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Audio Express User Guide (Mac)

1. 0 0 0 0 El e OY e Ee Ae A eS a QA en gt O 6 sl E a H H Ka A Hi yg g g 4 A Homamo Figure 4 5 AudioDesk for Mac OS X INSTALLING THE AUDIO EXPRESS MAC SOFTWARE 28 INSTALLING THE AUDIO EXPRESS MAC SOFTWARE CHAPTER 5 OVERVIEW MOTU Audio Setup gives you access to basic Audio Express hardware settings such as sample rate clock source and more Accessing the Audio Express settings 29 Audio Express tab Settings 30 Sample Rate ins dessvstcsseseseeusseesiewceweressae s 30 Clock SOUECE uuu s u y yy n iuuaasuasu ywayiucyawskuq 30 Default Stereo Input Output 31 Phones Assign 32 General tab settings 32 Launch MOTU Audio Setup when hardware becomes avallaD A A T on 32 Edit Channel Names 32 Enable Pedal 32 ACCESSING THE AUDIO EXPRESS SETTINGS There are several ways to access MOTU Audio Setup settings a Click the MOTU Audio Setup icon in the dock m Press on the MOTU Audio Setup dock icon to open the menu shown below or control click it to open the m
2. THREE METHODS FOR CONTROLLING CUEMIX There are three ways to control CueMix a With the knobs on the Audio Express front panel a With the Audio Express CueMix FX software m From within your host audio software if it supports direct hardware monitoring You can even use these methods simultaneously Controlling CueMix from the front panel The knobs on the Audio Express front panel give you direct control over CueMix For complete details see Mixing with the front panel controls on page 34 Using the CueMix FX application If your host audio software does not support direct hardware monitoring you run the Audio Express s CueMix FX application side by side with your host software and manage your monitor mix in CueMix FX For complete details see chapter 11 CueMix FX page 57 Controlling CueMix from your audio software Some audio applications allow you to control CueMix monitoring from within the application without the need to use the separate CueMix FX software In most cases this support consists of patching an Audio Express input directly to an output when you record arm a track Exactly how this is handled depends on the application The following applications are among those that support direct control over CueMix a Digital Performer m AudioDesk CueMix routings that are made via host applications are made under the hood which means that you won t see them in CueMix FX However Cu
3. on page 65 Logarithmic or Linear X Axis Scale The x axis defaults to a logarithmic scale but can be changed to a linear scale if desired In the View controls Figure 11 7 click Logarithmic to access the x axis scale options menu With a linear scale selected frequency is constant but the width of each octave along the x axis is different With a logarithmic scale selected octaves are displayed with a constant width but frequency is displayed logarithmically within each octave Axes display The Axes control Figure 11 7 sets the opacity of the grid displayed in the graph from 100 fully visible down to 0 fully hidden Pausing the display The Pause button in the upper right corner of the View section Figure 11 7 allows you to freeze the display at any time To resume click the button again Horizontal controls frequency axis The Horizontal controls Figure 11 7 configure the value range of the x axis frequency Click and drag the values up or down to set them or double click to return to the default value There are two modes for the controls Zoom Offset and Min Max To change the mode use the Horizontal control menu Figure 11 9 om E a 2 ro v Zoom Offset Pos Se Min Max Vertical Y vertical Tawapa zoom E zom ETN Pos Pos Figure 11 9 Horizontal control menu In Zoom Offset mode Zoom sets the display zoom from 1x to 100x where the number represents the zoom factor rel
4. 63 OSCINOSCODG cicsctacerainnssioienrceaseesieiesrace 65 x POU sas oe ee os cess wanes vase peewee 71 Phase AnalysiS cc iendeectenteieceeseeteeeeret ess 74 TUNO wiecnscccwasiceredaves wees ST 78 Configurations menu 78 Talkback menu 79 Phones MenUsserissisersscesssssssessrs tartissitieri 79 Control Surfaces menu 79 ADVANTAGES OVER HOST BASED MIXING AND PROCESSING CueMix FX provides several advantages over mixing and processing in your host audio software m CueMix has no buffer latency Thanks to the Audio Express s DSP chip CueMix provides the same throughput performance as a digital mixer m CueMix routing can be maintained independently of individual software applications or projects m CueMix routing can operate without the computer allowing the Audio Express to operate as a portable stand alone mixer CUEMIX FX INSTALLATION CueMix FX is installed as a standard application by the Audio Express software installer CUEMIX FX BASIC OPERATION The CueMix FX application is simple to operate once you know these basic concepts A separate mix for each output pair As explained in Mixing with the front panel controls on page 34 the Audio Express provides a separate mix for each of its four output pairs as follows Mix name Physical output Mix 1 Main Out 1 2 Mix 2 Analog 1 2 Mix 3 S PDIF 1 2 Mix 4 Phones 1
