.
Using the 828mkII with a mixer . . . . . . . . . . . . . . . . . . . . . . 21
An example setup for a mixer-based studio.
Making sync connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
If you need to resolve the 828mkII with other
devices, make the necessary sync connections.
Do you need a synchronizer? . . . . . . . . . . . . . . . . . . . . . . . .
Sample-accurate sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sample-accurate ADAT sync . . . . . . . . . . . . . . . . . . . . . . . . .
Sample-accurate ADAT sync with no synchronizer . .
Syncing to SMPTE time code. . . . . . . . . . . . . . . . . . . . . . . . .
Syncing to video and/or SMPTE time code using a
synchronizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Syncing optical devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Syncing S/PDIF devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Syncing word clock devices. . . . . . . . . . . . . . . . . . . . . . . . . .
Syncing large systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Connecting multiple MOTU FireWire interfaces . . . . .
23
24
25
26
27
28
29
30
31
31
32
Figure 3-1: Connecting the 828mkII to the computer.
17
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CONNECT AUDIO INPUTS AND OUTPUTS
The 828mkII 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 Neutrik™ XLR/quarter-inch analog inputs
2 Turn the CURSOR knob until the desired input
flashes.
3 Turn (or press) the VALUE knob to toggle the
input between a +4 or -10dB reference level setting.
■ 2 quarter-inch analog sends for the front-panel
mic/guitar inputs
■
2 balanced, +4 dB quarter-inch TRS main outs
■
1 pair of RCA S/PDIF in and out
■ 1 pair of optical in/out switchable between
ADAT (“Lightpipe”) or optical S/PDIF (TOSLink)
Here are a few things you should keep in mind as
you are making these connections to other devices.
Quarter-inch analog
The quarter-inch analog inputs and outputs (1-8),
as well as the main outs, are balanced TRS
connectors that can also accept an unbalanced
plug. The outputs are all referenced to +4dBu. The
inputs can be manually set to either +4 or -10dBu.
Use the front panel controls to adjust the reference
level (+4/-10) as needed for each input (or input
pair) as follows:
1 Turn the PARAM knob until you see the “4/10”
setting displayed in the LCD, as shown below.
If turning the PARAM knob doesn’t do anything,
press the SETUP knob once, and then turn it.
Figure 3-2: Setting the reference level for the eight TRS analog inputs.
Front-panel mic/guitar/instrument inputs
Connect a microphone, guitar or other similar
instrument to the front-panel inputs. If your
microphone requires phantom power, move the
48V phantom power switch on the front panel to
the right (enabled). Use the trim knobs on the front
panel to adjust the input level as needed for each
input. Use the two input level meters on the front
panel (labeled MIC) to calibrate the level. These
meters register for both the XLR and TRS input.
☛
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.
Mic/guitar/instrument sends
Each front-panel XLR/TRS input has a
corresponding send on the rear panel. The send
provides the pre amplified and calibrated input
signal, which you can then route to any other
device, such as compressor, guitar amp, outboard
EQ, reverb unit, etc. Use any 828mkII input
(analog or digital) as a return back into the
828mkII. From there, you will be able to route the
signal anywhere in the system, such as to the
computer and/or to any CueMix DSP mix bus.
Optical
Reminder: optical goes OUT to IN and IN to OUT,
like MIDI.
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The optical jacks can be connected to either an
ADAT “lightpipe” device or an optical S/PDIF
“TOSLink” device. Just make the connections as
needed and then you’ll set the format later in the
MOTU FireWire Audio Console. Input and output
are independent. For example, you could connect
ADAT optical input from your digital mixer and
connect TOSLink optical output to your DAT deck.
Main outs
The main outputs serve as independent outputs.
The main out volume is controlled by the volume
knob on the front panel. Push the knob to toggle
between phone and main out volume control. In a
standard studio configuration, the main outs are
intended for a pair of studio monitors, but they can
also be used as additional outputs for any purpose.
shown in Figure 3-3. 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.
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 828mkII to the MIDI IN
on the additional device as shown below in
Figure 3-4. The two devices then share the
828mkII’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.
CONNECT MIDI GEAR
828mkII MIDI input and output is supported
under Mac OS X only. Connect your MIDI device’s
MIDI IN jack to the 828mkII’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).
828mkII
rear panel
MIDI
OUT
MIDI Device
MIDI
IN
828mkII
rear panel
MIDI
OUT
MIDI
cables
MIDI
THRU
MIDI
IN
MIDI IN
Connection A
MIDI Device
MIDI
cable
Additional device
MIDI MIDI
IN OUT
Connection B
Figure 3-4: Connecting additional devices with MIDI THRU ports.
CONNECT A FOOT SWITCH
Figure 3-3: Connecting a MIDI device to the 828mkII.
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
If you would like to use a foot switch with your
828mkII, connect it to the PUNCH IN/OUT jack.
See “Quick Reference: MOTU FireWire Audio
Console” on page 7 for information about how to
program the foot switch to trigger any computer
keystroke you wish.
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INSTALLING THE 828MKII HARDWARE
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A TYPICAL 828MKII SETUP (NO MIXER)
outs, headphone outs, or any other output pair. You
can control monitoring either from the front panel
or from the included CueMix Console software.
The two front-panel guitar/mic inputs can be
routed to outboard effects processor, such as a
compressor, EQ or reverb, via the rear panel sends.
Here is a typical 828mkII 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
828mkII’s CueMix™ DSP no-latency monitoring
to listen to what you are recording via the main
guitar
(with or without a
modeling amp)
mic
headphones
Compressor, reverb or
other outboard gear
828mkII
front panel
foot
switch
sends to
FX unit
(in rack
below)
Mac
other outputs (stage
monitors, surround
monitors, etc.)
FireWire
828mkII
back panel
monitors
ADAT optical
S/PDIF
ADAT
DAT deck
MIDI IN/OUT
quarter-inch
analog outs
synthesizer
quarter-inch analog outs
synths, samplers, effects units, etc.
Figure 3-5: A typical 828mkII studio setup.
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USING THE 828MKII WITH A MIXER
While there are many ways to use the 828mkII with
an external mixer, typically the 828mkII serves as a
multi-channel “pipeline” between the mixer and
the computer. If your mixer is analog, connect the
analog section of the 828mkII to your mixer. If
your mixer is digital, and it has ADAT optical I/O,
you can connect them optically as shown below in
Figure 3-6. The 828mkII’s available analog and
SPDIF inputs and outputs can serve as an
extension to the mixer I/O, but then you will
probably find yourself mixing in two places: the
mixer and the computer. A word of advice: if you
would like to use the 828mkII with an external
mixer, use the mixer for mixing. Trying to mix
large multitrack projects in two places can become
very cumbersome very quickly.
Mac
FireWire
8-channel digital I/O
ADAT optical
synths, samplers, etc.
synthesizers
digital mixer
Figure 3-6: Using the 828mkII with a digital mixer.
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MAKING SYNC CONNECTIONS
If you connect devices digitally to the 828mkII, or
if you need to synchronize the 828mkII with an
outside time reference such as SMPTE time code,
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 828mkII?
If you will be using only the 828mkII’s analog
inputs and outputs (and none of its digital I/O),
and you have no plans to synchronize your
828mkII system to SMPTE time code, you don’t
need to make any sync connections. You can skip
this section and proceed to chapter 4, “Installing
the 828mkII Macintosh Software” (page 35). After
you install the 828mkII software, you’ll open the
MOTU FireWire Audio Console and set the Clock
Source setting to Internal as shown below. For
details, see chapter 5, “MOTU FireWire Audio
Console (Mac OS X)” (page 41) or chapter 6,
“MOTU FireWire Control Panel (Mac OS 9)”
(page 47).
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 828mkII’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 3-8: 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.
Master
Master
Figure 3-7: You can run the 828mkII under its own internal clock
when it has no digital audio connections and you are not synchronizing the 828mkII system to an external time reference such as SMPTE.
Situations that require synchronization
There are three general cases in which you will
need to resolve the 828mkII with other devices:
■ Synchronizing the 828mkII with other digital
audio devices so that their digital audio clocks are
phase-locked (as shown in Figure 3-8)
Slaving the 828mkII system to SMPTE time code
from a video deck, analog multi-track, etc.
■
■
Both of the above
Slave
Slave
Slave
Figure 3-9: To keep the 828mkII 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 time code (location).
For example, one device can be the time code
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 828mkII.
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DO YOU NEED A SYNCHRONIZER?
Whether or not you’ll need a synchronizer depends
on your gear and what you will be doing with your
828mkII system. The following pages give you
specific information about common sync
scenarios. At least one of them will likely apply to
you. Here are some general considerations to help
you figure out if you need (or want) a synchronizer
for you 828mkII system.
You don’t need a synchronizer if...
As explained earlier, the 828mkII’s digital audio
clock must be phase-locked (synchronized) with
other connected digital audio devices to achieve
clean digital transfers between them. Can this be
accomplished without an additional digital audio
synchronizer? It depends on the nature of the other
devices, and what you want to do with them. You
don’t need a synchronizer if the device has a way of
locking itself directly to the 828mkII’s clock (via
ADAT lightpipe, S/PDIF or word clock), AND if
the device carries no sense of location in time. A
digital mixer is a good example: it can slave to its
ADAT lightpipe connection from the 828mkII, and
it has no sense of time; it just passes audio through
for mixing.
A stand-alone digital recorder, on the other hand,
does have a sense of location in time, either via
SMPTE time code or via its own sample address.
For example, if you want to fly tracks back and
forth between your computer and an Alesis hard
disk recorder while maintaining the audio’s
position in time, the ADAT Sync port on the
828mkII lets you do so without a separate
synchronizer — and with sample-accurate
precision, as long as you’re using AudioDesk,
Digital Performer, or other sample-accurate
software. Just connect the 828mkII directly to the
Alesis recorder (or other ADAT Sync-compatible
device) as discussed in “Sample-accurate ADAT
sync with no synchronizer” on page 26. But if you
also want transport control over the entire rig
(including the hard disk recorder) from your audio
software, you’ll need a MIDI Machine Controlcompatible synchronizer such as MOTU’s MIDI
Timepiece AV, as discussed in “Sample-accurate
sync” on page 24. If you are simply using a standalone recorder as a way to capture live tracks that
you then transfer in one pass into the computer, no
synchronizer is required because the tracks will
remain in perfect phase lock with each other as you
transfer them together. You can simply slave the
stand-alone recorder to the optical output from the
828mkII as explained in “Syncing optical devices”
on page 29.
Transport control from your computer
If you have stand-alone digital recorders connected
to the 828mkII, and they support ADAT Sync, your
audio software — if it supports MIDI Machine
Control (MMC) — allows you to control the
transports of everything from your computer.
Most advanced audio programs support MMC. To
do this, you’ll also need an MMC-compatible
ADAT synchronizer such as a MOTU MIDI
Timepiece AV or Digital Timepiece. Synchronizers
like these allow you to play, stop, rewind and locate
all of your tape decks using the transport controls
in the audio software. If your audio software
supports sample-accurate sync (like Digital
Performer and AudioDesk), you can do so with
sample-accurate precision. The following pages
show you how to achieve MMC control, where
possible.
Continuous sync to SMPTE / MTC
The 828mkII can synchronize directly to SMPTE
time code. If your audio software supports sampleaccurate sync (like Digital Performer and
AudioDesk), it can also resolve to time code via the
828mkII. If your software does not support
sample-accurate sync, you need a dedicated
synchronizer, as illustrated on the following pages.
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SAMPLE-ACCURATE SYNC
Your 828mkII system provides you with the most
advanced, accurate synchronization possible with
Alesis modular digital tape decks and hard disk
recorders — or any device that supports sampleaccurate ADAT sync. Figure 3-10 below shows a
few best-case scenarios. Below is a brief
explanation of the benefits you achieve with these
setups.
Transport control from your computer
If you have a MIDI Timepiece AV, Digital
Timepiece or any ADAT synchronizer that also
supports MIDI Machine Control (MMC), you can
play, stop, rewind and locate all of your ADATs
using the transport controls in the audio software
running on your computer. This includes cueing
features like markers, position bars, playback
wipers, time rulers, etc.
Sample accurate locating
With sample accurate locating, when you transfer
audio between AudioDesk (or any other sampleaccurate host software) and a sample-accurate
recorder, the audio will not drift in time — even by
as little as one sample. This is the tightest possible
synchronization between digital audio devices.
The timing in your audio will not be affected in any
way by the process of transferring it between the
828mkII and the recorder.
Is your audio software sample-accurate?
Sample-accurate locating is only possible with
software that supports this feature, such as
AudioDesk or Digital Performer. For third-party
software, sample-accurate performance (if it’s
supported) is achieved through the 828mkII’s
ASIO Version 2 driver (Mac OS 9 only).
Figure 3-11: AudioDesk and Digital Performer support sampleaccurate transfers with ADAT Sync compatible digital tape decks and
modular hard disk recorders.
Sample
accurate
locating
Transport
control
from computer
Continuous sync
to SMPTE / MTC
Sync format
Software
Synchronizer
ADAT
AudioDesk, Cubase or
Digital Performer
MIDI Timepiece AV
or Digital Timepiece
Yes
Yes
Yes
ADAT
AudioDesk, Cubase or
Digital Performer
BRC (or any MMC capable ADAT synchronizer)
Yes
Yes
Yes
ADAT
AudioDesk, Cubase or
Digital Performer
None
Yes
No
No
Figure 3-10: These recommended combinations of hardware and software offer the tightest sync possible between the 828mkII and digital
audio recorders in the form of sample-accurate locating between the software and the tape decks. Sample accurate locating is possible even
without a MIDI Timepiece AV or Digital Timepiece, although you give up transport control from the computer.
24
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SAMPLE-ACCURATE ADAT SYNC
Use this setup if you have:
The 828mkII can achieve sample-accurate sync
with ADATs, Alesis hard disk recorders or any
ADAT Sync-compatible devices. Sample-accurate
software is required, such as AudioDesk, Digital
Performer, or Mac OS 9 ASIO 2.0-compatible
software that also supports sample-accurate sync.
Connect the 828mkII to the end of the ADAT Sync
chain and make the software settings shown below
in Figure 3-12. If you will be using the stand-alone
recorder for its analog inputs and outputs only
(you won’t be doing any recording with it), treat it
as an ‘optical’ device. See “Syncing optical devices”
on page 29.
✓ ADATs, Alesis hard disk recorders or any ADAT SYNC
compatible device(s).
✓ A MOTU Digital Timepiece, MIDI Timepiece AV or other
ADAT synchronizer.
✓ Host software that supports sample-accurate sync.
This setup provides:
✓ Sample-accurate locating between all ADAT SYNC-compatible devices, the 828mkII and your software (AudioDesk,
Digital Performer or other sample-accurate software).
✓ With a Digital Timepiece, this setup provides sample-accurate
locating across all devices: ADAT, Tascam and the 828mkII.
✓ Transport control of everything from the computer, OR
continuous sync to SMPTE time code and other sync sources
(the other source is the transport master in this case).
In AudioDesk or Digital Performer:
1. Choose Receive Sync the Setup menu
(Basics menu under OS 9).
2. Choose the Sample-accurate option
shown to the left.
3. Make sure that Slave to External Sync
is checked in the Studio menu (Basics
menu under OS 9).
Macintosh computer running AudioDesk, Digital
Performer or other sample-accurate software.
USB or serial cable (bi-directional MIDI
connection) bearing MMC transport
commands from AudioDesk or
Digital Performer to the
MIDI Timepiece AV (or other synchronizer)
Digital Timepiece, MIDI Timepiece AV,
Alesis BRC or any other MMC-compatible
ADAT synchronizer
FireWire
If you have a MOTU
synchronizer, set its
sync mode to Internal.
To set the 828mkII hardware clock source for sampleaccurate sync:
1. In AudioDesk or Digital Performer, choose MOTU Audio
System>Configure Hardware Driver from the Setup
menu (or the Basics menu under OS 9), or run the MOTU
FireWire Audio Console.
2. Choose ADAT 9-pin from the Clock Source menu as
shown to above.
3. Make sure the Sample Rate setting matches the recorder
and synchronizer.
ADAT
Sync Out
For sample-accurate sync settings in Cubase, see
“Sample-accurate sync to ADAT” on page 5.
ADATs
ADAT
Sync In sync cables
Sync Out
Sync In
Sync Out
etc.
Sync In
Sync Out
In AudioDesk or Digital
Performer, turn on MIDI
Machine Control by pressing
this button. This brings on line
all the recorders connected to
the DTP or MTP AV.
AudioDesk automatically scans
the DTP or MTP AV for
connected recorders, and they
appear here.
FireWire
Sync In
Figure 3-12: Connections for sample-accurate ADAT sync.
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SAMPLE-ACCURATE ADAT SYNC WITH NO
SYNCHRONIZER
Even if you don’t have an ADAT synchronizer, you
can achieve sample-accurate sync between ADATsync compatible devices, an 828mkII, and any
sample-accurate software (such as AudioDesk or
Digital Performer). Just connect the 828mkII to the
end of the ADAT sync chain as shown below. You
don’t get transport control from your computer,
nor can you slave the system to SMPTE time code.
Instead, you have to play, stop, rewind and cue the
system from the transports on your recorder. If
you’re using the recorder as an additional source of
analog inputs and outputs only (not for recording),
see “Syncing optical devices” on page 29.
Use this setup if you have:
✓ ADATs, Alesis hard disk recorders or any ADAT SYNC
compatible device(s).
✗
No ADAT synchronizer.
✓ Host software that supports sample-accurate sync.
This setup provides:
✓ Sample-accurate locating between all ADAT SYNC-compatible devices, the 828mkII and your software (AudioDesk,
Digital Performer or other sample-accurate software).
✗
No transport control of everything from the computer.
✗
No sync to SMPTE time code or other sync sources.
In AudioDesk or Digital Performer:
1. Choose Receive Sync the Setup menu
(Basics menu under OS 9).
2. Choose the Sample-accurate option
shown to the left.
3. Make sure that Slave to External Sync
is checked in the Studio menu (Basics
menu under OS 9).
To set the 828mkII hardware clock source for sample-accurate sync:
Macintosh computer running
AudioDesk or Digital Performer
1. In AudioDesk or Digital Performer, choose MOTU Audio
System>Configure Hardware Driver from the Setup menu (or the
Basics menu under OS 9), or run the MOTU FireWire Audio Console.
With no synchronizer, the ADAT
that is the master of the ADAT
sync chain becomes transport
master over everything, including
your audio software.
2. Choose ADAT 9-pin from the Clock Source menu as shown to above.
3. Make sure the Sample Rate setting matches the recorder and
synchronizer.
FireWire
ADATs
In AudioDesk or Digital Performer:
1. Make sure that Slave to External Sync is checked in the Studio menu (Basics
menu under OS 9).
Sync Out
Sync In
Sync Out
ADAT
sync cables
Sync In
Sync Out
etc.
2. Click the play or record button. The software will then wait for you to start
your recorder.
FireWire
Sync In
3. Press the Play button on the front panel of your recorder to initiate playback
or recording.
Figure 3-13: Sample-accurate sync between AudioDesk or Digital Performer and
one or more ADAT-sync compatible devices — without an ADAT synchronizer.
For sample-accurate sync settings in Cubase VST, see
“Sample-accurate sync to ADAT” on page 5.
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SYNCING TO SMPTE TIME CODE
Use this setup if you have:
The 828mkII system can resolve directly to SMPTE
time code. It can also generate time code and word
clock, under its own clock or while slaving to time
code. Therefore, the 828mkII can act both as an
audio interface and digital audio synchronizer, to
which you can slave other digital audio devices.
You can use the 828mkII to slave your audio
software to SMPTE as well, as long as your software
supports sample-accurate sync, which is the means
by which the software follows the 828mkII. The
accuracy may not be sample-accurate, but in most
cases it will be very close.
✓ A SMPTE time code source, such as a multitrack tape deck.
✓ An 828mkII by itself, OR with another slaved device (such as a
digital mixer).
✓ Host software that supports sample-accurate sync.
This setup provides:
✗
No sample-accurate locating.
✓ Continuous sync to SMPTE time code.
✓ Sub-frame timing accuracy.
✓ Transport control from the SMPTE time code source.
In AudioDesk or Digital Performer:
1. Choose Receive Sync the Setup menu
(Basics menu under OS 9).
2. Choose the Sample-accurate option
shown to the left.
For sample-accurate sync settings in
Cubase, see “Sample-accurate sync with
Cubase or Nuendo” on page 96.
3. Make sure that Slave to External Sync
is checked in the Studio menu (Basics
menu under OS 9).
SMPTE time code source
When lockup is achieved, the LOCK
light illuminates and the TACH light
blinks once per second.
audio cable bearing LTC
(Longitudinal Time Code)
SMPTE IN
quarter-inch jack
Choose SMPTE as the clock source in AudioDesk, Digital
Performer, or the MOTU FireWire Audio Console. This
setting can also be made in the MOTU SMPTE Console
(shown below).
828mkII interface
SMPTE Word
out
Out
audio
cable
video
cable
Other digital audio device
slaved to the 828mkII
FireWire cable
Macintosh computer running
AudioDesk, Digital Performer or other
sample-accurate software.
Launch the MOTU SMPTE Console to specify the time code frame
rate and amount of freewheel. Also, confirm that the Clock
Source/Address is SMPTE/SMPTE. For details about the other
settings, see chapter 13,“MOTU SMPTE Console” (page 103).
Figure 3-14: Connections for synchronizing the 828mkII directly to SMPTE time code.
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SYNCING TO VIDEO AND/OR SMPTE TIME
CODE USING A SYNCHRONIZER
If your host audio software does not support the
828mkII’s on-board SMPTE sync features
(because your software does not support sampleaccurate sync), you need a universal synchronizer,
such as a MOTU MIDI Timepiece AV or Digital
Timepiece. These dedicated sync boxes can read
video and SMPTE time code and then convert it
into word clock and MIDI Time Code (MTC). The
word clock goes to the 828mkII to resolve the audio
hardware, and MIDI Time Code is fed to your host
audio software, which locks to it, as shown below
in Figure 3-15.
Use this setup if you have:
✓ Video and/or a SMPTE time code source.
✓ A Digital Timepiece, MIDI Timepiece AV or other universal
synchronizer.
✓ Host software that does not support sample-accurate sync
(although you can use this setup even if it does).
This setup provides:
✗
No sample-accurate locating.
✓ Continuous sync to SMPTE time code.
✓ Sub-frame timing accuracy.
✓ Transport control from the SMPTE time code source.
Video deck
or other source for video and/or SMPTE time code
Audio cable bearing LTC
(Longitudinal Time Code)
MOTU MIDI Timepiece AV or
Digital Timepiece slaving to
video and/or SMPTE time code
word clock
828mkII
MIDI Time Code
(Via MIDI interface)
Set up your audio software to
slave to MIDI Time Code.
Macintosh computer running any audio software
Choose Word Clock In as the clock source in the MOTU FireWire
Audio Console application. If you have multiple interfaces
connected, be sure to choose the Word Clock In option that
corresponds to the interface receiving the clock signal.
Figure 3-15: If your host audio software does not support sample-accurate sync and the 828mkII’s built-in
SMPTE sync features, use a universal synchronizer such as the MOTU MIDI Timepiece AV or Digital Timepiece.
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SYNCING OPTICAL DEVICES
For ADATs or other devices that support ADAT
sync, synchronize them with the 828mkII as
described in the previous sections of this chapter.
The word optical is our short-hand way of referring
to any device that connects to the 828mkII via an
optical cable. But we make a further distinction: an
optical device is also one that doesn’t care about
sample location. An example is a digital mixer.
Since a digital mixer is not a recording device, it has
no sense of sample location like an ADAT does. An
ADAT can cue to a specific sample number (e.g.
sample number 43,478, 103) — as can any device
that supports ADAT sync, but most digital mixers
simply mix and process audio digitally, with no
sense of a specific sample location. There are many
other devices that fall into this category, including
digital effects processors, synthesizers, A/D
converters, and many more.
For optical devices, such as digital mixers, all you
have to do is make sure that their digital audio
clock is phase-locked (in sync with) the 828mkII.
There are three ways to do this:
■
Slave the optical device to the 828mkII
■
Slave the 828mkII to the optical device
Slave both the optical device and the 828mkII to
a third master clock (such as a Digital Timepiece or
MIDI Timepiece AV synchronizer)
■
Digital mixer
or other optical
device
828mkII
ADAT Optical OUT
With this setup, in the MOTU
FireWire Audio Console, choose
the Optical clock source setting.
The 828mkII slaves to the optical
device via their optical cable
connection.
ADAT Optical OUT
ADAT Optical IN
Digital mixer
or other optical
device
ADAT Optical IN
828mkII
Clock Source setting =
optical
828mkII
828mkII
Clock Source setting =
Internal, or any clock source
setting except Optical. The optical
device slaves to the 828mkII (via
its optical cable connection).
MIDI Timepiece AV
set to Internal
Digital mixer
or other optical
device
Word Clock Out
828mkII
Clock Source setting =
ADAT 9-pin
ADAT Sync out
Mac
Word Clock IN
ADAT sync in
bi-directional
optical
Computer with 828mkII
Figure 3-16: Three setups for synchronizing an optical device with the 828mkII. You can slave the optical device to the 828mkII or vice versa
with their optical connections. For more elaborate setups, you can slave both to a digital audio synchronizer like the Digital Timepiece. Don’t
use any of these setups for an ADAT or other optical device that records. Instead, see “Sample-accurate ADAT sync” on page 25.
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SYNCING S/PDIF DEVICES
DAT decks and other S/PDIF devices will sync to
the 828mkII in one of two ways:
■
Via the S/PDIF connection itself
■
Via word clock
S/PDIF devices with no word clock
If your DAT deck or other S/PDIF device has no
word clock sync connectors, just connect it to the
828mkII via the S/PDIF connectors. When the
device records S/PDIF audio (from the 828mkII),
it will simply synchronize to the clock provided by
the audio input.
828mkII
S/PDIF
On the other hand, when you transfer audio from
the S/PDIF device into the 828mkII, you’ll have to
slave the 828mkII to its S/PDIF input. If you have
other digital audio devices connected to the
828mkII, and they are not slaved directly to the
828mkII 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 828mkII via their word
clock connection. You can then freely transfer
audio between the 828mkII and the S/PDIF device.
828mkII
Clock Source setting =
Internal (when transferring from the
828mkII to the S/PDIF device)
828mkII
Clock Source setting =
S/PDIF (when transferring from
the S/PDIF device to the 828mkII)
S/PDIF
DAT deck
or other S/PDIF device
828mkII
Clock Source setting = Internal
828mkII
Word Clock Out
SPDIF
Word Clock In
SPDIF
DAT deck
or other SPDIF device
With this setup, in the MOTU FireWire Audio Console window, choose Internal, or
any other clock source setting except SPDIF. The DAT deck (or other SPDIF device)
slaves to the 828mkII via word clock for SPDIF transfers in both directions.
Figure 3-17: Two setups for synchronizing an S/PDIF device with the 828mkII. In the top diagram, sync is achieved via the S/PDIF connection
itself. In this case, you have to choose S/PDIF as the 828mkII’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 828mkII 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 828mkII 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 22).
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 3-18 and Figure 3-19.
rate. For example, the 828mkII could be running at
96 kHz while slaving to a 48 kHz word clock signal
from a MOTU Digital Timepiece. Similarly, the
828mkII could run at 88.2 kHz and slave to
44.1 kHz word clock. Conversely, the 828mkII
could run at 48 kHz and slave to a 96 kHz word
clock signal. In all of these cases, the front panel
clock LEDs flash both sample rates to indicate that
the 828mkII is slaving to word clock at either twice
or half its own clock rate. But if the 828mkII is
running at 96 kHz, it cannot slave to word clock
running at 44.1 kHz.
828mkII
Master
Remember, the word clock signal must be one of
the following:
Word clock OUT
Word clock IN
■
the same as the 828mkII clock
■
twice the 828mkII clock
■
half of the 828mkII clock
Other device
Slave
Figure 3-18: Slaving another digital audio device to the 828mkII via
word clock. For the 828mkII clock source, choose any source besides
word clock, as it is not advisable to chain word clock.
SYNCING LARGE SYSTEMS
MOTU Digital Timepiece universal synchronizer
Audio
clock
Master
Word clock OUT
Word clock IN
Slave
828mkII
Figure 3-19: Slaving the 828mkII to word clock. For the 828mkII 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.
If you are connecting the 828mkII to a lot of other
digital audio gear, get a Digital Timepiece. It can
synchronize a wide variety of devices, and it offers
sample accurate synchronization for devices that
support it, such as ADATs. You will also be able to
control everything from the transport controls of
your audio software. If you have even more devices
than a single Digital Timepiece can support,
consider a word clock distribution device, such as
the Aardvark Aard Sync™ video-to-word clock
converter. Products like this offer multiple word
clock outputs and an extremely low-jitter clock.
Slaving to 2x and 1/2x word clock
All MOTU FireWire audio interfaces that support
96 kHz operation (including the 828mkII and 896)
have the ability to slave to a word clock signal
running at either twice or half their current clock
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CONNECTING MULTIPLE MOTU FIREWIRE
INTERFACES
You can daisy-chain up to four MOTU FireWire
interfaces on a single FireWire bus, with the
restrictions described in the following sections.
Most computers have only one built-in FireWire
bus (even if it supplies multiple FireWire sockets).
Connect them as follows:
Multiple interfaces in the MOTU FireWire Audio
Console
The MOTU FireWire Audio Console displays the
settings for one interface at a time. To view the
settings for an interface, click its tab as shown
below in Figure 3-21.
Mac OS X
Mac
FireWire
Mac OS 9
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 3-20: Connecting multiple 828mkII’s (or other MOTU FireWire
audio interfaces) to a computer. NOTE: the word clock connections
shown above are only necessary under Mac OS X. They are not
required under Mac OS 9.
Figure 3-21: To view the settings for an interface, click its tab. Under
Mac OS 9, choose it from the Interface menu as shown.
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Using multiple interfaces under Mac OS 9
All connected MOTU FireWire interfaces get their
clock from whatever you choose from the Clock
Source menu in the MOTU FireWire Audio
Console. When you connect multiple MOTU
FireWire interfaces, all of their respective sync
sources are displayed in the menu as shown below
in Figure 3-22.
with respect to one another. For example, the audio
tracks playing back through the 828mkII might
drift out of sync with the audio tracks playing back
through your 2408mk3 PCI interface.
Synchronizing them to each other externally
ensures that they remain as tightly and
continuously phase-locked as if they were
operating as one unified interface.
Figure 3-22: In Mac OS 9, all MOTU FireWire audio interfaces get their
clock from a single master sync source on any connected 828mkII (or
other MOTU FireWire interface). After you choose a source from this
menu, the entire system, including all connected 828mkIIs, synchronizes to it.
To resolve two 828mkII FireWire interfaces with
each other, choose one as the word clock master
and then slave the second interface to the first, as
shown in Figure 3-20 on page 32. For three
interfaces, you can probably get away with daisychaining 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).
Under Mac OS 9, Each FireWire interface in the
system gets its clock from the Audio Wire cable
connection (unless it is the master clock itself).
There is no need to make word clock connections
between multiple FireWire interfaces.
Using multiple interfaces under Mac OS X
Mac OS X provides a more advanced, flexible
driver model that allows multiple CoreAudio
drivers to be active at one time, accessed by
multiple applications simultaneously. For example,
under Mac OS X, 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 externally synchronized
to one another in order to remain resolved to each
another. Without external synchronization, the
audio streams going to each interface might drift
Connecting an 828
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. Up to four interfaces can be
combined on one FireWire bus.
Operating multiple FireWire interfaces at high
sample rates
Four MOTU FireWire interfaces can operate at
44.1 or 48kHz on a single FireWire bus. At the high
samples rates (88.2 or 96kHz), you can operate no
more than two FireWire interfaces on a single
FireWire bus.
Adding additional interfaces with a second
FireWire bus
Third-party FireWire bus expansion products in
the form of a cardbus (“PC card”) adaptor or PCI
card allow you to add a second FireWire bus to
your computer. In may be possible to add
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additional MOTU FireWire interfaces connected
to such a third-party product, depending on the
performance of the product and the performance
of your host computer.
Managing the IDs of multiple interfaces (Mac
OS 9 only)
Multiple 828mkII interfaces are identified by
number (#1, #2, #3, etc.) Interfaces are ID’d (given
a number) by the order in which they are first
powered up after being connected. This
information is stored in the MOTU FireWire Audio
preferences file. Once ID’d, they retain the same
number regardless of the order in which they are
powered up. You can disable an interface at any
time with the Disable interface option shown in
Figure 3-21 on page 32. Doing so frees up the
FireWire bandwidth required by the interface
without turning it off. Switching off an interface
accomplishes the same thing. To get the MOTU
FireWire Audio Control Panel Console to forget
about an interface entirely, you’ll see a Forget
button in the MOTU FireWire Audio Console. Just
click the Forget button and the MOTU FireWire
Audio Console will no longer consider the
interface to be present but off line (turned off).
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CHAPTER 4
Installing the 828mkII Macintosh
Software
OVERVIEW
Software installation for Mac OS X . . . . . . . . . . . . . . . . . . .
Software installation for Mac OS 9 . . . . . . . . . . . . . . . . . . .
CueMix Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MOTU SMPTE Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
AudioDesk workstation software . . . . . . . . . . . . . . . . . . . .
35
37
39
39
39
SOFTWARE INSTALLATION FOR MAC OS X
Install the 828mkII software as follows:
1 Insert the MOTU FireWire Installer disc and
launch the installer.
2 Follow the directions that the installer gives you.
What does the OS X installer do?
The installer checks the computer to make sure it
satisfies the minimum system requirements for
your MOTU interface. If so, the installer proceeds
with the OS X installation. Drivers are installed,
along with the MOTU FireWire Audio Console,
FireWire CueMix Console, and several other
applications, summarized in the following table:
The 828mkII 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
828mkII to establish audio input and output with
any Mac OS X CoreAudio-compatible software.
Once the 828mkII’s CoreAudio driver has been
successfully installed (by the installer), and you
have chosen it for use in your host audio software,
the 828mkII will appear as a choice for audio
inputs and outputs in your software.
All MOTU audio hardware, including our PCI
systems and other FireWire interfaces, ship with
CoreAudio drivers that allow them to operate
successfully with virtually all Mac OS X audio
software.
Software component
Location
Purpose
For more information
MOTU FireWire CoreAudio
driver
/System/Library/
Extensions
Provides 828mkII multi-channel audio input
and output with all Mac OS X audio software
“The 828mkII CoreAudio
driver” on page 35
MOTU FireWire CoreMIDI driver
/Library/Audio/
MIDI Drivers
Provides 828mkII MIDI input and output for
all Mac OS X MIDI software
“CoreMIDI and Audio
MIDI Setup” on page 36
MOTU FireWire Audio Console
Applications folder
Provides access to all of the settings in
the828mkII and other MOTU FireWire interfaces. Required for 828mkII operation.
chapter 5, “MOTU FireWire
Audio Console (Mac OS X)”
(page 41)
MOTU SMPTE Console
Applications folder
Provides access to the 828mkII system’s
SMPTE time code sync features.
chapter 14, “MOTU SMPTE
Console” (page 103)
AudioDesk Workstation Software
Applications folder
Provides complete multi-track recording,
mixing and processing. Optional.
AudioDesk User Guide
AudioDesk Demo Project
Anywhere you want
Provides a multi-track mix that you can open,
play, and mix in AudioDesk. Optional.
AudioDesk User Guide
FireWire CueMix Console
Applications folder
Gives you complete control over the
828mkII’s CueMix DSP feature, which provides no-latency monitoring and mixing of
live inputs through your 828mkII system.
chapter 13, “CueMix Console” (page 97)
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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
828mkII FireWire interface and all CoreMIDI
compatible software.
Audio MIDI Setup is a utility included with
Mac OS X that allows you to configure your
828mkII 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
Figure 4-1: The 828mkII interface as it appears in the MIDI tab of
Audio MIDI Setup.
Connecting MIDI devices to the 828mkII
Once your 828mkII 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.
Launching Audio MIDI Setup
1 Make sure your 828mkII interface is connected
and turned on.
2 Launch the Audio MIDI Setup utility.
This can usually be found in /Applications/
Utilities. If it has been moved, just search for Audio
MIDI Setup.
3 Confirm that the MIDI interface is present in the
MIDI Devices tab of Audio MIDI Setup.
If the interfaces does not appear, or if it is grayed
out, check your cable connections and click Rescan
MIDI.
Figure 4-2: Adding a MIDI device.
2 Drag on its input and output arrows to draw
connections to the 828mkII that match its physical
connection.
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SOFTWARE INSTALLATION FOR MAC OS 9
Install the 828mkII software as follows:
1 Insert the MOTU FireWire Installer disc and
launch the installer.
2 Follow the directions that the installer gives you.
What does the OS 9 installer do?
The 828mkII ships with the following Mac OS 9
software components:
Figure 4-3: Connecting devices to the 828mkII. In this example, a
controller keyboard is connected to the 828mkII’s MIDI IN, and a
sound module is connected to the 828mkII MIDI OUT.
3 Double-click the device to make settings, such
as input and output channels, that further describe
the device.
Software
component
Location
Purpose
MOTU FireWire
Audio Driver
Extensions
Folder
Allow the 828mkII to
establish communication with the computer.
MOTU
Folder
Extensions
Folder
Contains the MOTU
hard disk recording
engine. Required for
828mkII operation with
AudioDesk and Digital
Performer.
MOTU FireWire
Audio Control
Panel
Apple menu
(Control Panels
Folder)
Provides access to all of
the settings in the
828mkII hardware.
MOTU FireWire
Control Strip
Control Strip
(Control Strip
Modules
Folder)
Provides access to all of
the settings in the
828mkII hardware.
AudioDesk
Workstation
Software
Top level of the
startup disk
Provides complete
multi-track recording,
mixing and processing.
Optional.
ASIO MOTU
FireWire Audio
Driver
In the ASIO
Drivers folder of
your audio software—other
than AudioDesk
or Digital Performer
Allows ASIO-compliant
audio software to do
multi-channel input and
output with the
828mkII. Only required
if you are using Cubase
or another ASIO-compatible program.
AudioDesk
Demo Project
Anywhere you
want
Provides a multi-track
mix that you can open,
play, and mix in
AudioDesk. Optional.
MOTU FireWire
Enabler
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.
Your configuration is automatically saved as the
default configuration, and it is shared with all
CoreMIDI-compatible software.
☛
828mkII MIDI input and output is supported
under Mac OS X only.
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MOTU FireWire Audio Control Panel
The MOTU FireWire Audio Console is placed by
the installer in your Mac’s Apple menu (under
Control Panels). It gives you access to all of the
settings in the 828mkII hardware, such as the
sample rate. For complete details, see chapter 6,
“MOTU FireWire Control Panel (Mac OS 9)”
(page 47).
Figure 4-6: The MOTU FireWire Control Strip module gives you access
to all of the settings in the MOTU FireWire hardware, just like the
MOTU FireWire Audio Console.
ASIO MOTU FireWire Audio driver
ASIO stands for Audio Streaming Input and Output.
The ASIO MOTU FireWire Audio driver allows
828mkII to provide multi-channel input and
output for Steinberg’s Cubase VST software, or any
other audio application that supports ASIO
drivers.
The ASIO MOTU FireWire Audio driver is only
required if you are using Cubase VST (or another
audio program that relies on the ASIO driver to
support multi-channel I/O with the 828mkII).
☛
Figure 4-5: The MOTU FireWire Audio Console gives you access to all
of the settings in the 828mkII hardware.
MOTU FireWire Control strip module
The MOTU FireWire Control Strip module is
placed by the installer in your Mac’s Control Strip.
Just like the MOTU FireWire Audio Console, it
gives you access to all of the settings in the 828mkII
hardware. For complete details, see chapter 6,
“MOTU FireWire Control Panel (Mac OS 9)”
(page 47).
Digital Performer and AudioDesk support
ASIO, but they also access the 828mkII directly
through the MOTU Audio System, so it is not
necessary to use the ASIO driver with these MOTU
applications.
The ASIO MOTU FireWire Audio driver should be
placed in the ASIO folder of Cubase VST or other
ASIO-compliant software that you are running as
the software “front end” for the 828mkII.
For details about using Cubase VST with the
828mkII, see chapter 8, “The MOTU 828 and
Other Audio SoftwareASIO-compatible Audio
Software” (page 1).
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INSTALLING THE 828MKII MACINTOSH SOFTWARE
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See the AudioDesk manual included with your
828mkII system for details.
Figure 4-7: The ASIO MOTU FireWire Audio driver.
CUEMIX CONSOLE
This program provides a mixing console that gives
you control over the 828mkII’s no-latency CueMix
DSP features. For details, see chapter 13, “CueMix
Console” (page 97).
Figure 4-8: AudioDesk for Mac OS 9.
MOTU SMPTE CONSOLE
The MOTU SMPTE Console software provides a
complete set of tools to resolve the 828mkII to
SMPTE time code, and to generate SMPTE for
striping, regenerating or slaving other devices to
the computer. For details, see chapter 14, “MOTU
SMPTE Console” (page 103).
AUDIODESK WORKSTATION SOFTWARE
The MOTU FireWire installer places AudioDesk
on the top level of your Macintosh’s startup
volume.
AudioDesk is an advanced workstation software
package for the 828mkII that lets you record, edit,
mix, process, bounce and master multi-track
digital audio recording projects. Advanced features
include real-time 32-bit effects processing, sampleaccurate synchronization with ADATs, 24-bit
recording, and much more.