5. Monitoring talkback section Inputs grouped as Mix menu Scope channels for stereo pairs the Tuner and audio J analysis tools v Mix 1 Main Out 1 2 Mix 2 Analog 1 2 Mix 3 S PDIF 1 2 Mix 4 Phones 1 2 Figure 11 1 CueMix FX is a virtual mixer that gives you control over the Audio Express s on board mixing features 58 CUEMIX FX WORKING WITH A MIX Each mix has the following components A stereo output with master fader a Name m Master mute to enable disable the entire mix m Any number of mono or stereo inputs Pan volume mute and solo for each input Viewing a mix To view a mix choose it from the Mix menu Figure 11 1 The menu shows all mixes by name followed by the audio interface s output pair that it corresponds to Naming a mix Click the mix name to edit its text Master fader The master fader Figure 11 1 controls the overall level of the mix its volume on its stereo output Use the individual input faders to the left to control individual input levels Mix mute The mix mute button Figure 11 1 disables silences the mix Mix level meter The mix level meter which is post fader shows you the output for the mix s output Input channels The Inputs section Figure 11 1 gives you access to individual Audio Express inputs or input pairs Unmute the input and bring up its fader to hear the input on the current mix s output Mute solo and pan are al
6. The Reader section provides settings for resolving to SMPTE time code pe ee Reader SMPTE Source Freewheel Address Freewheel Clock T Secon Stop Freewheel i MOTU SMPTE SETUP The included MOTU SMPTE Setup software provides a complete set of tools to generate SMPTE for striping regenerating or slaving other devices to the computer CLOCK ADDRESS The Clock Address menu Figure 12 1 provides the same global Clock Source setting as in MOTU Audio Setup Clock Source on page 30 but it includes additional information each setting shows both the clock and the address time code or sample location separated by a forward slash To resolve the Audio Express to SMPTE time code choose the SMPTE SMPTE setting in the Clock Address menu This means that the system will use SMPTE as the clock time base and SMPTE as the address FRAME RATE This setting should be made to match the SMPTE time code frame rate of the time code that the system will be receiving The Audio Express can The Generator section provides settings for striping SMPTE time code SS ee Generator Regenerate i Generate from sequencer Figure 12 1 SMPTE Setup gives you access to your Audio Express s on board SMPTE time code synchronization features 81 auto detect and switch to the incoming frame rate except that it cannot distinguish between 30 fps and 29 97 fps time code or 23 976 and 24 fps time
7. configure your audio interface and it lets you enable the desired inputs and outputs Only enabled inputs and outputs will be available to your software so this is an important step For complete details see chapter 5 MOTU Audio Setup page 29 eoo MOTU Audio Setup eoo MOTU Audio Setup General General Audio Express Sample Rate 44100 ms Clock Source Internal kq m Launch MOTU Audio Setup when hardware becomes available Default Stereo Input Mic Instrument 1 2 r Default Stereo Output _Analog 1 2 B Channel Names Phones Assign Analog 1 2 B AIEN Edit v Enable Pedal Pedal Down C Set 3 Pedal Up Set none firmware 1 0 bootloader 1 0 firmware 1 0 bootloader 1 0 Figure 9 1 MOTU Audio Setup For complete details about the Audio Express settings see chapter 5 MOTU Audio Setup page 29 The following sections provide a brief explanation of each Audio Express setting for use with Logic and other Mac OS X audio software Sample rate Choose the desired overall sample rate for the Audio Express 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 Audio Express will follow 45 If you do not have any digital audio connections to your Audio Express you are using the analog inputs and outputs only and you will not be slaving your host software
8. o0 TH Attack Release al 5 Output Level i 1 i n n 1 1 Gain dB 2 18 15 12 9 6 3 0 Dynamics Figure 11 16 Viewing transients in the Oscilloscope MI HI Viewing transients such as drum hits If you loop a snare hit or other similar transient audio clip and feed it through the oscilloscope you can more or less freeze the transient waveform in the oscilloscope frame This can be useful for example for viewing the results of real time compression that you are applying with an effects plug in as demonstrated in Figure 11 16 In this example a snare hit is being compressed by Digital Performer s Dynamics plug in As you make adjustments to the compression plug in s settings you can see the transient waveform change the next time the Oscilloscope triggers For compression this can be particularly useful for balancing the effect of the attack on the transient relative to the decay portion of the waveform Conversely you can see the effect of the threshold setting directly on the decay portion relative to the attack In effect you can see as well as hear the results of your compression adjustments To view a transient waveform in the Oscilloscope display turn off Waveform Recognition and use the Normal Trigger mode Adjust the level high enough to encompass the vertical amplitude of most of the transient If the transient pulse sweeps across the MOTU UltraLite mk3 Oscilloscope Right