Figure 4-9: AudioDesk for Mac OS X.
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CHAPTER 5
MOTU FireWire Audio Console
(Mac OS X)
OVERVIEW
Accessing the 828mkII settings . . . . . . . . . . . . . . . . . . . . . .
828mkII Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Optical input/output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Enable Pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Launch console when hardware becomes available .
ACCESSING THE 828MKII SETTINGS
41
42
42
42
44
44
45
45
There are several ways to access the MOTU
FireWire Audio Console settings:
From the dock, press on the MOTU FireWire
Audio Console icon, or control-click it to open the
menu immediately
■
■ From within AudioDesk™ or Digital
Performer™, choose Setup menu>MOTU Audio
System options>Configure Hardware Driver
From within Cubase VST, go to the Audio menu,
choose System and then click the ASIO Control
Panel button. In Cubase SX, open the Devices
Setup window, click the VST Multitrack device and
click the Control Panel button.
■
■ From within other ASIO-compatible programs,
refer to their documentation.
■ From the front panel LCD (see chapter 7,
“828mkII Front Panel Operation” (page 53)).
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828MKII SETTINGS
Sample Rate
Choose the desired Sample Rate for recording and
playback. The 828mkII can operate at 44.1 (the
standard rate for compact disc audio), 48, 88.2 or
96KHz. Make absolutely sure that all of the devices
connected digitally to the 828mkII match the
828mkII’s sample rate. Also make sure that your
Digital Timepiece, MIDI Timepiece AV or other
digital audio synchronizer matches it as well.
☛
Mismatched sample rates cause distortion and
crackling. If you hear this sort of thing, check the
sample rate settings in your hardware and here in
the MOTU FireWire Audio Console.
Clock Source
The Clock Source determines the digital audio
clock that the 828mkII will use as its time base. For
a complete explanation of synchronization issues,
see “Making sync connections” on page 22. The
following sections briefly discuss each clock source
setting.
Internal
Use the Internal setting when you want the
828mkII 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 828mkII system on its internal
clock, and then slave the DAT deck to the 828mkII
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
828mkII’s word clock output (if your DAT deck has
a word clock input).
Figure 5-1: The MOTU FireWire Audio Console gives you access to all of the settings in the 828mkII hardware.
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MOTU FIREWIRE AUDIO CONSOLE (MAC OS X)
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If you would like help determining if this is the
proper clock setting for your situation, see “Do you
need a synchronizer?” on page 23.
Use this setting when you are using the 828mkII
with one or more ADAT-sync compatible
recorders. Make sure the 828mkII is connected to
the end of the ADAT sync chain.
With ADAT devices, however, you usually want an
external digital audio synchronizer, such as the
MIDI Timepiece AV or Digital Timepiece, to be the
digital clock master. In this case, you would set the
828mkII clock source setting to ADAT 9-pin, as
described below.
You should also use this setting if you have a MIDI
Timepiece AV, which allows you to drive your
entire system from the transport controls of
AudioDesk, Digital Performer or other computer
software.
S/PDIF
The S/PDIF clock source setting refers to the
S/PDIF RCA input jack on the 828mkII. This
setting allows the 828mkII to slave to another
S/PDIF device.
You could also use ADAT sync to continuously
resolve the 828mkII to SMPTE time code, video,
and word clock via a synchronizer like the MOTU
MIDI Timepiece AV. Word clock can accomplish
the same thing.
Use this setting whenever you are recording input
from a DAT deck or other S/PDIF device into the
828mkII. It is not necessary in the opposite
direction (when you are transferring from the
828mkII to the DAT machine).
For further details, see “Sample-accurate ADAT
sync” on page 25, “Sample-accurate ADAT sync
with no synchronizer” on page 26 and “Syncing to
video and/or SMPTE time code using a
synchronizer” on page 28.
For further details about this setting, see “Syncing
S/PDIF devices” on page 30.
ADAT optical
The ADAT optical clock source setting refers to the
clock provided by the 828mkII’s optical input,
when it is connected to an ADAT optical device.
This setting can be used to slave the 828mkII
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
ADAT optical compatible device that has no way of
synchronizing digitally to the 828mkII or an
external synchronizer such as the Digital
Timepiece. In this case, the ADAT Optical clock
source setting lets you slave the 828mkII to the
device itself via its digital input to the 828mkII.
Word Clock In
The Word Clock In setting refers to the Word Clock
In BNC connector on the 828mkII rear panel.
Choosing this setting allows the 828mkII to slave to
an external word clock source, such as the word
clock output from a digital mixer or another
828mkII.
ADAT 9-pin
The ADAT 9-pin clock source setting refers to the
ADAT digital audio synchronization format. It
allows the 828mkII to slave to an ADAT — or
ADAT sync chain — via its ADAT sync 9-pin
connector. ADAT sync also carries precise, sample
location information, which allows AudioDesk and
Digital Performer to transfer audio to and from
ADAT-sync compatible recorders without drifting
by as much as one sample.
If the ADAT Optical setting does not appear in the
menu, it means that the 828mkII’s optical input is
currently either turned off or set to the TOSLink
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MOTU FIREWIRE AUDIO CONSOLE (MAC OS X)
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format. In either case, choose the ADAT optical
format from the Optical input menu (Figure 5-1 on
page 42).
This setting is also useful if you just need to make a
simple, click-free digital transfer between the
828mkII 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 about this setting, see “Syncing
optical devices” on page 29.
TOSLink
The TOSLink clock source setting refers to the
clock provided an optical S/PDIF device connected
to the 828mkII’s optical input. This setting can be
used to slave the 828mkII 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 828mkII or an
external synchronizer such as the Digital
Timepiece. In this case, the TOSLink clock source
setting lets you slave the 828mkII to the other
device via the 828mkII’s optical input.
If the TOSLink setting does not appear in the
menu, it means that the 828mkII’s optical input is
currently either turned off or set to the ADAT
optical format. In either case, choose the TOSLink
format from the Optical input menu (Figure 5-1 on
page 42).
This setting is also useful if you just need to make a
simple, click-free digital transfer between the
828mkII 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 about this setting, see “Syncing
optical devices” on page 29.
SMPTE
Choose this setting to resolve the 828mkII directly
to SMPTE time code (LTC) being received via the
828mkII’s quarter-inch SMPTE input jack. For
details, see “Syncing to SMPTE time code” on
page 27 and chapter 14, “MOTU SMPTE Console”
(page 103).
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
828mkII’s optical input and output. Choose the
format that matches the device connected. If you
are not using the optical connections, it is
recommended that you turn them off (as provided
in the menus) to reduce bandwidth and processing
overhead. Note that you can operate the input and
output independently. For example, you could use
the ADAT optical format on the input (with a
digital mixer, for example) and optical S/PDIF on
the output (with a DAT deck, for example).
When the optical output is set to TOSLink, the
signal is split to both the RCA and optical output
jacks. However, when the optical input is set to
TOSLink, the RCA SDIF jack is disabled.
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 four on-board
CueMix DSP mix busses.
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Word Out
The Word Out menu appears when the 828mkII is
operating at a high sample rate (88.2 or 96kHz).
This menu lets you set the word clock output either
to match the current sample rate (System Clock) or
to halve the current sample rate (System Clock ÷ 2).
In the latter case, the word clock output would be
reduced to either 44.1 or 48 kHz.
Enable Pedal
Check the Enable Pedal option if a foot switch is
connected to the 828mkII 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.)
Launch console when hardware becomes
available
Check this option if you would like the MOTU
FireWire Audio Console icon to appear in the
application dock as soon as a MOTU FireWire
interface is detected (switched on, plugged in, etc.)
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46
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CHAPTER 6
MOTU FireWire Control Panel
(Mac OS 9)
OVERVIEW
ACCESSING THE 828MKII SETTINGS
The MOTU FireWire Control Panel provides
access to all 828mkII settings. These settings can
also be accessed from the MOTU FireWire Control
Strip module or from the Configure Hardware
Driver command in AudioDesk or Digital
Performer (Basics menu).
There are several ways to access the MOTU
FireWire Control Panel settings:
Accessing the 828mkII settings . . . . . . . . . . . . . . . . . . . . . .
828mkII Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Samples Per Buffer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Optical input/output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Enable Sound Manager driver . . . . . . . . . . . . . . . . . . . . . . .
Enable Pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
If 828mkII settings are grayed out . . . . . . . . . . . . . . . . . . .
47
48
48
48
50
51
51
51
51
51
■ From the Apple menu, choose the MOTU
FireWire Control Panel
■ From the MacOS control strip, click on the
MOTU FireWire Control Strip Module
■ From within AudioDesk™ or Digital
Performer™, choose Basics menu>MOTU Audio
System options>Configure Hardware Driver
■ From within Cubase (Version 5 or higher), click
the ASIO Control Panel button in the System Setup
dialog as shown in Figure 8-3 on page 3.
■ From within other ASIO-compatible programs,
refer to their documentation.
47
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It doesn’t matter which way you access the 828mkII
settings. They are the same in all three places.
see “Making sync connections” on page 22. The
following sections briefly discuss each clock source
setting.
828MKII SETTINGS
Internal
Use the Internal setting when you want the
828mkII 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 828mkII system on its internal
clock, and then slave the DAT deck to the 828mkII
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).
Figure 6-1: The MOTU FireWire Control Panel gives you access to all of
the settings in the 828mkII hardware.
Sample Rate
Choose the desired Sample Rate for recording and
playback. The 828mkII can operate at 44.1 (the
standard rate for compact disc audio), 48, 88.2 or
96KHz. Make absolutely sure that all of the devices
connected digitally to the 828mkII match the
828mkII’s sample rate. Also make sure that your
Digital Timepiece, MIDI Timepiece AV or other
digital audio synchronizer matches it as well.
☛
Mismatched sample rates cause distortion and
crackling. If you hear this sort of thing, check the
sample rate settings in your hardware and here in
the MOTU FireWire Audio Console.
Clock Source
The Clock Source determines the digital audio
clock that the 828mkII will use as its time base. For
a complete explanation of synchronization issues,
If you would like help determining if this is the
proper clock setting for your situation, see “Do you
need a synchronizer?” on page 23.
With ADAT devices, however, you usually want an
external digital audio synchronizer, such as the
MIDI Timepiece AV or Digital Timepiece, to be the
digital clock master. In this case, you would set the
828mkII clock source setting to ADAT 9-pin, as
described below.
S/PDIF
The S/PDIF clock source setting refers to the
S/PDIF RCA input jack on the 828mkII. This
setting allows the 828mkII 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
828mkII. It is not necessary in the opposite
direction (when you are transferring from the
828mkII to the DAT machine).
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For further details about this setting, see “Syncing
S/PDIF devices” on page 30.
Word Clock In
The Word Clock In setting refers to the Word Clock
In BNC connector on the 828mkII rear panel.
Choosing this setting allows the 828mkII to slave to
an external word clock source, such as the word
clock output from a digital mixer.
ADAT 9-pin
The ADAT 9-pin clock source setting refers to the
ADAT digital audio synchronization format. It
allows the 828mkII to slave to an ADAT — or
ADAT sync chain — via its ADAT sync 9-pin
connector. ADAT sync also carries precise, sample
location information, which allows AudioDesk and
Digital Performer to transfer audio to and from
ADATs without drifting by as much as one sample.
Use this setting when you are using the 828mkII
with one or more ADATs. Make sure the 828mkII is
connected to the end of the ADAT sync chain.
You should also use this setting if you have a MIDI
Timepiece AV, which allows you to drive your
entire system from the transport controls of
AudioDesk, Digital Performer or other software.
You could also use ADAT sync to continuously
resolve the 828mkII to SMPTE time code, video,
and word clock via a synchronizer like the MOTU
MIDI Timepiece AV. Word clock can accomplish
the same thing.
For further details, see “Sample-accurate ADAT
sync” on page 25, “Sample-accurate ADAT sync
with no synchronizer” on page 26 and “Syncing to
video and/or SMPTE time code using a
synchronizer” on page 28.
ADAT optical
The ADAT optical clock source setting refers to the
clock provided by the 828mkII’s optical input,
when it is connected to an ADAT optical device.
This setting can be used to slave the 828mkII
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
ADAT optical compatible device that has no way of
synchronizing digitally to the 828mkII or an
external synchronizer such as the Digital
Timepiece. In this case, the ADAT Optical clock
source setting lets you slave the 828mkII to the
device itself via its digital input to the 828mkII.
If the ADAT Optical setting does not appear in the
menu, it means that the 828mkII’s optical input is
currently either turned off or set to the TOSLink
format. In either case, choose the ADAT optical
format from the Optical input menu (Figure 6-1 on
page 48).
This setting is also useful if you just need to make a
simple, click-free digital transfer between the
828mkII 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 about this setting, see “Syncing
optical devices” on page 29.
TOSLink
The TOSLink clock source setting refers to the
clock provided an optical S/PDIF device connected
to the 828mkII’s optical input. This setting can be
used to slave the 828mkII 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 828mkII or an
external synchronizer such as the Digital
Timepiece. In this case, the TOSLink clock source
setting lets you slave the 828mkII to the other
device via the 828mkII’s optical input.
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If the TOSLink setting does not appear in the
menu, it means that the 828mkII’s optical input is
currently either turned off or set to the ADAT
optical format. In either case, choose the TOSLink
format from the Optical input menu (Figure 6-1 on
page 48).
This setting is also useful if you just need to make a
simple, click-free digital transfer between the
828mkII 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 about this setting, see “Syncing
optical devices” on page 29.
SMPTE
Choose this setting to resolve the 828mkII directly
to SMPTE time code (LTC) being received via the
828mkII’s quarter-inch SMPTE input jack. For
details, see “Syncing to SMPTE time code” on
page 27 and chapter 14, “MOTU SMPTE Console”
(page 103).
Samples Per Buffer
The Samples Per Buffer setting lets you reduce the
delay you hear when patching live audio through
your audio software. For example, you might have
a live microphone input that you would like to run
through a reverb plug-in that you are running in
your host audio software. When doing so, you may
hear or feel some “sponginess” (delay) between the
source and the processed signal. If so, don’t worry.
This effect only affects what you hear: it is not
present in what is actually recorded.
You can use Samples Per Buffer setting to reduce
this monitoring delay—and even make it
completely inaudible.
☛
If you don’t need to process an incoming live
signal with software plug-ins, you can monitor the
signal with no delay at all using CueMix Console,
which routes the signal directly to your speakers
via hardware. For details, see chapter 12, “CueMix
Console” (page 97).
Adjusting the Samples Per Buffer setting impacts
the following things:
■
The strain on your computer’s CPU
■ The delay you hear when routing a live signal
through your host audio software plug-ins
■ How responsive the transport controls are in
your software
This setting presents you with a trade-off between
the processing power of your computer and the
delay of live audio as it is being processed by
plug-ins. If you reduce the Samples Per Buffer, 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 Samples Per Buffer, you reduce the load
on your computer, freeing up bandwidth for
effects, mixing and other real-time operations. But
don’t set the Samples Per Buffer too low, or it may
cause distortion in your audio.
If you don’t process live inputs with software
plug-ins, leave this setting at its default value of
1024 samples. If you do, try settings of 256 samples
or less, if your computer seems to be able to handle
them. If your host audio software has a processor
meter, check it. If it starts getting maxed out, or if
the computer seems sluggish, raise the Samples Per
Buffer until performance returns to normal.
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 monitoring input,
choose a higher Samples Per Buffer setting.
Depending on your computer’s CPU speed, you
might find that settings in the middle work best.
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The Samples Per Buffer setting also impacts how
quickly your audio software will respond when you
begin playback, although not by amounts that are
very noticeable. Lowering the Samples Per Buffer
will make your software respond faster; raising the
Samples Per Buffer will make it a little bit slower, but
barely enough to notice.
Monitoring live inputs without plug-in effects
As mentioned earlier, CueMix Console allows you
to monitor dry, unprocessed live inputs with no
delay at all. For complete details, see chapter 11,
“Reducing Monitoring Latency” (page 91).
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
828mkII’s optical input and output. Choose the
format that matches the device connected. If you
are not using the optical connections, it is
recommended that you turn them off (as provided
in the menus) to reduce bandwidth and processing
overhead. Note that you can operate the input and
output independently. For example, you could use
the ADAT optical format on the input (with a
digital mixer, for example) and optical S/PDIF on
the output (with a DAT deck, for example).
When the optical output is set to TOSLink, the
signal is split to both the RCA and optical output
jacks. However, when the optical input is set to
TOSLink, the RCA SDIF jack is disabled.
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 four on-board
CueMix DSP mix busses.
Word Out
The Word Out menu appears when the 828mkII is
operating at a high sample rate (88.2 or 96kHz).
This menu lets you set the word clock output either
to match the current sample rate (System Clock) or
to halve the current sample rate (System Clock ÷ 2).
In the latter case, the word clock output would be
reduced to either 44.1 or 48 kHz.
Enable Sound Manager driver
Check the Enable Sound Manager option if you
would like to route Sound Manager audio to and
from the 828mkII. For example, you could listen to
an audio CD playing in the CD drive of your
Macintosh through headphones connected to the
828mkII. As another example, you could route
audio from a pair of 828mkII inputs into a thirdparty Sound Manager-compatible audio
application. Use the menus provided to choose the
desired 828mkII inputs and outputs you would like
to route to/from Sound Manager. For further
details, see chapter 9, “Sound Manager” (page 1).
☛
This option is disabled when the 828mkII is
set to a high sample rate (88.2 or 96kHz).
Enable Pedal
Check the Enable Pedal option if a foot switch is
connected to the 828mkII 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 trigger 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.)
IF 828MKII SETTINGS ARE GRAYED OUT
If the MOTU FireWire driver is currently in use by
an audio program (or Sound Manager), some of its
settings cannot be changed and are therefore
grayed out in the MOTU FireWire Control Panel
menus. (Settings that cannot be changed are ones
on which audio applications continuously depend
for smooth, error free operation.) If you find that a
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MOTU FireWire Control Panel setting that you
wish to change is grayed out, simply quit all
828mkII-compatible audio programs (which may
include Sound Manager-compatible programs,
too, if you are using the 828mkII with Sound
Manager). Once you have quite all applications, all
MOTU FireWire Control Panel settings will be
available (not grayed out).
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CHAPTER 7
828mkII Front Panel Operation
OVERVIEW
PUSH-BUTTON ROTARY ENCODERS
The 828mkII is the first FireWire audio interface to
offer complete front-panel programming via six
rotary encoders and a 2x16 backlit LCD display. All
828mkII settings can be accessed via these frontpanel controls.
All of the knobs shown in Figure 7-1 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).
Push-button rotary encoders . . . . . . . . . . . . . . . . . . . . . . . .
Multi-function LCD display . . . . . . . . . . . . . . . . . . . . . . . . . .
VOLUME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
SETUP / SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIX BUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PARAM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CURSOR / VALUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Stand-alone operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MULTI-FUNCTION LCD DISPLAY
53
53
54
54
56
56
57
57
The LCD provides access to the many 828mkII
settings, as well as visual feedback of the current
parameter being modified.
The LCD operates in two different modes: setup
mode and mixer mode. Push the SETUP knob to
toggle between the two modes.
Choose the mix parameter The top row shows settings
to edit here with the
for the 10 analog inputs.
PARAM knob.
Choose the mix you
are editing by
pushing the MIX BUS
knob. Turn the knob
to change the mix
volume.
Use the CURSOR knob
to scroll to a channel
and use VALUE to
change its setting.
The bottom row shows settings
for the 10 digital inputs.
Figure 7-1: The 828mkII front panel controls.
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Setup mode
In setup mode, the LCD displays basic settings,
such as clock source, optical I/O format (ADAT
versus TOSLink), and so on. These settings are
covered in detail later in “SETUP / SELECT” on
page 54.
VOLUME
The VOLUME knob lets you control the volume of
both the headphone jack and the rear-panel main
outs. Press the knob to toggle between the
headphones and the main outs. As explained in the
previous section, the LCD provides detailed
feedback as you turn the knob. To view the current
setting without changing it, just push the knob
(without turning it).
SETUP / SELECT
Figure 7-2: In setup mode, the LCD displays a setup parameter in the
top row of the LCD and the current setting in the bottom row.
Mixer mode
In mixer mode, the LCD displays the settings for
the current 828mkII mix being shown in the
display, as demonstrated in Figure 7-1 on page 53.
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. The
time-out period can be adjusted, as explained later
in “Fader View Time”.
Figure 7-3: For many settings, the LCD “zooms in” on the setting as
you adjust it.
Press the SELECT knob to toggle between mixer
mode and setup mode. In mixer mode, the SETUP
and SELECT knob do nothing. In setup mode,
turn SETUP to choose a setting and SELECT to
change it. In some cases, SELECT chooses one of
the 828mkII’s four mixes, and the VALUE knob
changes the setting. The setup settings are briefly
explained below.
Clock source
This sets the global clock source for the 828mkII
and is the same as the Clock Source setting in the
MOTU FireWire Audio Console as explained in
“Clock Source” on page 42. If the 828mkII is
currently connected to a computer, this setting
cannot be changed from the front-panel LCD. It
must be changed in the MOTU FireWire Audio
Console instead. Or, you can disconnect the
828mkII from the computer to change the Clock
Source from the front panel.
Fader View Time
The Fader View Time option lets you control the
length of time that an adjusted parameter remains
displayed in the LCD before the LCD returns to its
previous state. For example, when you turn the
MIX BUS knob to adjust the volume of the current
mix, you’ll see a long-throw horizontal fader in the
LCD, along with a numeric display of the current
gain reduction. After you stop turning the knob,
this fader remains displayed in the LCD for a
moment before the LCD returns to its previous
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state. The Fader View Time option lets you control
how long the adjusted parameter remains on the
LCD after the knob stops turning.
You can then paste the settings to another mix as
explained below. The word Done appears briefly to
confirm that the mix settings have been
successfully copied.
Optical In / Optical Out
These two settings determine the format for the
828mkII’s optical input and output. They are the
same as the optical setting in the MOTU FireWire
Audio Console as explained in “Optical input/
output” on page 44. If the 828mkII is currently
connected to a computer, these settings cannot be
changed from the front-panel LCD. They must be
changed in the MOTU FireWire Audio Console
instead. Or, you can disconnect the 828mkII from
the computer to change them from the front panel.
Paste Bus Mix
After you copy mix settings (explained above),
Paste Bus Mix lets you paste the copied mix settings
to another mix. Turn the SELECT knob to choose a
mix. Push SELECT to paste. The word Done
appears briefly to confirm the paste. The following
mix parameter are included in the paste operation:
Gain, Pan, Solo, Mute, +4/-10, +6dB boost, and
stereo pairing. The following mix parameters are
not pasted: Bus output, Bus mute and Bus gain.
Bus output
The Bus Output setting lets you choose the
828mkII output pair for each of the four CueMix
DSP mix busses. Turn the SELECT knob to choose
a bus. Turn the VALUE knob to choose an output.
Push the VALUE knob to select the output. The
output stops flashing to confirm that it has been
selected.
Save/Name Preset
The Save/Name Preset setting lets you name and
save up to sixteen separate 828mkII presets. A
preset holds all of the current CueMix DSP mix
settings for all four mix busses. Setup parameters
are not included. The name can have up to 12
characters. Here is a summary of how to name and
save a preset:
Bus mute
The Bus Mute setting mutes and unmutes the bus
output. Turn the SELECT knob to choose a bus.
Push the SELECT knob to mute or unmute the bus.
To do this:
Do this:
To change the currently flashing
character
Turn the VALUE knob
To jump to capital letters, lower
case letters, numbers or symbols
Push the VALUE knob repeatedly
Phones Assign
The Phones Assign setting lets you choose what you
hear on the headphone output. This is the same as
the Phones setting in the MOTU FireWire Audio
Console as explained in “Phones” on page 44.
To scroll to a different character
Turn the CURSOR knob.
To save the preset
Push SELECT. If you are asked
to replace existing preset, push
SELECT again to replace it, or
turn it to select a different preset.
Init Current Mix
The Init Current Mix setting lets you reset the
current mix (or all four mixes). All inputs get reset
to unity gain (0 dB), pan c enter, etc.
Load preset
After you’ve saved one or more presets, Load Preset
lets you recall them. Turn the SELECT knob to
choose a preset. Push SELECT to load it. The word
Loaded appears briefly to confirm the operation.
Copy Bus Mix
Copy Bus Mix lets you copy all of the settings for the
currently displayed mix. Turn the SELECT knob to
choose a mix. Push the SELECT knob to copy it.
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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
SELECT to initiate the All Notes Off operation. The
MIDI OUT LED will glow to confirm that the noteoff data is being sent.
Factory Defaults
The Factory Defaults setting restores the 828mkII
factory settings. Before you can attempt this
operation, the 828mkII must first be disconnected
from the computer. If the interface is still
connected, the LCD will alert you with the message
“Must detach FW”. Once you have done so, push
SELECT to initiate the operation, and then when
the LCD asks “Are you sure?”, push VALUE to
execute it.
When the LCD display is in mixer mode, push the
MIX BUS knob repeatedly to cycle through the
four mixes. The current mix is indicated in the
LCD above the MIX BUS label (as shown in
Figure 7-1 on page 53). Turn the MIX BUS knob to
change the output level for the mix.
PARAM
When the LCD display is in mixer mode, the
PARAM knob cycles through the mix parameters
listed below. Use the CURSOR knob to scroll to a
particular channel (until it flashes) and use the
VALUE knob to change its setting:
Mix
parameter Range
Gain
Pan
The 828mkII on-board CueMix DSP mixer
provides four stereo mix busses, named MIX1,
MIX2, MIX3 and MIX4, respectively. Each mix bus
(also referred to as a “mix”) independently mixes
all inputs (or any subset of your choosing) down to
one 828mkII output pair of your choosing. For
example, you could assign MIX1 to the main outs,
MIX2 to analog outputs 1-2 and MIX3 to the
headphone outs. You can then independently
assign any input to any mix. An input can even be
included in two or more mixes simultaneously at
different input levels.
Figure 7-4: In mixer mode, the LCD displays the mix settings for the
mix bus currently being displayed in the LCD.
Each channel displays a small fader.
Push the VALUE knob to toggle
between OFF and unity gain (0dB).
-64 to +64
Push the VALUE knob to jump to
pan center. Stereo pairs (explained
below) are panned hard left/right by
default.
Zero = pan
center
MIX BUS
Comments
OFF,
-84 to 0 dB
Solo
“s” or
blank
Push the VALUE knob to toggle
between soloed (S) and not soloed
(blank), or turn the knob to toggle.
Mute
“m” or
blank
Push the VALUE knob to toggle
between muted (m) and unmuted
(blank), or turn the knob to toggle.
4/10
down (+4)
or up (-10)
This setting applies universally
across ALL mix busses for analog
inputs 1-8. Push the VALUE knob
to toggle between a +4dB reference
level (down) and a -10dB reference
level (up). Or turn the knob to toggle.
+6db
“+” or
blank
This setting applies universally
across ALL mix busses for analog
inputs 1-8. Push the VALUE knob
to toggle between a +6dB software
boost (+) and no boost (blank). Or
turn the knob to toggle.
Pair
“[ ]” or
blank
This setting applies universally
across ALL mixes. Push the VALUE
knob to toggle a stereo input pair
between separate mono inputs
(blank) or a stereo pair (“[ ]”). Or
turn the knob to toggle. When a pair
of inputs are linked, all of their mix
settings become linked (gain, solo,
etc.) except for pan. When the pair is
first created, pan is set to hard left
and hard right, but the channels can
then be further modified independently. When a pair is unlinked, the
channels are set to pan-center.
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Mix parameters that apply across all mixes
The last three mix settings (input reference level,
+6dB software boost, and stereo pairing) apply
across all mixes because they have to do with the
nature of the input itself. For example, if you have
an input that requires a -10dB reference level, then
you’ll want the reference level to apply to all mixes.
Working with stereo pairs
When you group a pair of inputs as a stereo pair, all
of their mix settings become linked, and whenever
you scroll to either channel, both channels will
flash to indicate that they will operate as a linked
stereo pair. Note that when a pair is first created,
pan is set to hard left and hard right, but the
channels can then be further modified independently. When a pair is unlinked, the channels are
set to pan-center.
CURSOR / VALUE
When the LCD display is in mixer mode, the
CURSOR knob scrolls left and right over the 20
inputs displayed in the LCD. The current input
flashes. As a shortcut, you can push the CURSOR
knob to toggle between the top row (analog inputs)
and bottom row (digital inputs). The VALUE knob
changes the current mix parameter for the
currently flashing input. In some cases, such as
Gain and Pan, the LCD will “zoom” to the enlarged
horizontal fader while you adjust it with the VALUE
knob. After you stop adjusting, the LCD will return
to the mixer display.
STAND-ALONE OPERATION
All settings, including all mix settings and global
settings, are saved in the 828mkII’s memory, and
they remain in effect even when the 828mkII is not
connected to a computer. This allows you to use the
828mkII as a stand-alone 8-bus mixer. You can
make adjustments to any setting at any time from
the front panel.
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CHAPTER 8
Digital Performer
OVERVIEW
SETTING UP YOUR SYSTEM
This chapter provides a brief overview of Digital
Performer’s basic I/O and synchronization
operation with the 828mkII hardware. This
chapter covers both DP3 with Mac OS 9 and DP4
with Mac OS X.
As described in chapter 4, “Installing the 828mkII
Macintosh Software” (page 35), the Digital
Performer and MOTU 828mkII software installers
will properly install and update everything for you.
Setting up your system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The 828mkII settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Be sure you have enough voices . . . . . . . . . . . . . . . . . . . . .
24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fine-tuning I/O timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Machine Control (MMC) . . . . . . . . . . . . . . . . . . . . . . . .
MIDI I/O via the 828mkII MIDI ports. . . . . . . . . . . . . . . . . .
Processing live inputs with plug-ins . . . . . . . . . . . . . . . . .
Using a foot switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exchanging projects with AudioDesk. . . . . . . . . . . . . . . .
Sound Manager and Digital Performer (OS 9 only) . .
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61
62
62
62
63
64
64
64
64
64
If you are using a MIDI Timepiece AV or Digital
Timepiece for synchronization, be sure they are
present in Audio MIDI setup (or FreeMIDI Setup
under Mac OS 9).
THE 828MKII SETTINGS
828mkII settings in Mac OS 9
In Mac OS 9, the 828mkII settings can be accessed
by choosing MOTU Audio System
options>Configure Hardware Driver from the
Basics menu. This is where you choose the
828mkII as your audio input output device. Once
you’ve done so, you should see the 828mkII
settings as shown below in Figure 8-1.
Figure 8-1: The 828mkII settings.
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828mkII settings in Mac OS X
In Mac OS X, choose the 828mkII as your audio
input output device by choosing MOTU Audio
System options>Configure Hardware Driver from
the Setup menu. This window shows some of the
828mkII settings, such as sample rate and clock
source, but to access all of the 828mkII settings,
open the MOTU FireWire Audio Console, as
shown in Figure 5-1 on page 42.
For complete details about the 828mkII settings,
see chapter 5, “MOTU FireWire Audio Console
(Mac OS X)” (page 41) or chapter 6, “MOTU
FireWire Control Panel (Mac OS 9)” (page 47).
The following sections provide a brief explanation
of each 828mkII setting for use with Digital
Performer.
Sample rate
Choose the desired overall sample rate for the
828mkII system and Digital Performer. Newly
recorded audio in Digital Performer will have this
sample rate. Imported audio or soundbites in
existing files that do not match this sample rate will
be displayed in the Soundbites window with a red
‘X’ on its move handle to indicate that it cannot be
played.
Clock Source
This setting is very important because it
determines which audio clock the 828mkII will
follow.
If you do not have any digital audio connections to
your 828mkII (you are using the analog inputs and
outputs only), and you will not be slaving Digital
Performer to external SMPTE time code, choose
Internal.
If you are slaving the 828mkII to the ADAT sync
Input connector, choose ADAT 9-pin.
If you are slaving the 828mkII and Digital
Performer to SMPTE time code via the 828mkII
itself, choose SMPTE and follow the directions in
“Syncing to SMPTE time code” on page 27.
Figure 8-2: Under Mac OS X, choose Setup menu> Configure Audio
System> Configure Hardware Driver to open the dialog shown above
and access the 828mkII CoreAudio driver. To access the rest of the
828mkII settings, open the MOTU FireWire Audio Console.
If you have digital audio devices connected to the
828mkII, or if you are not sure about the clock
source of your setup, be sure to read “Making sync
connections” on page 22 and “Clock Source” on
page 42.
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Buffer Size (OS X) / Samples Per Buffer (OS 9)
The Buffer Size setting (Samples Per Buffer under
Mac OS 9) can be used to reduce the delay — or
monitoring latency — that you hear when live audio
is patched through your 828mkII hardware and
Digital Performer. For example, you might have
MIDI instruments, samplers, microphones, and so
on connected to the analog inputs of the 828mkII.
If so, you will often be mixing their live input with
audio material recorded in Digital Performer. See
chapter 12, “Reducing Monitoring Latency”
(page 89) for complete details.
Optical input and output
To make a 828mkII optical input or output
available in Digital Performer, 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.
Phones
This 828mkII setting lets you choose what you’ll
hear from the headphone jack. For example, if you
choose Main Outs, the headphones will duplicate
the main outs. Or you can choose any other output
pair. If you choose Phones, this setting makes the
headphone jack serve as its own independent
output pair. As a result, you’ll see Phones 1-2 as an
additional audio destination in Digital Performer’s
audio output menus.
BE SURE YOU HAVE ENOUGH VOICES
Go to the Setup menu (Basics menu under Mac OS
9) and choose MOTU Audio System
Options>Configure Studio Size. Then check to
make sure you have enough mono and stereo audio
voices to cover the 20 channels of input and 22
channels of output provided by your 828mkII —
although the number of channels may depend on
how your 828mkII is configured:
■ 12 channels for analog I/O (including the
headphone out)
■
2 channels for RCA S/PDIF
Zero, 2 or 8 channels for optical, depending on
whether you have optical turned off, or set to
S/PDIF or ADAT optical
■
For example, if you are using analog only, you only
need 12 channels. If you are using analog and RCA
S/PDIF, you need 14 channels.
As another example, if you are using analog, RCA
S/PDIF and ADAT optical, you need 22 channels
(the maximum number of simultaneous output
channels provided by the 828mkII).
WORKING WITH 828MKII INPUTS AND
OUTPUTS
Once you’ve enabled the MOTU FireWire Audio
driver as explained earlier in “The 828mkII
settings” on page 59, 828mkII audio inputs and
outputs will appear in Digital Performer’s audio
input and output menus. If you don’t see the optical
inputs and/or outputs, check the MOTU FireWire
Audio Console to make sure they are turned on
and set to the format you require. If you don’t plan
to use the optical input or output, turn it off to
conserve computer bandwidth.
Phones 1-2
If you’ve chosen to treat the 828mkII headphones
as an independent output, you’ll see Phones 1-2 in
Digital Performer’s output menus. Audio tracks
assigned to this output pair will be heard on the
headphone jack only. For further explanation, see
“Phones” on page 44.
Mix1 1-2
In Digital Performer’s audio input menus, you’ll see
an 828mkII input called Mix1 1-2. This input
source delivers the output of CueMix DSP “MIX1”
(the first mix bus of the four on-board no-latency
monitor mixes in the 828mkII) back to your
computer. This input serves, for example, as a
convenient way for you to record the 828mkII’s
MIX1 monitor mix back into Digital Performer
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(for reference and archiving purposes). Further, if
you are sending audio from Digital Performer to
the same output pair as MIX1, you can choose to
either include or exclude the audio from the
computer in the stream being sent back to Digital
Performer. For details on how to do this, see “Mix1
Return Includes Computer” on page 100.
☛ Warning: the Mix1 1-2 input can cause
feedback loops! DO NOT assign this input to a
track that shares the same 828mkII output pair as
MIX1.
24-BIT OPERATION
Your 828mkII hardware fully supports Digital
Performer’s 24-bit recording capabilities, including
both analog and digital 24-bit recording. If you
would like to record and play back 24-bit audio
files, go to the Setup menu (Basics menu under OS
9), choose MOTU Audio System options>Configure
Sample Format, and choose 24-bit recording as the
sample format. This setting is saved with the
Digital Performer project.
FINE-TUNING I/O TIMING
The 828mkII has the ability to be sample accurate.
This means that when you transfer audio between
Digital Performer and an ADAT (or other ADATsync compatible recorder), for example, you can
record the audio back and forth as many times as
you want between them and it will remain exactly
at its original sample location (unless you move it
in Digital Performer, of course).
Occasionally, you may encounter a situation in
which you observe a slight offset of one sample —
or maybe a few — caused by inherent latencies in
the devices you are using with the 828mkII.
Usually, these offsets will be consistent, and you
can compensate for them in Digital Performer. To
do so, choose MOTU Audio System Options>Finetune Audio I/O Timing from the Setup menu
(Basics menu under Mac OS 9) as shown in
Figure 8-3.
Figure 8-3: Fine-tuning the timing of audio playback and recording.
SYNCHRONIZATION
Digital Performer can run under its own transport
control or slave to an external sync source, such as
SMPTE time code or ADAT sync (sample address).
Running DP under its own transport control
If you do not need to synchronize Digital
Performer with time code or another recording
device, such as a tape deck, just leave the Slave to
External Sync command in the Studio menu
(Basics menu under OS 9) unchecked.
However, even though Digital Performer is not
slaving to external sync, you still need to be
concerned with the synchronization of the
828mkII’s digital audio clock with other devices
connected to it digitally (if any). For example, if
you have a digital mixer connected to the 828mkII
via an ADAT optical lightpipe cable, you need to
make sure that their audio clocks are phase-locked.
For details, see “Syncing optical devices” on
page 29 and “Making sync connections” on
page 22. If you don’t have any digital audio devices
connected to the 828mkII, digital audio phase-lock
does not apply to you.
Resolving DP and the 828mkII to SMPTE time
code
If you need to slave Digital Performer and the
828mkII to SMPTE time code, you can do so with
or without a dedicated synchronizer.
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Resolving directly to time code (with no
synchronizer)
To resolve your Digital Performer/828mkII system
directly to SMPTE time code with no additional
synchronization devices, use the setup shown in
“Syncing to SMPTE time code” on page 54.
Choose Receive Sync from the Setup menu (Basics
menu under Mac OS 9) and choose the Sample
accurate option. Then make sure that the Slave to
External Sync command in the Studio menu
(Basics menu under Mac OS 9) is checked. Make
sure the Clock Source setting in the MOTU
FireWire Audio Console window is set to SMPTE.
Also, make sure that you’ve connected an LTC
input signal the 828mkII SMPTE input.
Resolving to video and/or time code with a
dedicated synchronizer
To resolve your Digital Performer/828mkII system
to video and/or SMPTE time code using an
additional synchronization device, use the setup
shown in “Syncing to video and/or SMPTE time
code using a synchronizer” on page 60.
Choose Receive Sync from the Setup menu (Basics
menu under Mac OS 9) and choose the MTC
(MIDI Time Code) option. Then make sure that
the Slave to External Sync command in the Studio
menu (Basics menu under Mac OS 9) is checked.
To ensure that your audio tracks don’t drift out of
sync with your MIDI tracks — or time code, use a
hardware synchronizer like the MIDI Timepiece
AV or Digital Timepiece to resolve the 828mkII
hardware as well, as shown in Figure 5-30 on
page 62. A digital audio synchronizer is required
for drift-free SMPTE/MIDI time code sync. Make
sure the Clock Source setting in the MOTU
FireWire Audio Console window has the
appropriate setting for locking the 828mkII to the
synchronizer. For example, in Figure 5-30 on
page 62, word clock is being used to resolve the
828mkII, so the Clock Source setting is Word Clock
In.
☛
If you have an ADAT sync compatible device,
don’t use SMPTE time code. Instead, use sampleaccurate sync as described in the next section.
Sample-accurate sync to ADAT and Tascam
Together, Digital Performer and the 828mkII
provide you with sample-accurate transfers with
ADATs, Alesis recorders and any other devices that
support standard ADAT sample address (ADAT
Sync).
Similarly, with the help of a MOTU Digital
Timepiece, Digital Performer and a 828mkII can
perform sample-accurate transfers with Tascam
digital recorders.
A sample-accurate transfer is one in which the
original location of the audio is preserved in the
transfer, down to the sample.
For details on how to set up sample-accurate sync,
see “Sample-accurate sync” on page 24. Be sure to
choose the Sample Accurate Sync option in Digital
Performer’s Receive Sync dialog, and make sure that
the Slave to External Sync command is checked,
too.
To control the transports of everything together
from Digital Performer, see the next section.
MIDI MACHINE CONTROL (MMC)
If you have ADATs and a MMC-compatible ADAT
synchronizer like the MIDI Timepiece AV or
Digital Timepiece, you can control everything
from your computer screen with Digital
Performer’s transport controls and cueing features
(like Markers, the playback wiper, etc.)
Similarly, if you have Tascam recorders and a
MOTU Digital Timepiece (or other MMCcompatible Tascam synchronizer), can control all
of your Tascam decks (in ABS time) in a similar
fashion from Digital Performer.
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See the MIDI Machine Control chapter in your
MIDI Timepiece AV or Digital Timepiece manual
for details on how to set this up.
MIDI I/O VIA THE 828MKII MIDI PORTS
Once you’ve followed the procedure for enabling
the 828mkII’s MIDI features as explained in
“Software installation for Mac OS X” on page 35,
the 828mkII MIDI ports will appear as a input
source and output destination in Digital
Performer’s MIDI I/O menus. The 828mkII MIDI
ports are not supported under Mac OS 9.