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10. All mixing and processing can be done in the computer with NIQ TU e re re Audio Express front panel monitors synthesizer MIDIIN quarter inch MIDIOUT analog outs Audio Express rear panel 0000 v MAIN LINE 9 gvpcsw 2 our 7b audio software or you can use the Audio Expresss CueMix no latency mixer You can control the Audio Express s four separate mixes from the front panel or from the included CueMix FX software headphones A 3 LINE 4 Ts Po Wo PHON audio YUYU s s express 6x6 HYBRID wala guitars with or without an amp Analog outputs sends stage monitors etc li a NS MIC INST K mm R 4 our 3 L FireWire or USB2 DAT deck Analog outs from keyboard foot switch Figure 3 7 A typical Audio Express studio setup 22 INSTALLING THE AUDIO EXPRESS HARDWARE CONNECT MULTIPLE MOTU 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 FireWire FireWire 828mk3 or other FireWire device with multiple FireWire ports FireWire oto SAT leis l F O Serres J Audio Express Figure 3 8 Connecting multiple MOTU FireWire audio interfaces Multiple interfaces cannot be bus powered Do not run the Au
11. 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 real time effects processing On the other hand if you increase the buffer size you reduce the load on your computer freeing up bandwidth for effects mixing and other real time operations Audio Performance Figure 10 6 When adjusting the buffer size to reduce monitoring latency watch the processor meter in Digital Performer or AudioDesk s Performance Monitor If you hear distortion or if the Performance meter is peaking try raising the buffer size If you are at a point in your recording project where you are not currently working with live patched thru 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 computers 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
12. INSTALLING THE AUDIO EXPRESS HARDWARE CONNECT AND SYNC S PDIF DEVICES DAT decks and other devices with S PDIF digital I O will sync to the Audio Express via the S PDIF connection itself Just connect it to the Audio Express via the S PDIF connectors When the device records a digital audio signal from the Audio Express it will simply synchronize to the clock provided by the digital audio input from the Audio Express When recording digital audio into your host audio software via the Audio Express s S PDIF input you can either resolve the external device to the Audio Express as described above or you can resolve the Audio Express to its S PDIF input Audio Express S PDIF device Audio Express Audio Express Clock Source setting Clock Source setting S PDIF when resolving the Audio Express to the other device Internal when resolving the other device to the Audio Express Figure 3 5 The setup for synchronizing a S PDIF device with the Audio Express Sync is achieved via the digital I O connection itself In this case you have to choose S PDIF as the Audio Express s clock source when resolving it to the other device POWER OPTIONS The Audio Express can draw power from two possible sources 1 the computer via FireWire or 2 a DC power supply If you use USB2 to connect to your computer you must also use the DC power supply included with your Audio Express as USB2 does not supply enough power by it
13. Main 0ut 2 m Show Ruler Accs WT B r Horizontal Ya zoom EVES Pos 108 12ms z z Vertical va Zoom Pos EE uee Wavetorm Recognition i H a mlet Right m Pos Neg m Magnitude level ET Holdott SESS CUEMIX FX screen try raising the Holdoff level Once the transient is settled in the display and fairly stable you may need to adjust the horizontal position to center it in the display These settings are depicted in the example in Figure 11 16 You can also pause the display at any time and adjust the horizontal bounds to locate a transient Clip detection You can use the Oscilloscope to detect clipping in a digital audio signal To do so enable all criteria Figure 11 14 on page 67 choose Single Sweep from the trigger menu Figure 11 14 set the level to 0 999 and click the trigger indicator Figure 11 14 to arm it yellow As soon as the signal clips the trigger indicator will turn red and the display will show the offending clip at the line marking time equals zero Viewing timing pulses If you have two audio signals with recognizable timed pulses in them and you wish to compare their timing with respect to each other you can use Split Screen or Shared view to visually compare the timing of the two signals You can zoom in to the sample level for sample accurate viewing Building synthesizer patches If you are building a synth
14. One or two meters are shown depending on the current view mode see View controls Opening the oscilloscope Each MOTU audio interface has its own oscilloscope To open an oscilloscope choose the Oscilloscope item from the Devices menu under the desired interface Figure 11 6 Choosing a channel to display The oscilloscope follows the currently chosen Scope channels Figure 11 1 on page 58 r Trigger Figure 11 10 Oscilloscope 65 CUEMIX FX View controls The View controls Figure 11 11 provide several options for the oscilloscope display Figure 11 11 View controls Pause button View menu Right parie 2 m Show Ruler Axes CC View menu The View menu Figure 11 11 lets you choose how you wish to display the audio channel s being displayed View menu setting What it displays Left Left channel only Right Right channel only Split screen Left channel on top right channel on the bottom Shared Left and right on top of each other left is green right is red Add Left and right channels amplitudes are added together Subtract L R The right channel s amplitude is sub tracted from the left channel s amplitude Display options The Axes control Figure 11 11 sets the opacity of the grid displayed in the graph from 100 fully visible down to 0 fully hidden The Show Ruler option toggles the measurement items see Measuremen