PROCESSING LIVE INPUTS WITH PLUG-INS
If you patch a live input (such as MIDI synthesizer)
through a plug-in effect in Digital Performer, you
might hear a slight delay. There are several ways to
reduce this delay. For details, see chapter 11,
“Reducing Monitoring Latency” (page 91).
USING A FOOT SWITCH
Use a foot switch connected to the 828mkII to
trigger recording punch-in and punch-out, or any
other feature in Digital Performer that is assigned
to a computer keystroke. By default, the foot switch
triggers the 3 key on the computer keypad (which
toggles Digital Performer’s record button.) To
trigger a different set of keystrokes with the foot
switch, visit the MOTU FireWire Audio Console.
(See “Enable Pedal” on page 45.)
EXCHANGING PROJECTS WITH AUDIODESK
Digital Performer (Version 2.6 or later) can
exchange files with AudioDesk 1.0. For example,
you can transfer a file from Digital Performer to
AudioDesk, and back again. Just use Save As in
Digital Performer’s File menu and choose the
AudioDesk file format. To open AudioDesk files in
Digital Performer, just use the Open command.
(No conversion is required beforehand in
AudioDesk.)
If you have an earlier version of Digital Performer
(2.5 or earlier), you can open your Digital
Performer files in AudioDesk (with the Open
command in the File menu), but Digital Performer
2.5 or earlier cannot open AudioDesk files.
SOUND MANAGER AND DIGITAL
PERFORMER (OS 9 ONLY)
Digital Performer includes a Mac OS 9 MOTU
Audio System plug-in called AudioTap that allows
you to route any Sound Manager audio into Digital
Performer’s mixing environment. From there, you
can route it to your 828mkII interface via any of
Digital Performer’s extensive audio routing
features. For details, consult your Digital
Performer documentation.
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CHAPTER 9
AudioDesk
OVERVIEW
SETTING UP YOUR SYSTEM
This chapter provides a brief overview of
AudioDesk’s basic I/O and synchronization
operation with the 828 hardware. For complete
information about all of AudioDesk’s powerful
workstation features, see the AudioDesk manual
included with your MOTU 828 system. This
chapter covers both DP3 with Mac OS 9 and DP4
with Mac OS X.
As described in chapter 4, “Installing the 828mkII
Macintosh Software” (page 35), the MOTU
FireWire Audio software installer will properly
install everything for you, including AudioDesk.
Setting up your system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The 828mkII settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Be sure you have enough voices . . . . . . . . . . . . . . . . . . . . .
24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fine-tuning I/O timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Machine Control (MMC) . . . . . . . . . . . . . . . . . . . . . . . .
MIDI I/O via the 828mkII MIDI ports. . . . . . . . . . . . . . . . . .
Processing live inputs through plug-ins . . . . . . . . . . . . .
Using a foot switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exchanging projects with Digital performer . . . . . . . . .
AudioDesk and MIDI sequencing . . . . . . . . . . . . . . . . . . . .
65
66
67
68
68
69
70
70
70
70
70
71
If you will be using AudioDesk’s MIDI Machine
Control (MMC) or MIDI Time Code sync features,
and you are using Mac OS 9, FreeMIDI must be
installed. (You can install FreeMIDI from the
MOTU FireWire installer CD.) Under Mac OS X,
the CoreMIDI driver is automatically installed for
you as part of the “Easy Install” package.
If you are using a MIDI Timepiece AV or Digital
Timepiece for synchronization, be sure they are
present in Audio MIDI setup (or FreeMIDI Setup
under Mac OS 9).
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THE 828MKII SETTINGS
828mkII settings in Mac OS 9
In Mac OS 9, the 828mkII settings can be accessed
by choosing MOTU Audio System
options>Configure Hardware Driver from the
Basics menu. This is where you choose the
828mkII as your audio input output device. Once
you’ve done so, you should see the 828mkII
settings as shown below in Figure 9-1.
828mkII settings in Mac OS X
In Mac OS X, choose the 828mkII as your audio
input output device by choosing MOTU Audio
System options>Configure Hardware Driver from
the Setup menu. This window shows some of the
828mkII settings, such as sample rate and clock
source, but to access all of the 828mkII settings,
open the MOTU FireWire Audio Console, as
shown in Figure 5-1 on page 42.
Figure 9-1: The 828mkII settings.
Figure 9-2: Under Mac OS X, choose Setup menu> Configure Audio
System> Configure Hardware Driver to open the dialog shown above
and access the 828mkII CoreAudio driver. To access the rest of the
828mkII settings, open the MOTU FireWire Audio Console.
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For complete details about the 828mkII settings,
see chapter 5, “MOTU FireWire Audio Console
(Mac OS X)” (page 41) or chapter 6, “MOTU
FireWire Control Panel (Mac OS 9)” (page 47).
The following sections provide a brief explanation
of each 828mkII setting for use with AudioDesk.
Sample rate
Choose the desired overall sample rate for the
828mkII system and AudioDesk. Newly recorded
audio in AudioDesk will have this sample rate.
Imported audio or soundbites in existing files that
do not match this sample rate will be displayed in
the Soundbites window with a red ‘X’ on its move
handle to indicate that it cannot be played.
Clock Source
This setting is very important because it
determines which audio clock the 828mkII will
follow.
If you do not have any digital audio connections to
your 828mkII (you are using the analog inputs and
outputs only), and you will not be slaving
AudioDesk to external SMPTE time code, choose
Internal.
If you are slaving the 828mkII to the ADAT sync
Input connector, choose ADAT 9-pin.
If you are slaving the 828mkII and AudioDesk to
SMPTE time code via the 828mkII itself, choose
SMPTE and follow the directions in “Syncing to
SMPTE time code” on page 27.
If you have digital audio devices connected to the
MOTU 828, or if you are not sure about the clock
source of your setup, be sure to read “Making sync
connections” on page 22 and “Clock Source” on
page 42.
is patched through your 828mkII hardware and
AudioDesk. For example, you might have MIDI
instruments, samplers, microphones, and so on
connected to the analog inputs of the 828mkII. If
so, you will often be mixing their live input with
audio material recorded in AudioDesk. See
chapter 12, “Reducing Monitoring Latency”
(page 89) for complete details.
Optical input and output
To make a 828mkII optical input or output
available in AudioDesk, 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.
Phones
This 828mkII setting lets you choose what you’ll
hear from the headphone jack. For example, if you
choose Main Outs, the headphones will duplicate
the main outs. Or you can choose any other output
pair. If you choose Phones, this setting makes the
headphone jack serve as its own independent
output pair. As a result, you’ll see Phones 1-2 as an
additional audio destination in AudioDesk’s audio
output menus.
BE SURE YOU HAVE ENOUGH VOICES
Go to the Setup menu (Basics menu under Mac OS
9) and choose MOTU Audio System
Options>Configure Studio Size. Then check to
make sure you have enough mono and stereo audio
voices to cover the 20 channels of input and 22
channels of output provided by your 828mkII —
although the number of channels may depend on
how your 828mkII is configured:
■ 12 channels for analog I/O (including the
headphone out)
■
Buffer Size (OS X) / Samples Per Buffer (OS 9)
The Buffer Size setting (Samples Per Buffer under
Mac OS 9) can be used to reduce the delay — or
monitoring latency — that you hear when live audio
2 channels for RCA S/PDIF
Zero, 2 or 8 channels for optical, depending on
whether you have optical turned off, or set to
S/PDIF or ADAT optical
■
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For example, if you are using analog only, you only
need 12 channels. If you are using analog and RCA
S/PDIF, you need 14 channels.
the stream being sent back to AudioDesk. For
details on how to do this, see “Mix1 Return
Includes Computer” on page 100.
As another example, if you are using analog, RCA
S/PDIF and ADAT optical, you need 22 channels
(the maximum number of simultaneous output
channels provided by the 828mkII).
☛
Warning: the Mix1 1-2 input can cause
feedback loops! DO NOT assign this input to a
track that shares the same 828mkII output pair as
MIX1.
WORKING WITH 828MKII INPUTS AND
OUTPUTS
24-BIT OPERATION
Once you’ve enabled the MOTU FireWire Audio
driver as explained earlier in “The 828mkII
settings” on page 66, 828mkII audio inputs and
outputs will appear in AudioDesk’s audio input and
output menus. If you don’t see the optical inputs
and/or outputs, check the MOTU FireWire Audio
Console to make sure they are turned on and set to
the format you require. If you don’t plan to use the
optical input or output, turn it off to conserve
computer bandwidth.
Phones 1-2
If you’ve chosen to treat the 828mkII headphones
as an independent output, you’ll see Phones 1-2 in
AudioDesk’s output menus. Audio tracks assigned
to this output pair will be heard on the headphone
jack only. For further explanation, see “Phones” on
page 67.
Mix1 1-2
In AudioDesk’s audio input menus, you’ll see an
828mkII input called Mix1 1-2. This input source
delivers the output of CueMix DSP “MIX1” (the
first mix bus of the four on-board no-latency
monitor mixes in the 828mkII) back to your
computer. This input serves, for example, as a
convenient way for you to record the 828mkII’s
MIX1 monitor mix back into AudioDesk (for
reference and archiving purposes). Further, if you
are sending audio from AudioDesk to the same
output pair as MIX1, you can choose to either
include or exclude the audio from the computer in
Your 828mkII hardware fully supports
AudioDesk’s 24-bit recording capabilities,
including both analog and digital 24-bit recording.
If you would like to record and play back 24-bit
audio files, go to the Setup menu (Basics menu
under OS 9), choose MOTU Audio System
options>Configure Sample Format, and choose
24-bit recording as the sample format. This setting
is saved with the AudioDesk project.
FINE-TUNING I/O TIMING
The 828mkII has the ability to be sample accurate.
This means that when you transfer audio between
AudioDesk and an ADAT (or other ADAT-sync
compatible recorder), for example, you can record
the audio back and forth as many times as you want
between them and it will remain exactly at its
original sample location (unless you move it in
AudioDesk, of course).
Occasionally, you may encounter a situation in
which you observe a slight offset of one sample —
or maybe a few — caused by inherent latencies in
the devices you are using with the 828mkII.
Usually, these offsets will be consistent, and you
can compensate for them in AudioDesk. To do so,
choose MOTU Audio System Options>Fine-tune
Audio I/O Timing from the Setup menu (Basics
menu under Mac OS 9) as shown in Figure 9-3.
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Resolving directly to time code (with no
synchronizer)
To resolve your AudioDesk/828mkII system
directly to SMPTE time code with no additional
synchronization devices, use the setup shown in
“Syncing to SMPTE time code” on page 54.
Figure 9-3: Fine-tuning the timing of audio playback and recording.
SYNCHRONIZATION
AudioDesk can run under its own transport
control or slave to an external sync source, such as
SMPTE time code or ADAT sync (sample address).
Running AudioDesk under its own transport
control
If you do not need to synchronize AudioDesk with
time code or another recording device, such as a
tape deck, just leave the Slave to External Sync
command in the Studio menu (Basics menu under
OS 9) unchecked.
However, even though AudioDesk is not slaving to
external sync, you still need to be concerned with
the synchronization of the 828mkII’s digital audio
clock with other devices connected to it digitally (if
any). For example, if you have a digital mixer
connected to the 828mkII via an ADAT optical
lightpipe cable, you need to make sure that their
audio clocks are phase-locked. For details, see
“Syncing optical devices” on page 29 and “Making
sync connections” on page 22. If you don’t have any
digital audio devices connected to the 828mkII,
digital audio phase-lock does not apply to you.
Resolving AudioDesk and the 828mkII to
SMPTE time code
If you need to slave AudioDesk and the 828mkII to
SMPTE time code, you can do so with or without a
dedicated synchronizer.
Choose Receive Sync from the Setup menu (Basics
menu under Mac OS 9) and choose the Sample
accurate option. Then make sure that the Slave to
External Sync command in the Studio menu
(Basics menu under Mac OS 9) is checked. Make
sure the Clock Source setting in the MOTU
FireWire Audio Console window is set to SMPTE.
Also, make sure that you’ve connected an LTC
input signal the 828mkII SMPTE input.
Resolving to video and/or time code with a
dedicated synchronizer
To resolve your AudioDesk/828mkII system to
video and/or SMPTE time code using an
additional synchronization device, use the setup
shown in “Syncing to video and/or SMPTE time
code using a synchronizer” on page 60.
Choose Receive Sync from the Setup menu (Basics
menu under Mac OS 9) and choose the MTC
(MIDI Time Code) option. Then make sure that
the Slave to External Sync command in the Studio
menu (Basics menu under Mac OS 9) is checked.
To ensure that your audio tracks don’t drift out of
sync with your MIDI tracks — or time code, use a
hardware synchronizer like the MIDI Timepiece
AV or Digital Timepiece to resolve the 828mkII
hardware as well, as shown in Figure 5-30 on
page 62. A digital audio synchronizer is required
for drift-free SMPTE/MIDI time code sync. Make
sure the Clock Source setting in the MOTU
FireWire Audio Console window has the
appropriate setting for locking the 828mkII to the
synchronizer. For example, in Figure 5-30 on
page 62, word clock is being used to resolve the
828mkII, so the Clock Source setting is Word Clock
In.
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☛
If you have an ADAT sync compatible device,
don’t use SMPTE time code. Instead, use sampleaccurate sync as described in the next section.
See the MIDI Machine Control chapter in your
MIDI Timepiece AV or Digital Timepiece manual
for details on how to set this up.
Sample-accurate sync to ADAT and Tascam
Together, AudioDesk and the 828mkII provide you
with sample-accurate transfers with ADATs, Alesis
recorders and any other devices that support
standard ADAT sample address (ADAT Sync).
MIDI I/O VIA THE 828MKII MIDI PORTS
Similarly, with the help of a MOTU Digital
Timepiece, AudioDesk and a 828mkII can perform
sample-accurate transfers with Tascam digital
recorders.
A sample-accurate transfer is one in which the
original location of the audio is preserved in the
transfer, down to the sample.
For details on how to set up sample-accurate sync,
see “Sample-accurate sync” on page 24. Be sure to
choose the Sample Accurate Sync option in
AudioDesk’s Receive Sync dialog, and make sure
that the Slave to External Sync command is
checked, too.
To control the transports of everything together
from AudioDesk, see the next section.
MIDI MACHINE CONTROL (MMC)
If you have ADATs and a MMC-compatible ADAT
synchronizer like the MIDI Timepiece AV or
Digital Timepiece, you can control everything
from your computer screen with AudioDesk’s
transport controls and cueing features (like
Markers, the playback wiper, etc.)
Similarly, if you have Tascam recorders and a
MOTU Digital Timepiece (or other MMCcompatible Tascam synchronizer), can control all
of your Tascam decks (in ABS time) in a similar
fashion from AudioDesk.
Once you’ve followed the procedure for enabling
the 828mkII’s MIDI features as explained in
“Software installation for Mac OS X” on page 35,
the 828mkII MIDI ports will appear as a input
source and output destination in AudioDesk’s
MIDI I/O menus. The 828mkII MIDI ports are not
supported under Mac OS 9.
PROCESSING LIVE INPUTS THROUGH
PLUG-INS
If you patch a live input (such as MIDI synthesizer)
through a plug-in effect in AudioDesk, you might
hear a slight delay. There are several ways to reduce
this delay. For details, see chapter 11, “Reducing
Monitoring Latency” (page 91).
USING A FOOT SWITCH
Use a foot switch connected to the 828mkII to
trigger recording punch-in and punch-out, or any
other feature in AudioDesk that is assigned to a
computer keystroke. By default, the foot switch
triggers the 3 key on the computer keypad (which
toggles AudioDesk’s record button.) To trigger a
different set of keystrokes with the foot switch, visit
the MOTU FireWire Audio Console. (See “Enable
Pedal” on page 45.)
EXCHANGING PROJECTS WITH DIGITAL
PERFORMER
AudioDesk 1.0 can exchange files with Digital
Performer (Version 2.6 or later). For example, you
can transfer a file from Digital Performer to
AudioDesk, and back again. Just use Save As in
Digital Performer’s File menu and choose the
AudioDesk file format. To open AudioDesk files in
Digital Performer, just use the Open command.
(No conversion is required beforehand in
AudioDesk.)
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If you have an earlier version of Digital Performer
(2.5 or earlier), you can open your Digital
Performer files in AudioDesk (with the Open
command in the File menu), but Digital Performer
2.5 or earlier cannot open AudioDesk files.
AUDIODESK AND MIDI SEQUENCING
AudioDesk can play audio as a background
application, allowing you to run a sequencer at the
same time in the foreground. However, there is no
way to continuously synchronize — or resolve — a
sequencer with AudioDesk, so the two programs
will eventually drift out of sync, even if you manage
to start them at the same time. If you’d like to do
integrated MIDI sequencing, your best bet is
Digital Performer, which offers pretty much all of
the same features as AudioDesk, along with
powerful, state-of-the-art MIDI sequencing. Talk
to your authorized MOTU dealer for details about
upgrading from AudioDesk to Digital Performer.
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CHAPTER 10
Other Mac OS X Audio Software
OVERVIEW
PREPARING MIDI INPUT AND OUTPUT
The 828mkII provides multichannel audio and
MIDI input and output for all Mac OS X audio
applications. This chapter covers third-party audio
applications. For information about running
Digital Performer or AudioDesk under Mac OS X,
refer to chapter 8, “Digital Performer” (page 59) or
chapter 9, “AudioDesk” (page 65).
If you will be using the 828mkII’s MIDI input and
output ports, be sure to follow the procedure in
“Preparing MIDI input and output” on page 73.
Installing the 828mkII Mac OS X drivers. . . . . . . . . . . . . .
Preparing MIDI input and output . . . . . . . . . . . . . . . . . . . .
Run the MOTU FireWire Audio Console . . . . . . . . . . . . . .
Choosing the MOTU FireWire CoreAudio driver . . . . .
Audio Input and output names . . . . . . . . . . . . . . . . . . . . . .
Number of channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Processing live inputs with plug-ins . . . . . . . . . . . . . . . . .
Using a foot switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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RUN THE MOTU FIREWIRE AUDIO CONSOLE
Before you run your host audio software, launch
the MOTU FireWire Audio Console to configure
your 828mkII hardware. The MOTU FireWire
Audio Console lets you configure your audio
interface, and it lets you enable the desired inputs
and outputs. Only enabled inputs and outputs will
be available to your software, so this is an
important step. For complete details see chapter 5,
“MOTU FireWire Audio Console (Mac OS X)”
(page 41).
INSTALLING THE 828MKII MAC OS X
DRIVERS
To install the 828mkII’s Mac OS X audio and MIDI
drivers, just run the installer on the MOTU
FireWire Audio installer CD as detailed in
chapter 4, “Installing the 828mkII Macintosh
Software” (page 35).
Figure 10-1: The MOTU FireWire Audio Console.
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For complete details about the 828mkII settings,
see chapter 6, “MOTU FireWire Control Panel
(Mac OS 9)” (page 47). The following sections
provide a brief explanation of each 828mkII setting
for use with Cubase.
Sample rate
Choose the desired overall sample rate for the
828mkII 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 828mkII will
follow.
If you do not have any digital audio connections to
your 828mkII (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 are slaving the 828mkII to the ADAT sync
Input connector, choose ADAT 9-pin.
If you have digital audio devices connected to the
828mkII, or if you are not sure about the clock
source of your setup, be sure to read “Making sync
connections” on page 22 and “Clock Source” on
page 42.
headphone jack serve as its own independent
output pair. As a result, you’ll see Phones 1-2 as an
additional audio destination in your host audio
software’s audio output menus.
CHOOSING THE MOTU FIREWIRE
COREAUDIO DRIVER
Once you’ve made the preparations described so
far in this chapter, you’re ready to run your audio
software and enable the MOTU 828mkII
CoreAudio 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 828mkII from this
menu.
Cubase SX and Nuendo
Go to the Devices menu and choose Device Setup.
Choose the 828mkII CoreAudio driver from the
“ASIO Driver” menu as shown below. Activate the
inputs and outputs within Cubase or Nuendo as
usual. For information about the Audio Buffer Size
setting, see “Adjusting buffer settings under Mac
OS X” on page 91.
Optical input and output
To make a 828mkII 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.
Phones
This 828mkII setting lets you choose what you’ll
hear from the headphone jack. For example, if you
choose Main Outs, the headphones will duplicate
the main outs. Or you can choose any other output
pair. If you choose Phones, this setting makes the
Figure 10-2: Enabling the 828mkII audio driver in Cubase SX.
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Logic Audio
In Logic audio, go to the Preferences window,
choose Audio Driver from the menu, and expand
the CoreAudio item as shown below. For
information about the I/O Buffer Size setting, see
“Adjusting buffer settings under Mac OS X” on
page 91.
AUDIO INPUT AND OUTPUT NAMES
The 828mkII CoreAudio driver supplies text string
labels for its inputs and outputs to clearly identify
each one, but some applications do not display
these labels. For example, in Cubase SX, the
828mkII outputs are numbered like this:
Figure 10-3: Enabling the 828mkII in Logic Audio.
Other audio software
For other audio applications, the procedure is
similar to that shown above for Cubase and Logic.
Consult your owner’s manual for further
information.
Figure 10-4: Some applications number the 828mkII inputs and
outputs, but don’t display which outputs they refer to.
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Most programs will likely address this issue in
future updates. In the meantime, here is how you
can identify each input and output. Inputs are
always listed in the same order as follows:
Input
Channels
List
position Comment
Mic-Guitar
2
1-2
-
Analog
8
3-10
-
SPDIF
2
11-12
-
Mix1
2
13-14
See “The ‘Mix1’
input pair” below.
ADAT
8 @ 44.1/48kHz
4 @ 88.2/96kHz
15-22
15-18
If the optical bank is
set to TOSLink or
None, then no
ADAT inputs are
displayed.
Outputs are similarly listed in the same order as
follows:
Output
Channels
List
position Comment
Main outs
2
1-2
-
Analog
8
3-10
-
SPDIF
2
11-12
-
Phones
2
13-14
If the phones are
assigned to mirror
another output pair
(such as the main
outs), they won’t be
listed separately.
ADAT
8 @ 44.1/48kHz
4 @ 88.2/96kHz
15-22
15-18
If the phones are mirroring, then subtract
2. If the optical bank is
set to TOSLink or
None, then no ADAT
outputs are displayed.
As an example, Analog inputs 7-8 will always be
listed as inputs 9-10. As another example, ADAT
output channels 1-2 will be listed as channels
15-16, unless the phones are mirroring the main
outs (or another output), in which case ADAT
outputs 1-2 would be listed as channels 13-14.
The ‘Mix1’ input pair
The Mix1 input pair delivers the output of CueMix
DSP “MIX1” (the first mix bus of the four on-board
no-latency monitor mixes in the 828mkII) back to
your computer. This input serves, for example, as a
convenient way for you to record the 828mkII’s
MIX1 monitor mix back into your host audio
software (for reference and archiving purposes).
Further, if you are sending audio from your host
audio software to the same output pair as MIX1,
you can choose to either include or exclude the
audio from the computer in the stream being sent
back to the computer. For details on how to do this,
see “Mix1 Return Includes Computer” on
page 100.
☛ Warning: the Mix1 1-2 input can cause
feedback loops! DO NOT assign this input to a
track that shares the same 828mkII output pair as
MIX1.
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 20 inputs and 22 outputs provided by
your 828mkII — although the number of channels
may depend on how your 828mkII is configured:
■ 12 channels for analog I/O (including the
headphone out)
■
2 channels for RCA S/PDIF
Zero, 2 or 8 channels for optical, depending on
whether you have optical turned off, or set to
S/PDIF or ADAT optical
■
For example, if you are using analog only, you only
need 12 channels. If you are using analog and RCA
S/PDIF, you need 14 channels.
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As another example, if you are using analog, RCA
S/PDIF and ADAT optical, you need 22 channels
(the maximum number of simultaneous output
channels provided by the 828mkII).
keypad. To trigger a different set of keystrokes with
the foot switch, visit the MOTU FireWire Audio
Console. (See “Enable Pedal” on page 45.)
SYNCHRONIZATION
PROCESSING LIVE INPUTS WITH PLUG-INS
If you patch a live input (such as MIDI synthesizer)
through a plug-in effect in your host software, you
might hear a slight delay. There are several ways to
reduce this delay. For details, see chapter 12,
“Reducing Monitoring Latency” (page 89).
USING A FOOT SWITCH
Use a foot switch connected to the 828mkII 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
As of Version 10.2.6, Mac OS X does not allow
third-party applications to take advantage of the
828mkII’s sample-accurate sync features or onboard SMPTE sync features. Refer to
www.motu.com for further developments.
However, if most applications that support external
sync will be able to supports the 828mkII’s word
clock sync capabilities. Consult chapter 3,
“Installing the 828mkII Hardware” (page 17) and
use the synchronization diagrams in that chapter
to synchronize your software and the 828mkII to
the other components of your system.
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CHAPTER 11
Cubase, Nuendo and OS 9 ASIO
Software
OVERVIEW
This chapter explains how to use the 828mkII with
Mac OS 9 ASIO-compatible audio software such as
Cubase and Nuendo. For Mac OS X operation of
Cubase, Nuendo, and all other third-party OS X
audio software, see chapter 10, “Other Mac OS X
Audio Software” (page 73).
The 828mkII includes an Mac OS 9 ASIO driver
that provides multi-channel I/O and sampleaccurate synchronization with Steinberg’s Cubase
family of digital audio sequencers, including
Cubase VST and Nuendo.
ASIO support is required for 3rd party OS 9 software
Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Run the MOTU FireWire Audio Console . . . . . . . . . . . . . .
Choosing the MOTU FireWire ASIO driver. . . . . . . . . . . .
The ASIO Control Panel button . . . . . . . . . . . . . . . . . . . . . .
Number of channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ASIO Direct monitoring. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Other System dialog settings . . . . . . . . . . . . . . . . . . . . . . . .
Activating 828mkII inputs . . . . . . . . . . . . . . . . . . . . . . . . . . .
Assigning inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Assigning outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Changing 828mkII settings . . . . . . . . . . . . . . . . . . . . . . . . . .
Processing live inputs with plug-ins . . . . . . . . . . . . . . . . .
Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Machine Control (MMC) . . . . . . . . . . . . . . . . . . . . . . . .
Using a foot switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Monitoring system performance . . . . . . . . . . . . . . . . . . . .
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81
82
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83
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85
86
86
86
88
88
88
88
ASIO SUPPORT IS REQUIRED FOR 3RD
PARTY OS 9 SOFTWARE
ASIO is an acronym for Audio Streaming Input and
Output. The ASIO MOTU FireWire Audio driver
allows the 828mkII to provide multi-channel audio
input and output for any audio application that
supports ASIO drivers.
☛
For multi-channel operation with third-party
Mac OS 9 audio software, the 828mkII requires
ASIO compatibility. If your host audio program
does not support ASIO, contact the developer.
Sample-accurate sync
The MOTU FireWire Audio ASIO driver supports
sample-accurate sync (via the 828mkII’s ADAT
sync feature) for applications that support it.
Attention: Digital Performer users
Digital Performer supports ASIO, but it also
accesses the 828mkII directly through the MOTU
Audio System, so it is not necessary to use the ASIO
driver with Digital Performer.
Attention: Cubase VST users
Cubase VST Version 5 is used for the examples in
this chapter. However, there is no significant
difference between the Version 5 examples shown
and what you see in Version 4. The basic
procedures are the same.
Attention: Mac OS 9 Nuendo users
The examples in this chapter show screen shots of
Nuendo for Windows, but they are very similar to
the Mac OS 9 version.
Attention: Other software users
The 828mkII ASIO driver also provides multichannel I/O with any ASIO-compatible audio
software. Cubase is used for the examples in this
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RUN THE MOTU FIREWIRE AUDIO CONSOLE
chapter. However, the basic procedures are the
same and can be easily applied to any ASIOcompatible software. Just follow the general
descriptions at the beginning of each main section
in this chapter. Consult your software
documentation for details about each topic, if
necessary.
Before you run Cubase, launch the MOTU
FireWire Audio Console to configure your
828mkII hardware. The MOTU FireWire Audio
Console 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 Cubase, so this is an important step.
For complete details regarding the MOTU
FireWire Audio Console, see chapter 6, “MOTU
FireWire Control Panel (Mac OS 9)” (page 47).
PREPARATION
Before you run Cubase with your 828mkII, launch
AudioDesk and play back the demo project to
make sure that the 828mkII hardware software
drivers are set up properly. The AudioDesk demo
project is located on the 828mkII Installer CD.
Drag it to your hard drive before opening it in
AudioDesk, as your CD drive will be too slow to
play the audio.
To make sure that everything is ready for Cubase,
install Cubase first (if you haven’t already done so),
and then see these chapters before proceeding:
chapter 3, “Installing the 828mkII Hardware”
(page 17).
■
■ chapter 4, “Installing the 828mkII Macintosh
Software” (page 35)
■
chapter 9, “AudioDesk” (page 65)
Figure 11-2: The MOTU FireWire Audio Control Panel gives you access
to all of the settings in the 828mkII hardware, including the clock
source, sample rate and optical I/O enable/disable.
For complete details about the 828mkII settings,
see chapter 6, “MOTU FireWire Control Panel
(Mac OS 9)” (page 47). The following sections
provide a brief explanation of each 828mkII setting
for use with Cubase.
Sample rate
Choose the desired overall sample rate for the
828mkII system and Cubase. Newly recorded
audio in Cubase will have this sample rate.
Figure 11-1: The 828mkII installer puts the MOTU FireWire ASIO driver
in the Cubase ASIO Drivers folder.
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Clock Source
This setting is very important because it
determines which audio clock the 828mkII will
follow.
If you do not have any digital audio connections to
your 828mkII (you are using the analog inputs and
outputs only), and you will not be slaving Cubase
to external SMPTE time code, choose Internal.
If you are slaving the 828mkII to the ADAT sync
Input connector, choose ADAT 9-pin.
If you are slaving the 828mkII and Cubase to
SMPTE time code via the 828mkII itself, choose
SMPTE and follow the directions in “Syncing to
SMPTE time code” on page 27.
☛
If you are using an ASIO host application
other than Cubase or Nuendo, it must support the
ASIO 2.0 sample-accurate positioning protocol in
order to support the 828mkII’s direct SMPTE sync
(and sample-accurate sync) feature.
If you have digital audio devices connected to the
828mkII, or if you are not sure about the clock
source of your setup, be sure to read “Making sync
connections” on page 22 and “Clock Source” on
page 42.
Samples Per Buffer
The Samples Per Buffer setting can be used to
reduce the delay — or monitoring latency — that
you hear when live audio is patched through your
828mkII hardware and Cubase. For example, you
might have MIDI instruments, samplers,
microphones, and so on connected to the analog
inputs of the 828mkII. If so, you will often be
mixing their live input with audio material
recorded in Cubase. See chapter 12, “Reducing
Monitoring Latency” (page 89) for complete
details.
Optical input and output
To make a 828mkII optical input or output
available in Cubase, 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.
Phones
This 828mkII setting lets you choose what you’ll
hear from the headphone jack. For example, if you
choose Main Outs, the headphones will duplicate
the main outs. Or you can choose any other output
pair. If you choose Phones, this setting makes the
headphone jack serve as its own independent
output pair. As a result, you’ll see Phones 1-2 as an
additional audio destination in Cubase’s audio
output menus.
CHOOSING THE MOTU FIREWIRE ASIO
DRIVER
Once you’ve made the preparations described so
far in this chapter, you’re ready to run your audio
software and enable the MOTU FireWire ASIO
driver. Check the audio system or audio hardware
configuration window in your software. There will
be a menu there that lets you choose among
various ASIO drivers that may be in your system.
Choose the MOTU FireWire ASIO driver from this
menu.
Cubase VST
To activate the 828mkII driver in Cubase VST,
choose Audio Setup>System from the Options
menu, and then choose MOTU FireWire from the
ASIO device menu. Make the other settings in the
dialog as need for your system and synchronization scenario.
Nuendo
To activate the 828mkII driver in Nuendo, go to the
Device Setup window, click VST Multitrack and
choose MOTU FireWire ASIO from the ASIO
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Driver menu as shown below. Make the other
settings in the dialog as need for your system and
synchronization scenario.
Temporarily switch to a different ASIO Device in
the System dialog, and then run the MOTU
FireWire Audio Console from the Finder
■
In either case, any changes you make to the MOTU
FireWire Audio Console window will be reflected
in Cubase when you reactivate the MOTU FireWire
ASIO driver in Cubase.
Cubase VST
NUMBER OF CHANNELS
In Cubase, be sure to choose enough channels in
the System dialog (as shown above in Figure 11-3)
to cover the 20 channels of input and 22 channels of
output provided by your 828mkII — although the
number of channels may depend on how your
828mkII is configured:
■ 12 channels for analog I/O (including the
headphone out)
■
Nuendo
2 channels for RCA S/PDIF
Zero, 2 or 8 channels for optical, depending on
whether you have optical turned off, or set to S/
PDIF or ADAT optical
■
For example, if you are using analog only, you only
need 12 channels. If you are using analog and RCA
S/PDIF, you need 14 channels.
Figure 11-3: Activating the 828mkII FireWire ASIO driver in Nuendo
and Cubase.
THE ASIO CONTROL PANEL BUTTON
The Mac version of Cubase VST does not allow the
MOTU FireWire Audio Console to run at the same
time as Cubase. Therefore, the ASIO Control Panel
button in the System dialog as shown in
Figure 11-3 will not launch the MOTU FireWire
Audio Console. In the meantime, you can access
the MOTU FireWire Audio Console in one of two
ways:
■ Quit Cubase, and then run the MOTU FireWire
Audio Console from the Finder, OR
As another example, if you are using analog, RCA
S/PDIF and ADAT optical, you need 22 channels
(the maximum number of simultaneous output
channels provided by the 828mkII).
In Cubase, set the number of channels in the
System dialog (as shown above in Figure 11-3).
ASIO DIRECT MONITORING
The ASIO Direct Monitoring option (Figure 11-3)
allows you to monitor inputs directly in the
828mkII hardware with no drain on your computer
and near zero latency. When you enable this
option, Cubase uses the 828mkII’s CueMix DSP
monitoring features whenever you use Cubase’s
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monitoring features. For further information, see
“Controlling CueMix DSP from within Cubase or
Nuendo” on page 95.
OTHER SYSTEM DIALOG SETTINGS
Consult your Cubase or Nuendo documentation
for details about the rest of the settings in this
dialog.
ACTIVATING 828MKII INPUTS
Once you’ve chosen the MOTU FireWire ASIO
driver in the Audio System dialog as explained
earlier in “Choosing the MOTU FireWire ASIO
driver” on page 81, choose VST Inputs from the
Panels menu (or the Devices menu in Cubase SX)
to see the 828mkII inputs. To activate them, click
the Active light next to each input. If you don’t see
the optical inputs and/or outputs, check the
MOTU FireWire Audio Console to make sure they
are turned on and set to the format you require. If
you don’t plan to use the optical input or output,
turn it off to conserve computer bandwidth.
Figure 11-4: Activating 828mkII inputs in Cubase VST.
The “Mix1 1-2” input
In Cubase’s VST Inputs window, you’ll see an
828mkII input called Mix1 1-2. This input source
delivers the output of CueMix DSP “MIX1” (the
first mix bus of the four on-board no-latency
monitor mixes in the 828mkII) back to your
computer. This input serves, for example, as a
convenient way for you to record the 828mkII’s
MIX1 monitor mix back into Cubase (for reference
and archiving purposes). Further, if you are
sending audio from Cubase to the same output pair
as MIX1, you can choose to either include or
exclude the audio from the computer in the stream
being sent back to Cubase. For details on how to do
this, see “Mix1 Return Includes Computer” on
page 100.
☛
Figure 11-5: Activating 828mkII inputs in Nuendo.
Warning: the Mix1 1-2 input can cause
feedback loops! DO NOT assign this input to a
track that shares the same 828mkII output pair as
MIX1.
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ASSIGNING INPUTS
Once you’ve activated the 828mkII inputs as shown
in the previous section, you can then assign them
to Cubase or Nuendo audio channels in the
channel mixers in the usual fashion.
Figure 11-6: To assign an 828mkII input to a Cubase VST audio
channel: command-click the input button at the top of the channel
strip. For Nuendo or Cubase, consult your documentation.
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ASSIGNING OUTPUTS
Once you’ve chosen the MOTU FireWire ASIO
driver in the Audio System dialog as explained
earlier in “Choosing the MOTU FireWire ASIO
driver” on page 81, 828mkII outputs will be
available in Cubase or Nuendo as output
destinations. In Cubase VST, these outputs appear
in the VST Master Mixer window as output
assignments for the master fader and busses, as
shown below in Figure 11-7.In Nuendo, they
appear in the VST Outputs window.
The “Phones 1-2” output
If you’ve chosen to treat the 828mkII headphones
as an independent output, you’ll see Phones 1-2 as
an 828mkII output destination. Audio tracks
In Cubase VST, use the output buttons at the bottom of each channel strip, including the master fader, to assign 828mkII
outputs to busses. You can then assign channels in the VST Master Mixer window to each bus as desired.
In Nuendo, access the 828mkII outputs via the busses in the VST Outputs window.
Figure 11-7: Working with 828mkII
outputs in Nuendo or Cubase.
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assigned to this output pair will be heard on the
headphone jack only. For further explanation, see
“Phones” on page 81.
CHANGING 828MKII SETTINGS
To change the 828mkII settings at any time, run the
MOTU FireWire Audio Console. See “The ASIO
Control Panel button” on page 82 for details. In
Nuendo, go to the Device Setup window and click
the ASIO Control Panel button, as shown in
Figure 11-3 on page 82.
PROCESSING LIVE INPUTS WITH PLUG-INS
If you patch a live input (such as MIDI synthesizer)
through a VST plug-in effect in Cubase, you might
hear a slight delay. There are several ways to reduce
this delay. For details, see chapter 12, “Reducing
Monitoring Latency” (page 89).
However, even though Cubase or Nuendo is not
slaving to SMPTE time code, you still need to be
concerned with the synchronization of the
828mkII’s digital audio clock with other devices
connected to it digitally (if any). For example, if
you have a digital mixer connected to an 828mkII
interface via an ADAT optical lightpipe cable, you
need to make sure that their audio clocks are
phase-locked. For details, see “Syncing optical
devices” on page 29 and “Making sync
connections” on page 22. If you don’t have any
digital audio devices connected, digital audio
phase-lock does not apply to you.
Resolving Cubase or Nuendo and the 828mkII
to SMPTE time code
If you need to slave Cubase or Nuendo and the
828mkII to SMPTE time code, you can do so with
or without a dedicated synchronizer.
SYNCHRONIZATION
Cubase or Nuendo can run under its own transport
control or slave to SMPTE time code. It can also
perform sample-accurate digital audio transfers
with Alesis digital recorders and Tascam family
digital recorders.
Resolving directly to time code (with no
synchronizer)
To resolve your 828mkII directly to SMPTE time
code with no additional synchronization devices,
use the setup shown in “Syncing to SMPTE time
code” on page 27.
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 chapter 3, “Installing the 828mkII
Hardware” (page 17) for the proper hardware
connections. Use the synchronization diagrams in
that chapter to be clear about how you will be
synchronizing Cubase to the other components of
your system.
First, set up Cubase or Nuendo for sample-accurate
sync as explained in “Sample-accurate sync to
ADAT or Tascam” on page 87. Make sure the Clock
Source setting in the MOTU FireWire Audio
Console window is set to SMPTE. Also, make sure
that you’ve connected an LTC input signal the
828mkII SMPTE input.
Running Cubase or Nuendo under its own
transport control
If you do not need to synchronize Cubase or
Nuendo with time code or another recording
device, such as a tape deck, just leave its SMPTE
time code synchronization features disabled.
Resolving to video and/or time code with a
dedicated synchronizer
To resolve your 828mkII to video and/or SMPTE
time code using an additional synchronization
device, use the setup shown in “Syncing to video
and/or SMPTE time code using a synchronizer” on
page 28.
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Follow the instructions in your Cubase or Nuendo
manual for slaving them to MIDI Time Code
(MTC). To ensure that your audio tracks don’t drift
out of sync with your MIDI tracks — or time code,
use a hardware synchronizer like the MIDI
Timepiece AV or Digital Timepiece to resolve the
828mkII hardware as well, as explained in “Syncing
to video and/or SMPTE time code using a
synchronizer” on page 28. A digital audio
synchronizer is required for drift-free SMPTE/
MIDI time code sync. Make sure the Clock Source
setting in the MOTU FireWire Audio Console
window has the appropriate setting for locking the
828mkII to the synchronizer. For example, in
Figure 3-15 on page 28, word clock is being used to
resolve an 828mkII interface, so the Clock Source
setting is Word Clock In.
☛
Before you begin, in Cubase’s MIDI System
Setup window, set OMS compatibility to No OMS.
Cubase does not appear to be able to achieve
sample-accurate sync when running under OMS.
1 Choose ADAT 9-pin as the Audio Clock Source
setting. In Cubase VST, this setting is in the Audio
System Setup window (Audio menu). In Nuendo,
this setting is in the Device Setup window (Options
menu).
2 Go to Cubase or Nuendo’s Synchronization
window, as shown below:
Cubase VST
☛
If you have an ADAT sync or a Tascam sync
compatible device, don’t use SMPTE time code.
Instead, use sample-accurate sync as described in
the next section.
Sample-accurate sync to ADAT or Tascam
Cubase and Nuendo, along with the 828mkII and
its ASIO 2 driver, provide you with sampleaccurate transfers with ADATs, Alesis recorders
and any other devices that support standard ADAT
sample address (ADAT Sync).