15. PCMCIA adapters 24 Peak 12 Peak Hold Time 62 Pedal 11 32 configuring 7 jack 6 Performance 54 Phantom power 11 17 18 Phase 59 Phones 5 7 11 33 AudioDesk 42 Digital Performer 38 menu 79 Phones 1 2 AudioDesk 43 Digital Performer 39 Phones 1 2 output Mac OS X software 49 third party software 46 Phones Assign 32 Polarity 21 Power supply 21 jack 6 Power switch 21 33 Precision Digital Trim 10 Pro Tools 45 46 Propellerhead Reason 48 Record 48 Punch in out 11 R Reaper 48 Reason 48 Record Propellerhead 48 Regenerate 83 Registration 13 Return Assign AudioDesk 42 Digital Performer 38 Mac OS X audio software 49 S S PDIF 6 10 clock source setting 31 connection 19 sync 20 trim 59 Sample rate 7 30 AudioDesk 42 Samplers connecting 22 Save Hardware Preset 62 Scope channel selection 62 63 Scope channels 64 65 72 74 78 Share surfaces with other applications 80 Show EQ controls 64 Show Spectrogram 64 SMPTE overview 81 Setup application 81 source setting 82 sync 81 SMPTE sync 84 Sound module connecting 19 Soundtrack Pro 47 clock source 45 phones 46 Return Assign 49 sample rate 45 Stand alone operation 33 36 57 Stereo button 59 Stop Freewheeling 82 Stripe button 83 INDEX Studio setup example 22 Synchronization AudioDesk 43 Digital Performer 39 multiple interfaces 23 Synths connecting 22 System preferences sound input output 7 31 System requirements minimum 13 recomm
16. Using the CueMix FX application 55 Controlling CueMix from your audio software 55 51 MONITORING LIVE INPUT There are two ways to monitor live audio input with an Audio Express 1 through the computer or 2 via the Audio Express s CueMix hardware mixer Figure 10 1 below shows method 1 which allows you to add effects processing such as reverb and guitar amp effects via plug ins in your audio software See the next section Adjusting the audio I O buffer for details about how to reduce and possibly eliminate the audible monitoring delay that the computer introduces Figure 10 2 shows how to use CueMix hardware based monitoring which lets you hear what you are recording with no monitoring delay and no computer based effects processing Instead input S PDIF w wit 2 1 tav pc sw 2 ou L 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 is routed directly to an output See CueMix hardware monitoring later in this chapter for details on how to use CueMix with your audio software or with the included CueMix FX software If the material you are recording is suitable there is a third way to monitor live input use both methods Figure 10 1 and Figure 10 2 at the same time For example you could route guitar to both the computer for an amp model effect and mix that processed si
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18. installing 15 power switch 33 rear panel overview 10 SMPTE setting 31 summary of features 9 tab 29 Audio Setup software 25 29 AudioDesk 12 25 27 41 accessing Audio Express settings 29 synchronization 43 Avid see Pro Tools Avid Pro Tools 46 B Balance 60 Balanced analog 18 Bias Peak 12 Buffer Size 38 42 53 Bus fader 59 Bus power 20 examples 21 requirements 20 C Clear Peaks 62 Clock source 7 30 AudioDesk 42 SMPTE setting 31 Cockos Reaper 48 Combo jacks 6 Condenser mic input 5 18 Configurations menu 78 Configure Hardware Driver 29 Configure interface 23 Connecting multiple Audio Expresses 23 Control Surfaces menu 79 Controller connecting 19 Converters 6 Copy Paste 62 Core Audio defined 25 Core MIDI Audio MIDI Setup 26 benefits 26 Cubase 12 29 Audio Buffer Size 48 clock source 45 Mac OS X 48 phones 46 Return Assign 49 sample rate 45 troubleshooting 85 CueMix FX 55 57 80 Application follows control surface 79 AudioDesk 43 Configurations menu 78 control surfaces 80 Control Surfaces menu 79 CueMix control surfaces 80 Devices menu 63 Digital Performer 39 Edit Channel Names 7 Edit menu 62 File menu 62 installation 57 Listenback explained 60 listenback settings 61 Mac OS X software 50 Mixer 33 Phones menu 79 Share surfaces with other applica tions 80 stand alone operation 57 Talkback menu 79 talkback settings 60 61 Customer support 85 D Daisy chaining 20 23 24 DAT conn
19. page 53 Pro Tools 9 or later is required for operation with the Audio Express Playback Engine Current Engine MOTU Audio Express Settings H W Buffer Size 512 Samples iZ Host Processors 4 Processors r CPU Usage Limit 85 E Host Engine T Ignore Errors During Playback Record may cause clicks and pops _ Minimize Additional I O Latency Delay Compensation Engine Long Z DAE Playback Buffer disk buffer Size Level 2 iE Cache Size Normal re Lower values for the disk buffer reduce disk latency system more responsive Higher values improve disk performance system less responsive Requires OMB of system memory You currently have 125MB allocated r Minimize system memory allocation takes effect at next restart Plug In Streaming Buffer Size Level 2 BE Optimize for streaming content on audio drives requires more system memory Grok Figure 9 2 Enabling the Audio Express in Pro Tools Logic Pro and Logic Express In Logic Pro and Logic Express go to the Preferences window click the Audio tab click the Drivers tab and click the Core Audio tab as shown in Figure 9 3 Choose the MOTU Audio Express from the Output Input Device menus For information about the I O Buffer Size setting see Adjusting the audio I O buffer on page 53 46 OTHER MAC OS X SOFTWARE Fatput Device MOTU Audio Express 7 Input Device MOTU Audio Express