Nuendo
Similarly, with the help of a MOTU Digital
Timepiece universal A/V synchronizer, Cubase (or
Nuendo) and an 828mkII can perform sampleaccurate transfers with Tascam digital recorders.
A sample-accurate transfer is one in which the
original location of the audio is preserved in the
transfer, down to the sample.
For details on how to connect your hardware for
sample-accurate sync, see “Sample-accurate sync”
on page 24. Then, set up Cubase as follows:
Figure 11-8: Setting up sample-accurate sync via ASIO 2.
3 If you are not using an MMC-compatible
synchronizer (such as a MOTU MIDI
Timepiece AV, Digital Timepiece or Alesis BRC),
choose the settings shown above in Figure 11-8
that applies to you. In this scenario, transport
control is handled by the ADAT (or other sampleaccurate sync source).
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4 If you are using an MMC-compatible
synchronizer (such as a MOTU MIDI
Timepiece AV, Digital Timepiece or Alesis BRC),
set Cubase VST’s Sync Source Timecode Base to
ASIO 2.0 MMC or enable Nuendo’s MIDI Machine
Control option. In addition, choose the appropriate
MIDI port for the MMC synchronizer from VST’s
Output menu or Nuendo’s MIDI machine Control
MIDI Output menu. If you’re using a MIDI
Timepiece AV, you can choose any of its MIDI
ports in this menu. Doing so makes Cubase or
Nuendo send the MMC control messages to the
MTP AV (or other MMC device). In this scenario,
transport control is handled by Cubase or Nuendo
itself.
5 In Cubase VST’s Controls window, enable
SYNC. In Nuendo, enable (check) the Sync Online
command in the Transport menu.
See “Sample-accurate sync to ADAT or Tascam” on
page 87 for details on how to set this up.
USING A FOOT SWITCH
Use a foot switch connected to the 828mkII 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 the MOTU FireWire Audio
Console. (See “Enable Pedal” on page 45.)
24-BIT OPERATION
Your 828mkII hardware fully supports Cubase and
Nuendo’s 24-bit recording capabilities. Simply
enable 24-bit operation as instructed in your
Cubase or Nuendo manual. The 828mkII always
supplies a 24-bit data stream, and when you enable
24-bit operation in Cubase or Nuendo, it simply
uses all 24-bits supplied by the 828mkII hardware.
MONITORING SYSTEM PERFORMANCE
Figure 11-9: Enabling the SYNC button.
6 Begin playback from the sample-accurate sync
source (ADAT, DA-88, etc.) Transport control is
handled by the sample-accurate sync source.
MIDI MACHINE CONTROL (MMC)
If you have ADATs (or other ADAT Synccompatible recorders) and a MMC-compatible
ADAT synchronizer like the MIDI Timepiece AV
and Digital Timepiece, you can control everything
from your computer screen with Cubase’s
transport controls and cueing features (like the
playback wiper, etc.)
Similarly, if you have Tascam digital recorders and
a MOTU Digital Timepiece (or other MMCcompatible Tascam synchronizer), you can control
all of your Tascam tape decks (in ABS time) in a
similar fashion from Cubase.
Because it has so many inputs and outputs, the
828mkII may push the limits of your computer’s
processing power. Keep the VST Performance
window open to keep tabs on the load on your CPU
and disk buffers. If the meters get too high, you can
reduce the load by reducing the number of inputs
and outputs you are working with. Use the MOTU
FireWire Audio Console to uncheck input check
boxes and set output source menus to None.
Cubase VST
Nuendo
Figure 11-10: Keep the Audio Performance window open to keep tabs
on your computer’s processing power and hard disk performance.
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CHAPTER 12
Reducing Monitoring Latency
OVERVIEW
Monitoring latency is that slight delay you hear
when you run an input signal through your host
audio software. For example, you might hear it
when you drive a live mic input signal through a
reverb plug-in running in your audio sequencer.
This delay is caused by the amount of time it takes
for audio to make the entire round trip through
your computer, from when it first enters an
828mkII input, passes through the 828mkII
hardware into the computer, through your host
audio software, and then back out to an 828mkII
output.
Monitoring live input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Adjusting the audio I/O buffer . . . . . . . . . . . . . . . . . . . . . . . 90
Adjusting buffer settings under Mac OS X. . . . . . . . . . . . 91
Adjusting the buffer setting under Mac OS 9. . . . . . . . . 92
Lower latency versus higher CPU overhead . . . . . . . . . . 92
Transport responsiveness . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Effects processing and automated mixing . . . . . . . . . . . 93
CueMix DSP hardware monitoring . . . . . . . . . . . . . . . . . . . 93
Two methods for controlling CueMix DSP. . . . . . . . . . . . 93
Using CueMix Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Controlling CueMix DSP from your audio software . . 94
If you don’t need to process a live input with
plug-ins, the easiest way to avoid monitoring
latency is to use the 828mkII’s CueMix DSP feature
to patch the input directly to your monitor outs via
the 828mkII audio hardware. This is just like
bussing inputs to outputs in a digital mixer. For
details, see “CueMix DSP hardware monitoring”
on page 93.
If you do need to process a live input with plug-ins,
or if you are playing virtual instruments live
through your 828mkII 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 828mkII: 1) through the computer or 2) via
CueMix™ DSP hardware monitoring. Figure 12-1
on page 90 shows method 1, which allows you to
add effects processing such as reverb and guitar
amp effects via plug-ins in your audio software. See
the next section, “Adjusting the audio I/O buffer”
for details about how to reduce — and possibly
eliminate — the audible monitoring delay that the
computer introduces.
Figure 12-2 shows how to use CueMix™ DSP
hardware-based monitoring, which lets you hear
what you are recording with no monitoring delay
and no computer-based effects processing. (You
can add effects later, after you’ve recorded the live
input as a disk track.) See “CueMix DSP hardware
monitoring” later in this chapter for details on how
to use CueMix DSP with your audio software, or
with the included CueMix Console software.
If the material you are recording is suitable, there is
a third way to monitor live input: use both methods
(Figure 12-1 and Figure 12-2) at the same time. For
example, you could route vocals to both the
computer (for a bit of reverb) and mix that
processed signal on the main outs with dry vocals
from CueMix DSP.
ADJUSTING THE AUDIO I/O BUFFER
A buffer is a small amount of computer memory
used to hold data. For audio interfaces like the
828mkII, buffers are used for the process of
1. Live input (from mic, guitar, etc.)
enters the MOTU interface.
3. Mic signal is
‘patched thru’ back to
the audio interface
with reverb or other
plug-in effects, if any.
2. Mic signal goes immediately to the computer (dry,
with no effects processing).
Mac
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 12-1: There are two ways to monitor live audio inputs with an 828mkII: 1) through the computer or 2) via CueMix™ DSP hardware
monitoring. This diagram shows method 1 (through the computer). When using this method, use your host software’s buffer setting (or, under
Mac OS 9, the 828mkII’s ‘Samples Per Buffer’ setting in the MOTU FireWire Audio Console) 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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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.
Adjusting buffer settings under Mac OS X
Under Mac OS X, audio I/O buffer size is handled
by the host audio application (not the 828mkII
CoreAudio 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 12-3: 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™ DSP immediately
patches the live mic signal directly
to the main outs (or other output),
completely bypassing the computer
(dry, with no effects processing).
3. Mic signal is mixed with the
main outs, and you can control
the volume (relative to the rest
of the mix) with the mic’s fader
in CueMix Console.
Figure 12-2: This diagram shows the signal flow when using CueMix™ DSP no-latency monitoring. Notice that this method does not allow you
to process the live input with plug-ins in your audio software while it is being monitored. You can, however, add effects later — after recording
the live input as a disk track. CueMix™ DSP lets you hear what you are recording with no delay and no computer-based effects.
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Figure 12-4: In Cubase SX or Nuendo, choose Devices menu> Device
Setup and click VST Multitrack to access the window above and the
Audio Buffer Size setting.
Figure 12-6: Lowering the ‘Samples Per Buffer’ setting in the MOTU
FireWire Audio Console Window reduces patch thru latency. But
doing so increases the processing load on your computer, so keep an
eye on the Performance Monitor window in AudioDesk (or similar
feature in your host audio software).
Lower latency versus higher CPU overhead
The buffer setting has a large impact on the
following things:
Figure 12-5: In Logic Audio, go to the Audio Driver preferences to
access the I/O buffer Size option shown above.
Adjusting the buffer setting under Mac OS 9
Under Mac OS 9, audio I/O buffer size adjustment
is made in the MOTU FireWire Audio Console, as
shown in Figure 12-6 via the Samples Per Buffer
setting.
■
Patch thru latency
■
The load on your computer’s CPU
■
Possible distortion at the smallest settings
■ How responsive the transport controls are in
AudioDesk, Digital Performer or other audio
software
The buffer setting presents you with a trade-off
between the processing power of your computer
and the delay of live audio as it is being patched
through your software. 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
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increase the buffer size, you reduce the load on
your computer, freeing up bandwidth for effects,
mixing and other real-time operations.
■ First, it completely eliminates the patch thru
delay (reducing it to a small number of samples —
about the same amount as one of today’s digital
mixers).
■ Secondly, CueMix DSP imposes no strain on the
computer.
Figure 12-7: When adjusting the buffer size to reduce monitoring
latency, watch the ‘processor’ meter in Digital Performer or
AudioDesk’s Performance Monitor. If you hear distortion, or if the
Performance meter is peaking, try raising the buffer size.
If you are at a point in your recording project where
you are not currently working with live, patchedthru material (e.g. you’re not recording vocals), or
if you have a way of externally processing inputs,
choose a higher buffer size. Depending on your
computer’s CPU speed, you might find that settings
in the middle work best (256 to 1024).
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.
Effects processing and automated mixing
Reducing latency with the buffer size setting has
another benefit: it lets you route live inputs through
the real-time effects processing and mix
automation of your audio software.
CUEMIX DSP HARDWARE MONITORING
The 828mkII has a more direct method of patching
audio through the system. This method is called
CueMix DSP. When enabled, CueMix activates
hardware patch-thru in the 828mkII itself. CueMix
DSP has two important benefits:
The trade-off, however, is that CueMix DSP
bypasses your host audio software. Instead, live
audio inputs are patched directly through to
outputs in the 828mkII itself and are mixed with
disk tracks playing back from your audio software.
This means that you cannot apply plug-ins, mix
automation, or other real-time effects that your
audio software provides. But for inputs that don’t
need these types of features, CueMix DSP is the
way to go.
On the other hand, if you really need to use the
mixing and processing provided by your audio
software, you should not use CueMix DSP. Instead,
reduce latency with the buffer setting (as explained
earlier in this chapter).
TWO METHODS FOR CONTROLLING
CUEMIX DSP
There are two ways to control CueMix DSP:
■
With CueMix Console
■ From within your host audio software (if it
supports direct hardware monitoring)
You can even use both methods simultaneously.
Using CueMix Console
If your host audio software does not support direct
hardware monitoring, you run CueMix Console
side-by-side with your audio software and manage
your monitor mix in CueMix Console.
CueMix Console allows you to create up to four
separate 828mkII monitor mixes, or any other
desired routing configurations. These routings are
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independent of your host audio software. For
complete details, see chapter 13, “CueMix
Console” (page 97).
Controlling CueMix DSP from your audio
software
Some audio applications allow you to control
CueMix DSP monitoring from within the
application (without the need to use CueMix
Console). In most cases, this support consists of
patching an 828mkII input directly to an output
when you record-arm a track. Exactly how this is
handled depends on the application.
2 Choose the Direct hardware playthrough option,
as shown below in Figure 12-8.
3 From the Studio menu (Windows menu under
OS 9), choose Audio Monitor, and enable Audio
Patch Thru (the button with the headphone icon
on it).
The following applications are among those that
support direct control over CueMix DSP:
■
Digital Performer (Mac OS 9 and X)
■
AudioDesk (Mac OS 9 and X)
■
ASIO-compatible audio software (Mac OS 9)
CueMix DSP routings that are made via host
applications are made “under the hood”, which
means that you won’t see them in CueMix Console.
However, CueMix DSP connections made inside
your host audio software dovetail with any other
mixes you’ve set up in CueMix Console. For
example, if your host application routes audio to an
output pair that is already being used in CueMix
Console for an entirely separate mix bus, both
audio streams will simply be merged to the output.
Follow the directions below in the section that
applies to you.
Controlling CueMix DSP from within AudioDesk
or Digital Performer
To turn on CueMix DSP in AudioDesk and Digital
Performer:
1 From the Setup menu (Basics menu under
OS 9), choose MOTU Audio System options>Input
Monitoring Mode.
Figure 12-8: Enabling CueMix DSP in AudioDesk or Digital Performer.
Once enabled, CueMix DSP monitoring is tied
with Digital Performer or AudioDesk’s Audio Patch
Thru feature: when you record-enable a track, the
track’s input is routed directly to its output (via
CueMix DSP in the 828mkII 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
DSP no-latency hardware monitoring will
automatically be set up from analog in 2 to optical
outputs 7-8.
☛
Note to 828 users who have upgraded to an
828mkII: notice that the Auto Cuemix Update
check box has been removed as a result of the
828mkII’s more flexible and powerful CueMix DSP
features. Auto CueMix Update is no longer needed
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because you enjoy the benefits of CueMix DSP
patch thru, plus separate, independent mixing
under CueMix Console, thanks to the much more
powerful CueMix DSP engine.
Using CueMix with Sound Manager (Mac OS 9
only)
To enable CueMix DSP for a host application that is
using the MOTU FireWire Sound Manager driver:
1 Open the Sound Control Panel, click the Input
tab, and check the Play sound through output device
option. Alternately, you can use the CueMix
Console (described in chapter 13, “CueMix
Console” (page 97)) to manually patch a live input
to an output.
page 82). In Cubase SX or Nuendo, enable the
Direct Monitoring check box in the Device Setup
VST Multitrack tab (Figure 12-4 on page 92).
Other ASIO 2.0-compatible host software
If your ASIO-compatible host audio software
supports ASIO’s direct monitoring feature, consult
your software documentation to learn how to
enable this feature. Once enabled, it should work
similarly as described for Cubase (as explained in
the previous section).
2 To control the overall level of the CueMix input,
Use the CueMix Console.
Controlling CueMix DSP from within Cubase or
Nuendo
To turn on CueMix in Cubase VST, enable the ASIO
Direct Monitor check box in the Monitoring section
of the Audio System Setup window (Figure 11-3 on
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CHAPTER 13
CueMix Console
OVERVIEW
CueMix Console provides access to the flexible
on-board mixing features of the 828mkII. CueMix
lets you route any combination of inputs to any
stereo output pair. These mixes can be set up
entirely independently of your host audio software.
CueMix allows you to set up four completely
independent mix configurations with the 828mkII.
You can also save and load mix configurations.
CueMix Console can be used independently of
host audio software, or together with it. CueMix
mixing dovetails with the direct monitoring
(hardware patch thru) features of your host audio
software, allowing you to seemlessly mix in both
environments.
Advantages of CueMix monitoring. . . . . . . . . . . . . . . . . . . 98
CueMix Console installation. . . . . . . . . . . . . . . . . . . . . . . . . . 98
Cuemix Console basic operation . . . . . . . . . . . . . . . . . . . . . 98
Working with a mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Copying & pasting (duplicating) entire mixes . . . . . . . . 99
Message center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Reference level and +6dB boost. . . . . . . . . . . . . . . . . . . . . . 99
Mix1 Return Includes Computer . . . . . . . . . . . . . . . . . . . .100
Show meter in dock icon (Mac OS X only) . . . . . . . . . . .100
Phones menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Saving and loading presets . . . . . . . . . . . . . . . . . . . . . . . . .100
Saving and loading presets to/from disk . . . . . . . . . . . .100
CueMix Console examples . . . . . . . . . . . . . . . . . . . . . . . . . .101
Message center
+6dB boost
Reference level
Input name
Input scroll bar
Solo indicator
Input mute/solo
Master mute
(enable/disable)
Mix output
Input pan
Input volume
Master fader
Output level
Mix tabs
Grow box
Input section
Figure 13-1: CueMix Console is a virtual mixer that gives you control over the 828mkII’s on-board mixing features.
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ADVANTAGES OF CUEMIX MONITORING
CueMix Console provides several major
advantages over monitoring live inputs through
your host audio software:
CueMix has no buffer latency. Thanks to the
828mkII’s DSP chip, CueMix provides the same
throughput performance as a digital mixer.
■
CueMix imposes absolutely no processor drain
on the computer’s CPU.
■
■ CueMix routing can be maintained
independently of individual software applications
or projects.
CueMix routing can operate without the
computer, allowing the 828mkII to operate as a
portable, stand-alone mixer.
■
CueMix Console does not provide effects
processing. For information about using your
audio software’s native plug-ins together with
CueMix, see chapter 12, “Reducing Monitoring
Latency” (page 89).
CUEMIX CONSOLE INSTALLATION
CueMix Console is installed with the rest of your
828mkII software.
CUEMIX CONSOLE BASIC OPERATION
The CueMix console is simple to operate, once you
understand these basic concepts.
Four mixes
CueMix provides four separate mixes: Mix1, Mix2,
Mix3 and Mix4. Each mix can have any number of
inputs mixed down to any 828mkII output pair
that you choose. For example, Mix1 could go to the
headphones, Mix2 could go to the main outs, Mix3
could go to a piece of outboard gear connected to
analog outputs 7-8, etc.
Many inputs to one output pair
It might be useful to think of each mix as some
number of inputs all mixed down to a stereo output
pair. CueMix Console lets you choose which inputs
to include in the mix, and it lets you specify the
level and pan for each input being fed into the mix.
Viewing one mix at a time
CueMix Console displays one mix at a time. To
select which mix you are viewing, click its tab at the
bottom of the window, as shown in Figure 13-1.
The mix name appears in the tab. Double-click the
name to change it.
Each mix is completely independent
Each mix has its own settings. Settings in one mix
will not affect another. For example, if an input is
used in one mix, it will still be available in other
mixes. In addition, inputs can have a different
volume, pan, mute and solo setting in each mix.
Some channel settings apply across all mixes
The settings at the top of the CueMix Console
window (above the channel section) apply to all
mixes. These settings include the +4/-10dB
reference level and the +6dB software boost.
Widening the CueMix Console window
To view more input faders at once, drag the grow
box (Figure 13-1) to the right.
WORKING WITH A MIX
Each mix has the following components:
■
A stereo output with master fader
■
Name
■
Master mute (to enable/disable the entire mix)
■
Any number of mono or stereo inputs
■
Pan, volume, mute and solo for each input
These elements are visually grouped together in the
lightly shaded area in the lower half of the CueMix
Console window.
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Viewing a mix
To view a mix, click its tab at the bottom of the
window, as shown in Figure 13-1. The mix name
appears in the tab.
To adjust the volume or panning for a stereo input
pair, hold down the command key while dragging
the fader or knob for either the left or right input.
SHORTCUTS
Naming a mix
Double-click the mix name in the tab.
Hold down the following modifier keys as
shortcuts:
Master mute
The master mute button (Figure 13-1) temporarily
disables (silences) the mix.
Shortcut
Result
Shift key
Applies your action to all inputs in the mix.
Command key
Applies your action to the stereo input pair
Master fader
The master fader (Figure 13-1) controls the overall
level of the mix (its volume on its stereo output).
Use the individual input faders to the left to control
individual input levels.
Option key
Applies your action to all busses
Double-click
Returns the control to its default value (pan
center, unity gain, etc.)
Output level meters
The OUT level meters show you the output for the
mix’s physical output, which may include audio
from your host audio software. The clip indicators
clear themselves after a few seconds.
Input section
The channel strips to the left of the master fader
represent each input in your 828mkII. Use the
input scroll bar to view additional inputs.
Input mute/solo
To add an input to a mix, or remove it, click its
MUTE button. To solo it, use its SOLO button. To
toggle these buttons for a stereo pair, hold down
the command key while clicking either channel.
The Solo indicator LED (Figure 13-1) lights up
when any input is soloed (including inputs that
may currently be scrolled off-screen).
Input volume and pan
Use the input fader and pan knob (Figure 13-1) to
adjust these settings for the input in the mix. Again,
all settings within the gray-shaded channel strip
area belong to the mix currently being viewed.
Note that an input can have different settings in
different mixes.
COPYING & PASTING (DUPLICATING)
ENTIRE MIXES
To copy and paste the settings from one mix to
another:
1 Select the source mix (Figure 13-1) and choose
Copy from the file menu (or press command-C).
2 Choose the destination mix and choose Paste
from the file menu (or press command-V).
MESSAGE CENTER
The Message Center displays fly-over help for items
in the CueMix Console window. It also displays
messages regarding the overall operation of the
828mkII.
REFERENCE LEVEL AND +6DB BOOST
The reference level and +6dB boost settings at the
very top of the CueMix Console window
(Figure 13-1) affect each input globally, across all
mixes and for audio being routed to the computer.
For example, if you add 6dB of boost, your host
software will receive the boost for that input as well.
Boost
This setting (Figure 13-1) adds 6 dB of gain to the
input signal. This setting is applied globally for the
input.
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+4/-10 reference level
Click the reference button to toggle between these
two standard reference levels. This setting is
applied globally for the input.
MIX1 RETURN INCLUDES COMPUTER
the headphone output to mirror the output of the
current mix being viewed in CueMix Console. For
example, if you are currently viewing Mix3 (the
Mix3 tab is active), the headphones will mirror the
Mix3 output (whatever it is assigned to).
The Mix1 return includes computer item in the
CueMix Console File menu refers to the Mix1 bus
that the 828mkII driver provides as an input to host
audio software. This input source delivers the
output of CueMix DSP “MIX1” (the first mix bus of
the four on-board no-latency monitor mixes in the
828mkII) back to your computer. This input
serves, for example, as a convenient way for you to
record the 828mkII’s MIX1 monitor mix back into
your host audio software (for reference and
archiving purposes).
SAVING AND LOADING PRESETS
When the Mix1 return includes computer menu
item is checked, any audio being sent from your
audio software on the computer to the same output
as Mix1 will be included in the Mix1 return bus.
When it is uchecked, computer output is excluded.
SAVING AND LOADING PRESETS TO/FROM
DISK
This menu item is essentially a pre/post switch for
the computer audio insert to the stream of audio
going to Mix1’s 828mkII output pair (and also back
to the computer).
SHOW METER IN DOCK ICON (MAC OS X
ONLY)
As explained earlier in “Save/Name Preset” on
page 55, the 828mkII can store up to 16 presets in
its on-board memory. A preset includes of all
CueMix DSP settings for all for mix busses, but it
excludes global settings like clock source and
sample rate.
The Load Preset and Save Preset commands in the
CueMix Console file menu let you name, save and
load presets in the 828mkII.
The Save and Load commands in the CueMix
Console File menu allow you to save 828mkII
presets to and from your hard drive. This allows
you to save an unlimited number of 828mkII
presets on disk. (Use the Load Preset and Save
Preset commands to get presets from — and save
them to — the 828mkII itself.) Click the Save
button to save the current configuration; click the
Load button to open an existing configuration that
you have previously saved on disk.
This CueMix Console File menu item, when
checked, causes the CueMix Console dock icon to
display a small level meter that mirrors the main
output meter for the current mix being displayed in
CueMix Console.
PHONES MENU
The Phones menu allows you to choose what you
will hear on the headphone output, just like the
Phones setting the MOTU FireWire Audio
Console. However, this menu provides one extra
option that is exclusive to CueMix Console: Follow
Active Mix. This menu item, when checked, causes
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CUEMIX CONSOLE EXAMPLES
Figure 13-2 below shows some examples of how
you can use CueMix DSP:
Powered speakers are connected to the 828mkII
main outs. Any input can be routed directly to the
speakers.
■
Microphone input can be routed via CueMix
DSP to the effects processor for live outboard
processing during recording. The resulting signal
can be recorded into the computer either wet, dry
or both (via the effects processor return or the
direct mic input).
■
■ The ADAT optical connection provides 8
channels of 24-bit digital I/O to the digital mixer
(or 4 channels at 96kHz). Any device connected to
the 828mkII can be routed to/from the mixer with
no latency. Conversely, any mixer channel can be
routed to any device connected to the 828mkII
with no latency.
■ Another example of ADAT optical connectivity
is to use Giga Studio, and use CueMix DSP to route
Giga inputs directly to the powered monitors
connected to the 828mkII for no-latency
monitoring of your Giga tracks.
Figure 13-2: An example setup of a system that takes full advantage of CueMix DSP.
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CHAPTER 14
MOTU SMPTE Console
OVERVIEW
CLOCK/ADDRESS
The 828mkII can resolve to SMPTE time code,
without a dedicated synchronizer. It can also serve
as a SMPTE time code generator.
The Clock/Address menu provides the same global
Clock Source setting as in the MOTU FireWire
Audio Console (“Clock Source” on page 42), but it
includes additional information: each setting
shows both the clock and the address (time code or
sample location), separated by a forward slash ( / ).
For example, the word clock setting (Word Clock In
/ Internal) shows the clock source (Word Clock In)
followed by the address (Internal). Notice that only
the SMPTE setting supports SMPTE time code as
the reference for address. The digital clock sources
do not support the 828mkII’s on-board SMPTE
time code sync.
The MOTU SMPTE Console software provides a
complete set of tools to resolve to SMPTE, and to
generate SMPTE for striping, regenerating or
slaving other devices to the computer.
The 828mkII provides a DSP-driven phase-lock
engine with sophisticated filtering that provides
fast lockup times and sub-frame accuracy.
Quarter-inch SMPTE jacks on the 828mkII rear
panel provide dedicated time code (LTC) input and
output.
Clock/Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Reader section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Generator section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
The Reader section provides
settings for resolving to video
and/or SMPTE time code.
Resolving to SMPTE time code
To resolve the 828mkII 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. Be sure to specify the input that is
The Generator section
provides settings for striping
SMPTE time code.
Figure 14-1: SMPTE Console gives you access to your 828mkII’s on-board
SMPTE time code synchronization features.
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receiving the SMPTE time code by choosing it
from SMPTE source menu. For further details on
the hardware connections involved, see “Syncing
to SMPTE time code” on page 27.
Resolving to video
To resolve the 828mkII to video, you need a
synchronizer such as a MIDI Timepiece AV or a
Digital Timepiece and feed word clock to the
828mkII. In this scenario, choose SMPTE / Word
Clock In clock/address setting. The 828mkII uses
word clock for the time base and SMPTE for
address. For details, see “Syncing to video and/or
SMPTE time code using a synchronizer” on
page 28.
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 828mkII can autodetect and switch to the incoming frame rate,
except that it cannot distinguish between 30 fps
and 29.97 fps time code. So if you are working with
either of these rates, make sure you choose the
correct rate from this menu. The 828mkII driver
updates the frame rate setting in Digital Performer
and AudioDesk for you. For ASIO applications,
however, you need to make sure that their frame
rate it set properly.
READER SECTION
The Reader section (on the left-hand side of the
window in Figure 14-1) provides settings for
synchronizing the 828mkII 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
828mkII has successfully achieved lockup to
SMPTE time code and SMPTE frame locations are
being read.
Clock
The Clock light glows continuously when the
828mkII has successfully achieved lockup to an
external time base, such as SMPTE time code or
word clock.
Address
The Address light glows continuously when the
828mkII has successfully achieved lockup to
SMPTE time code.
Freewheel
The Freewheel light illuminates when the 828mkII
is freewheeling address (time code), clock or both.
For details about Freewheeling, see “Freewheel
Address” and “Freewheel clock” below.
Freewheel Address
Freewheeling occurs when there is a glitch or
drop-out in the incoming time code for some
reason. The 828mkII 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 828mkII to freewheel
before it gives up and stops altogether.
The 828mkII cannot freewheel address without
clock. Therefore, the Freewheel Address setting will
always be lower than or equal to the Freewheel
Clock setting, and both menus will update as
needed, depending on what you choose.
Keep in mind that freewheeling causes the system
to keep going for as long as the duration you choose
from this menu, even when you stop time code
intentionally. Therefore, if you are starting and
stopping time code frequently (such as from the
transports of a video deck), shorter freewheel
times are better. On the other hand, if you are
doing a one-pass transfer from tape that has bad
time code, longer freewheel times will help you get
past the problems in the time code.
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The ‘Infinite’ freewheel setting
The Infinite freewheel setting in the Freewheel
Address menu causes the 828mkII to freewheel
indefinitely, until it receives readable time code
again. To make it stop, click the Stop Freewheeling
button.
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.
Freewheel clock
Freewheeling occurs when there is glitch or
drop-out in the incoming SMPTE time code for
some reason. The 828mkII can freewheel past the
drop-out and then resume lockup again as soon as
it receives a stable, readable clock signal.
Click here to edit
the start time, or
drag vertically on
the numbers.
The 828mkII 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.
Figure 14-2: Setting the time code start time.
The ‘Infinite’ freewheel setting
The Infinite freewheel setting in the Freewheel
Clock menu causes the 828mkII 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 14-1) provides setting for
generating SMPTE time code.
Regenerate
This option, when enabled, causes the generator to
generate time code whenever the 828mkII is
receiving either SMPTE time code or ADAT Sync
(via its ADAT Sync In port).
Generate from sequencer
This option, when enabled, causes the generator to
generate time code whenever you are running
AudioDesk or Digital Performer. Time code begins
at the time specified by the AudioDesk or Digital
Performer main transport.
Tach light
The Tach light blinks once per second when the
828mkII is generating SMPTE time code.
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CHAPTER 15
Troubleshooting
Using Pro Tools, Sound Manager and -50 error (OS
9 only)
When using Sound Manager, Pro Tools software
will only allow audio input via the Macintosh's
Built-in hardware. Therefore, you cannot use the
828mkII as the input device to Pro Tools software.
If the 828mkII driver is selected as the input device
in the Sound Control Panel, Pro Tools will return a
-50 error and not launch. You can, however, select
Built-in as the input device and the 828mkII as the
output device in the Sound Control Panel. After
doing so, you can run Pro Tools and monitor your
output through the MOTU 828mkII.
Sample accurate sync in AudioDesk and Digital
Performer
When you first use sample accurate sync, be sure to
go to the Receive Sync dialog in Digital Performer
or AudioDesk and switch from “MTC” to “Sampleaccurate.”
Cubase - MOTU 828mkII inputs and outputs are
not visible in Cubase
You probably need to enable them in Cubase.
Can’t authenticate AudioDesk
When installing software off the CD-ROM, the OK
button does not become active until you have
entered in your name and a valid keycode. Your
name must contain at least 3 characters, and you
must enter the keycode exactly as it appears in your
AudioDesk manual (on the inside of the back
cover).
MOTU FireWire Audio Console or Control Strip
module settings are grayed out for no reason
Some settings cannot be accessed while the
828mkII is active. Quit all audio software that uses
the 828mkII (including any Sound Manager
applications, if any), and then the 828mkII settings
should no longer be grayed out.
No input on an ADAT tape deck
If you are having trouble recording on your ADAT
tape deck from the 828mkII, check the Digital
input setting. After power cycling, tape decks often
come up configured to record from their analog
inputs. You won't be able to record from the
828mkII to a tape deck until it is switched to digital
input. Tip: configure this in ClockWorks or
AudioDesk if you want your decks to come up in
the right mode when power cycled.
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 22 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 under ADAT Sync
Sometimes, the ADAT sync cable seems to be
plugged into the 828mkII, and it partially works.
But it isn’t really all the way in. This can cause clicks
when slaved to ADAT 9-pin. Make sure the ADAT
Sync cable plug is really seated firmly.
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 828mkII. If you
encounter the same artifacts you may want try
using another drive in your computer. Clicks and
pops can also occur when the drive is severely
fragmented, the disk drivers are outdated, or if you
are using a SCSI accelerator that is not optimally
configured for working with audio.
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Connecting or powering gear during operation
It is not recommended that you connect/
disconnect, or power on/off devices connected to
the 828mkII while recording or playing back audio.
Doing so may cause a brief glitch in the audio.
No optical inputs or outputs are available in host
audio application
Check to make sure you have the desired optical
inputs and/or outputs enabled in the MOTU
FireWire Audio Console.
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 828mkII’s hardware-based CueMix DSP
monitoring feature. Please see chapter 12,
“Reducing Monitoring Latency” (page 89).
Controlling monitoring latency
See chapter 12, “Reducing Monitoring Latency”
(page 89).
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 complete the registration
card included with your 828mkII. When we receive
your card, you’ll be placed on our mailing list for
free software updates and information about new
products.
REPLACING DISKS
If your 828mkII software installer CD becomes
damaged and fails to provide you with fresh,
working copies of the software, our Customer
Support Department will be glad to replace it. You
can request a replacement disc by calling our
business office at (617) 576-2760 and asking for the
customer service department.
TECHNICAL SUPPORT
If you are unable, with your dealer’s help, to solve
problems you encounter with the 828mkII system,
you may contact our technical support department
in one of the following ways:
Tech support hotline: (617) 576-3066 (Monday
through Friday, 9 am to 6 pm EST)
■
■
Tech support 24-hour fax line: (617) 354-3068
■
Tech support email: techsupport@motu.com
■
Web site: www.motu.com
Please provide the following information to help us
solve your problem as quickly as possible:
■ The serial number of the 828mkII system. This is
printed on a sticker placed on the bottom of the
828mkII 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 828mkII or AudioDesk with which you are
having trouble.
■ The version or creation date of the system
software you are using to run the Macintosh.
We’re not able to solve every problem immediately,
but a quick call to us may yield a suggestion for a
problem which you might otherwise spend hours
trying to track down.
If you have features or ideas you would like to see
implemented, we’d like to hear from you. Please
write to the 828mkII Development Team, MOTU
Inc., 1280 Massachusetts Avenue, Cambridge, MA
02138.
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1
Index
+4/-10dB reference level 100
+6db 56
+6dB Boost 99
02R mixer 29
connecting 21
1394 connector 6, 11, 17
2408mk3
Word Clock In setting 43, 49
24-bit
AudioDesk 68
Digital Performer 62
optical 6, 10
recording 12
24i/o
Word Clock In setting 43, 49
4/10 56
828mkII
expansion 32
installing 17
rear panel overview 9
summary of features 9
A
Aardvark Aard Sync 31
Activity LEDs 5, 12
ADAT
sync 27, 28
ADAT 9-pin 11, 43, 49
ADAT lightpipe 29
ADAT optical 6, 10
clock source setting 43, 49
connecting 18
syncing with 43, 48
ADAT Sync 11
connector 6
sample-accurate 24, 25, 26
sync setting 43, 49
ADAT sync
sample-accurate 63, 70
All Notes Off 55
Analog activity lights 5, 12
Analog inputs/outputs 6
making connections to 18
Apple menu 37
ASIO 38, 79
ASIO 2.0 option 88
MOTU 828 ASIO driver 37
ASIO Control Panel button 41, 47
Audio
bit resolution 42, 48
input/output timing 62, 68
MIDI Setup utility 36
AudioDesk 12, 35, 37, 39, 65
accessing 828 settings 41, 47
MMC control 25
optical input/output 67
sync settings 25, 26
B
Balanced analog 18
Boost 99
Buffer Size 50, 61, 67
Bus Mute 55
Bus Output 55
C
Calibrating audio input/output 62, 68
Fader View Time 54
Feedback loops 62, 68, 76, 83
Fine-tune Audio I/O Timing command 62,
68
Clock LEDs 5, 12
Clock Source 54
Clock source 7, 22, 42, 48
AudioDesk 67
Coax 10
Condenser mic input 5
Configure Hardware Driver 41, 47
Configure interface 32
Connecting multiple 828mkIIs 32
Control Panel (MOTU 828) 38, 41, 47
Control Strip 37
Control Strip module (828) 38, 41, 47
Controller
connecting 19
Converters 6
Copy bus mix 55
CoreAudio
defined 35
CoreMIDI
Audio MIDI Setup 36
benefits 36
Cubase
Audio Buffer Size 74
Mac OS X 74
synchronization 86
troubleshooting 107
using a foot switch 77, 88
CueMix Console 93, 97
CueMix DSP 93
CueMix DSP Mixer 53
CueMix Plus
output jacks 6, 19
Customer support 108
FireWire 11
connecting 17
connector 6
Follow Active Mix 100
Foot pedal
connecting 19
Foot switch 11, 45, 51
3rd party software 77, 88
AudioDesk 70
configuring 7
connecting 19
Digital Performer 64
jack 6
Forget button 34
Freewheel
address 104
clock 105
infinite 105
Front panel 53
D
DAT
IInfinite freewheel 105
connecting 20
Digital mixer
connecting 21
Digital Performer 12, 59
accessing 828 settings 41, 47
clock source 60, 74, 81
MMC control 25
Optical input/output 61, 74, 81
sample rate 60, 74, 80
sync settings 25, 26
Digital Timepiece 25
Disable interface option 34
Disable option 34
Disc
replacing 108
Drivers
installing USB drivers 35, 37
E
Enable Sound Manager 51
Expansion 32
F
Factory Defaults 56
G
Gain 56
Generate from sequencer 105
Guitar
connecting 20
H
HD192
Word Clock In setting 43, 49
Headphone jack 5, 12
Headphones
connecting 20
controlling output 44, 51
Init Current Mix 55
Inputs
analog 6
optical 6
S/PDIF (RCA) 6
Installation
hardware 17
software 37
Installer CD
replacing 108
Internal (sync setting) 42, 48
K
Keyboard controller
connecting 19
L
Latency 50, 61, 67, 81, 89, 92
Launch console when hardware becomes
available 45
LCD display 53
Lightpipe 29
Load Preset 55, 100
Logic Audio 75
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!828 Manual/Mac Page 110 Tuesday, May 27, 2003 1:45 PM
M
Mac OS X 73
input and output names 75
Main Outs
volume 54
Main outs
jacks 6
making connections to 19
volume 5
Main volume 5
Mic inputs
connecting 20
phantom power 5
Mic preamps 5
Mic/line inputs 5, 18
MIDI Machine Control 23, 24, 63
MIDI Time Code sync 23
MIDI Timepiece AV 25
MIX BUS knob 56
Mix1 1-2 76
AudioDesk 68
Cubase 83
Digital Performer 61
Mix1 return includes computer 100
MMC 23, 24, 63
Monitoring 90
thru main outs 19
MOTU
Digital Timepiece 25
MIDI Timepiece AV 25
MOTU 324 Console 35
MOTU 828
ASIO driver 38
MOTU 828 Control Panel 38, 47
MOTU 828 Control Strip module 7, 38, 41,
47
MOTU Audio System
bit resolution 42, 48
Fine-tune Audio I/O Timing 62, 68
input/output timing 62, 68
MOTU FireWire Audio Console 7, 41
MOTU Folder 37
MOTU SMPTE Console 103
MTC sync 23
Mute 56
N
Neutrik jacks 5
Nuendo
Mac OS X 74
synchronization 86
O
Optical
choosing format (ADAT or
TOSlink) 44, 51
choosing format (ADAT/TOSlink) 7
connectors 6, 18
LEDs 5, 12
overview 10
sync 29
Optical In/Out 55
Optimization 92
Outputs
analog 6
optical 6
S/PDIF (TOSLink) 6
P
Packing list 15
Pair 56
Pan 56
PARAM knob 56
Paste Bus Mix 55
Patch thru
latency 50, 92
PCI-424 SMPTE setting 44, 50
Pedal 11, 45, 51
3rd party software 77, 88
AudioDesk 70
configuring 7
Digital Performer 64
jack 6
Pedal A 19
Pedal B/LRC 19
Performance 92
Phantom power 5, 18
Phase-lock 22
Phones 5, 44, 51, 76
AudioDesk 67
Digital Performer 61, 74, 81
Phones 1-2
AudioDesk 68
Cubase 85
Digital Performer 61
Phones Assign 55
Phones menu 100
Pro Tools 107
Problem-solving 107
Punch in/out 11
SMPTE sync 22, 23
Software
installation 37
Solo 56
Sound control panel
rate (bit resolution) 42, 48
Sound Manager
bit resolution 42, 48
enabling 51
grayed out 51
input/output timing 62, 68
Sound module
connecting 19
Stand-alone operation 53
Stop Freewheeling 105
Stripe button 105
Studio setup (example) 20
Sync
sample-accurate 24, 25, 26
Synchronization 22
AudioDesk 69
Cubase 86
Digital Performer 62
Nuendo 86
Synths
connecting 20
System requirements
minimum 15
recommended computer 12, 15
T
TACH light (SMPTE Console) 104
Regenerate 105
Registration 15
Tascam
Sync 27, 28
Technical support 108
Time code sync 103
TOSLink 6, 10
clock source setting 44, 49
connecting 18
Troubleshooting 107
feedback loop 62, 68, 76, 83
TRS connectors 18
S
S/PDIF 10
U
Unbalanced analog 18
R
Reference level 100
clock source setting 43, 48
lights 5, 12
optical 6, 10
RCA 6
sync 30
Sample rate 7, 42, 48
AudioDesk 67
Sample-accurate sync 11, 24, 25, 26, 87
Samplers
connecting 20
Samples Per Buffer 50, 92
Samples per buffer 50, 61, 67, 81
Save Preset 100
Save/Name Preset 55
SELECT knob 54
SETUP knob 54
Show meter in dock icon 100
SMPTE
synchronization 103
USB
installing drivers 35, 37
V
Video sync 22, 103
Volume
headphone 12
VOLUME knob 54
W
Word clock 6, 11, 22, 30
sync setting 43, 49
Word Clock In setting 43, 49
Word Out 45, 51
Y
Yamaha 02R
connecting 21
Yamaha 02R mixer 29
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