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21. uun oA jaued UO IY Woy IUNJOA y 01 U0 U u PUR SJO IUOWW oIpn s pasamod Jo 39s e 0 Way 29UUOD uL nog syndyno urew sssaidxq oIpny y se aAdas yDef yu 1 LNb paruejeg OML asay Y Kyuejod aanebsu diy 10 AZ sod d1 Jaye YUM Ajddns samod 3q A8L 6 psepueys Aue sydae pef siy 9 ZH96 0 dn ajed dtues Aue ye nd no pue ndul 2 161p 410d S vZ 0011S aplaoid sypefasay Z JBUULYD AWS BY UO WSU 10 Al93311 u0p Ady PLY 0S sjpuueyp W 1104 aHeueW 0 ans aq Inq SAP IGIW uleyr Asiep osje ued no od NO ay 0 ajnpow punos e pue yod N AY 0 ad Aap 1 01 u02 e se u3ns 40d UDB 0 S 3IA9p JUHI D uuo0 ULI NO JIA p 13430 9U1 UO uod 0 IAIN 24 0 40d N ICIW Sss 1dx3 0IpnV a4 2 uu02 J SI 9Au02 3IA p 19470 y UO 0d NI IAIN 24 0 10d 10 IGIW sssadxq o1pny u1129uu02 s q82 GIW pAepuels Bulsn y adiaap GIW e 129uu0 Quick Reference MOTU Audio Setup Internal S PDIF ean MOTU Audio Setup Click the tabs to access general SMPTE MOTU interface settings or Balen Audio settings specific to the Audio Audio Express lt Express or other connected Determines the clock source for your Audio interface Express If you re just using the analog ins Sample Rate 44100 a Choose the sample rate for the and outs set this to nternal The other settings are for digital transfers via S PDIF or synchronization to time code or oth
22. 2 57 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 FX 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 ata time CueMix FX displays one mix at a time To select which mix you are viewing choose it from the mix menu Figure 11 1 Click the mix name to change it The mix output pair appears above the mix master fader Figure 11 1 Audio Express inputs gt sssi 2 Each mix is independent Each mix has its own settings Settings for one mix will not affect another For example if an input is used for one mix it will still be available for other mixes In addition inputs can have a different volume pan mute and solo setting for each mix Widening the CueMix FX window To view more input faders at once drag the grow box Figure 11 1 to the right Master Info fader display for the current mix OO 5050808 ED Phase invert i Mmm m am 11111111111111 So BR C f oelllercserereDo L S lt IW pad 48V MONO STEREO MONO pm Blu N MONO uug Stereo grouping f 111111 11111 Um i 111111 111111 Input channel scroll bar Input fader Input mute solo Inputs split into mono channels Mic inputs
23. C Record while still tramed In AudioDesk or Digital Performer 1 Choose Receive Sync from the Setup menu 2 Choose the Sample accurate option If this option is grayed out choose SMPTE as the clock source setting first as shown above 3 Make sure that Slave to External Sync mode is enabled e800 MOTU Audio Express Generator SMPTE Source i None 2 Freewheel Address a ss g 7 Freewheel Clock Regenerate Stop Freewheel r Generate from sequencer rame ate Launch the MOTU SMPTE Console to specify the time code frame rate and amount of freewheel Also confirm that the Clock Source Adaress is SMPTE SMPTE Figure 12 3 Connections for synchronizing the Audio Express directly to SMPTE time code 84 MOTU SMPTE CONSOLE CHAPTER 13 Troubleshooting Things seems like they are working fine but the Audio Express then just drops off line and the computer can t see it anymore This is a common symptom when the problem is that the Audio Express is not getting enough power when it is being powered over the Firewire bus Check the power source for the Audio Express Make sure that the power connection meets the requirements outlined in Power options on page 20 Slaving directly to time code in AudioDesk or Digital Performer To slave Digital Performer or AudioDesk directly to time code be sure to go to the Receive Sync dialog in Digital Performer or AudioDesk and switch from MTC to S
24. Fedal Up ae Set none firmware 1 0 bootloa v L MOTU Audio Setup Audio Express Sample Rate Clock Source Default Input Default Output Phones Remove from Dock Open at Login Show In Finder Show Quit could name it Lead Vox Your customized names then appear in your host audio application if it supports CoreAudio input naming In the standard Mac OS X fashion the setup software appears in the dock when you launch it If the Launch MOTU Audio Setup when hardware becomes available option is checked as shown above the icon appears as soon as you switch on your Audio Express interface If you right click or control click the dock icon 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 setup software window CHAPTER 1 OVEIVIEW u su asses sspsa aaa Hire rere c ane sasay 9 The Audio Express Rear Panel 10 The Audio Express Front Panel 11 16 bit and 24 bit recording 12 CueMix mixing and effects 12 AudioDesk u uuu cisavpneiedeasesshcieeasesvew scenes 12 Digital Performer 12 Other Host Audio Software 12 OVERVIEW The Audio Express is a hybrid FireWire and USB2 audio interface for Mac and Windows that offers six independent inputs and six independent outp
25. Figure 11 5 Each MOTU audio interface has its own FFT spectrogram window Figure 11 5 FFT display Scope channels View controls Horizontal controls Vertical controls Spectrogram controls Grow handle CUEMIX FX Choosing a channel to display The FFT window follows the currently chosen Scope channels Figure 11 1 on page 58 View controls You can show and hide the FFT display and spectrogram as desired using the View controls Figure 11 7 View Wa Pause button A Analog 1 B Analog 2 L Show EO Controls E Stow FFT E Show Spectrogram w Logarithmic Axes ET Display options Figure 11 7 View controls The Show EQ controls item is for other MOTU audio interfaces and is grayed out for the Audio Express Spectrogram Click the Show Spectrogram option Figure 11 7 to superimpose a real time spectrogram waterfall display in the background of the FFT display as demonstrated in Figure 11 5 The spectrogram scrolls from top to bottom where the top edge of the display represents what you are hearing now Color represents amplitude along the left right frequency spectrum The amplitude color scale runs from black silence to red full scale as follows Sil en ce a s O v n _______ Full scale Black Blue Green Yellow Orange Red Figure 11 8 Spectrogram color to amplitude spectrum Also see Spectrogram controls
26. NOT LIMITED TO WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE THE LIABILITY OF MOTU PURSUANT TO THIS LIMITED WARRANTY SHALL BE LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK S AND IN NO EVENT SHALL MOTU OR ITS SUPPLIERS LICENSORS OR AFFILIATES BE LIABLE FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO LOSS OF USE LOSS OF PROFITS LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY THIRD PARTIES EVEN IF MOTU HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS WHICH MAY VARY FROM STATE TO STATE SOME STATES DO NOT ALLOW THE LIMITATION OR EXCLUSION OF LIABILITY FOR CONSEQUENTIAL DAMAGES SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU Update Policy In order to be eligible to obtain updates of the program you must complete and return the attached Mark of the Unicorn Purchaser Registration Card to MOTU Copyright Notice Copyright 2011 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 amp S Research MOTU S amp S warrant this equipment against defects in mate
27. Talk Listen signal routing Click the Talk Listen routing button Figure 11 3 to open the routing dialog Figure 11 4 Check the boxes next to the outputs on which youd like to hear the Talkback mic and or Listenback mic For example as demonstrated in the diagram in Figure 11 2 to hear the Talkback mic on the headphones in the live room check the Analog 1 2 check box in the Talk column as demonstrated in Figure 11 4 To hear the Listenback mic on the main monitors in the control room check the Main Out 1 2 check box in the Listen column Talk Listen Main Out 1 2 Analog 1 2 S PDIF 1 2 Phones 1 2 Figure 11 4 Routing the Talkback and Listenback mics to outputs Engaging disengaging Talkback and Listenback To engage Talk back or Listenback press on the Talk or Listen buttons Figure 11 3 and then release to disengage Option click to make the buttons sticky stay engaged until you click them again so you don t have to hold down the mouse Or use the Talkback menu items If you would like to engage both Talkback and Listenback at the same time enable the Link button Figure 11 3 61 CUEMIX FX Controlling Talkback and Listenback volume To control the volume of the Talkback and or Listenback mics adjust their input fader in CueMix FX This fader controls the volume of the input regardless of which bus mix is being displayed in the CueMix FX window In other words once an input has been designa
28. This allows you to create different mixes and send them to separate destinations For example you could send one mix to a PA system and send a separate different mix to stage monitors Yet a third mix could be created for the headphones and a fourth mix could be sent to the digital outputs to a recording device of some kind or an effects processor Choosing a mix to control The Audio Express front panel controls only one mix at a time To choose which mix you are controlling push the MIX VOL knob Figure 6 4 repeatedly The current mix LEDs Figure 6 4 indicate the currently selected mix FIREWIRE eUSB2 Figure 6 4 The Mix LEDs indicate which mix you are controlling with the front panel Controlling pan If a mix is selected and the volume vol LED is illuminated as shown in Figure 6 4 this indicates that the front panel knobs are currently controlling each inputs mix volume If you wish to control the left right panning of the input push and hold the MIX VOL knob Doing so causes the pan LED Figure 6 4 to illuminate You can now use the knobs to pan each mono input left or right Like volume the pan setting for the input can be different for each of the four mixes Push the knob to toggle between pan center or pan left right 34 AUDIO EXPRESS FRONT PANEL OPERATION Use the following gestures for controlling pan for the stereo S PDIF input or any inputs that are configured as a stereo pair by the CueMix FX
29. Video HW Pull Up Down Off sx Video Player VST Audio System MOTU Audio Express VST System Link nput Latency 6 395 ms Advanced Options Set to Defaults Poca ooo Multi Processing EUYTPEEEBN isk Preicad Adjust for Record Latency fosamples asha o Help Reset Apply Figure 10 4 In Cubase or Nuendo choose Devices menu gt Device Setup and click VST Audio System to access the window above e oe Preferences m m s General Audio MIDI Display Score Video Automation Control Surfaces Sharing Core Audio M Enabled System Memory Requirement 72 0 MB Output Device MOTU Audio Express Input Device MOTU Audio Express 1 0 Buffer Size 256 x _ Samples Resulting Roundtrip Latency 12 8 ms I I I I I I I I Recording Delay O lt Samples V universal Track Mode M 24 Bit Recording Mi Software Monitoring Independent Monitoring Level for Record Enabled Channel Strips ReWire Behavior Maximum Scrub Speed Normal Scrub Response Normal Apply Changes Figure 10 5 In Logic Pro or Logic Express go to the Audio Driver preferences to access the I O Buffer Size option shown above Lower latency versus higher CPU overhead The buffer setting has a large impact on the following things m Patch thru latency m The load on your computers CPU m Possible distortion at the smallest settings
30. be summed to mono The Phase Analysis lets you see what frequencies will be canceled out when summed In the rectangular view any lines in the signal that touch the 1 0 or 1 0 vertical lines in the grid will be canceled out at the frequency where they touch when the signal is summed to mono In the polar view any signal that falls on the negative y axis below zero in polar view will be canceled out when the signal is summed to mono Perfectly in phase Polar view Rectangular view One sample delay Checking for phase issues in stereo tracks You can use the Phase Analysis window to check the overall polarity of a stereo mix Figure 11 31 is an example of a full stereo mix that has phase issues as indicated by the majority of the signal s energy which is predominantly skewed to the left side of the rectangular view left and spread along the y axis in the polar view right 20000 05 20000 15000 10000 5000 0 5000 10000 15000 20000 Figure 11 31 A stereo mix with phase issues Twenty sample delay Inverted Figure 11 30 Two identical audio streams in the Phase Analysis CUEMIX FX TUNER Detected frequency Meter Meter value 1000 05 Hz 21 4 cents Detected Arrow Reference note frequency The Tuner window is an accurate and easy to use tuner Opening the Tuner Each MOTU audio interface has its own Tuner window Choose the Tuner item from the Devices menu under the desired in
31. below in Figure 9 8 For information about the Buffer Size setting see Adjusting the audio I O buffer on page 53 r Preferences Audio H4 Master Tune 440 Hz 0 Cent Q Audio Device MOTU Audio Express B v Sample Rate 44 100 4 Buffer Size r 512 samples B Input Latency 13 ms Output Latency 11 ms Latency Compensation 11 ms 8 Active Input Channels 8 out of 8 Channels Active Output Channels 2 out of 8 Channels Clock Source l Internal ka Figure 9 8 Enabling the Audio Express in Reason or Record Cubase and Nuendo Go to the Devices menu and choose Device Setup Click the VST Audio System item in the Devices list and choose MOTU Audio Express from the ASIO Driver menu as shown below in Figure 9 9 Activate the inputs and outputs within Cubase or Nuendo as usual For information about the Audio Buffer Size setting see Adjusting the audio I O buffer on page 53 OQO Device Setup u ASIO Driver Devices E MIDI MIDI Port Setup Remote Devices Quick Controls l Release Driver when Application is in Background Input Latency 6 395 ms Transport Output Latency 6 417 ms R d Ti M Sg ESP EE HW Sample Rate 44 100 kHz Time Display Video HW Pull Up Down Off n Video Player VST Audio System Advanced Options Set to Defaults MOTU Audio Express VST System Link EE A200 Priority Multi Processing z Disk Pr
32. code So if you are working with either of these rates make sure you choose the correct rate from this menu The Audio Express driver updates the frame rate setting in Digital Performer and AudioDesk for you READER SECTION The Reader section on the left hand side of the window in Figure 12 1 provides settings for synchronizing the Audio Express 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 Audio Express has successfully achieved lockup to SMPTE time code and SMPTE frame locations are being read Clock The Clock light glows continuously when the Audio Express has successfully achieved lockup to an external time base such as SMPTE time code or the S PDIF input Address The Address light glows continuously when the Audio Express has successfully achieved lockup to SMPTE time code Freewheel The Freewheel light illuminates when the Audio Express is freewheeling address time code clock or both For details about Freewheeling see Freewheel Address and Freewheel clock below SMPTE source Choose the analog input that is connected to the time code source This is the input that the Audio Express listens to for time code Freewheel Address Freewheeling occurs when there is a glitch or drop out in the incoming time code for some reason The Audio Express can freewheel
33. 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 or window in Audio MIDI Setup If the interface does not appear or if it is grayed out check your cable connections and click Rescan MIDI eoe Audio MIDI Setup Audio Devices MIDI Devices Add Device Remove Device Show Info Rescan MIDI Test Setup Default 1 1 View Icon Size Configuration jaie I Figure 4 1 The Audio Express interface as it appears in the MIDI tab of Audio MIDI Setup Connecting MIDI devices to the Audio Express Once your Audio Express 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 Core MIDI compatible applications To add a device in Audio MIDI Setup 1 Click Add Device eoe Audio MIDI Setup Audio Devices MIDI Devices r GiH m n Default E unum CAEL dna Y View Icon Size Configuration Add Device Remove Device Show Info Rescan MIDI Test Setup va Figure 4 2 Adding a MIDI device 2 Drag on its input and output arrows to draw connections to the Audio Express that match its physical connection 26 INSTALLING THE AUDIO EXPRESS MAC SOFTWARE eoe Audio MIDI Setup Default
34. has issues with polarity as follows Activity on the X Y Plot Signal activity occurs mostly along the x y axis lower left to upper right and the Corre lation meter reading is high Signal activity occurs mostly along the y x axis upper left to lower right and the Correla tion meter reading is low near i Signal activity occurs in a seemingly random fashion throughout the grid What it indicates Left and right channels are pre dominantly in polarity the ste reo field is relatively narrow Left and right channels are pre dominantly out of polarity not in phase No phase relationship exists i e itis probably a wide stereo field If a stereo signal is out of phase it is not mono compatible because it can cancel itself out either partially or nearly completely when collapsed to mono In polarity Out of polarity No polarity 05 00 05 10 48 ki Figure 11 22 Checking polarity in a stereo signal with the X Y Plot amp s ag 10 05 00 05 CUEMIX FX PHASE ANALYSIS The Phase Analysis window Figure 11 23 on page 74 graphs frequency versus phase difference versus amplitude of a stereo signal on either rectangular or polar coordinates In rectangular coordinates the vertical axis represents frequency and the horizontal axis represents the phase of the left channel minus the phase of the right channel measured in radians In polar co
35. metal casing of the Audio Express to discharge any static electricity that you may be carrying just before the installation After you have made all of the necessary connections as described in this chapter turn on the devices in this sequence 1 Turn on the computer 2 Turn on the Audio Express 3 Turn on other devices connected to the Audio Express 15 CONNECT THE AUDIO EXPRESS INTERFACE Your Audio Express audio interface is equipped with both a FireWire A 400 Mbit sec connector and a hi speed USB2 480 Mbit sec connector and you can use either port to connect the Audio Express to your computer This gives you maximum flexibility and compatibility with today s ever expanding universe of Mac and Windows computers Which should I use FireWire or USB2 If your computer does not have a FireWire port then obviously you will need to connect the Audio Express to one of its high speed USB 2 0 ports If your computer has both FireWire and USB2 then it is your choice and your decision may depend mostly on other peripherals you may also have or bus power as explained below Bus powered operation requires FireWire There is only one significant difference between FireWire and USB2 operation bus power FireWire provides enough power on the FireWire bus that the Audio Express can be powered solely by its FireWire connection to the computer For complete information see Bus power requirements on page 20
36. mixing of live inputs through your Audio Express system MOTU SMPTE Setup Applications folder Provides access to the Audio Express system s chapter 12 MOTU SMPTI SMPTE time code sync features Console page 81 AudioDesk Workstation Software Applications folder Provides complete multi track recording mixing AudioDesk User Guide and processing Optional AudioDesk Demo Project Anywhere you want Provides a multi track mix that you can open AudioDesk User Guide play and mix in AudioDesk Optional 25 Core MIDI and Audio MIDI Setup Core MIDI is the under the hood portion of Mac OS X that handles MIDI services for MIDI hardware and software Core MIDI provides many universal MIDI system management features including MIDI communication between your Audio Express FireWire interface and all Core MIDI compatible software Audio MIDI Setup is a utility included with Mac OS X that allows you to configure your Audio Express interface for use with all Core MIDI compatible applications Audio MIDI Setup provides a A virtual studio on your Mac that graphically represents your MIDI hardware setup and that is shared by all Core MIDI compatible programs m A simple intuitive list of your MIDI devices whenever you need it in any Core MIDI compatible program Launching Audio MIDI Setup 1 Make sure your Audio Express interface is connected and turned on 2 Launch the Audio MIDI Setup utility This can usually be
37. output assignment is channels 7 8 CueMix no latency hardware monitoring will automatically be set up from analog in 2 to outputs 7 8 Controlling CueMix from within other software Consult the manual for your software 56 REDUCING MONITORING LATENCY CHAPTER 11 CueMix FX OVERVIEW CueMix FX is a cross platform software application that provides graphic on screen control for the Audio Express s mixing features Essentially it gives you on screen control of the Audio Express s front panel mixing controls CueMix FX also provides many advanced audio analysis tools including a tuner and oscilloscope CueMix FX can be used independently of host audio software or together with it CueMix dovetails with the direct monitoring features of your host audio software allowing you to seemlessly mix in both environments Advantages over host based mixing and processing 57 CueMix FX installation 57 CueMix FX basic operation 57 Working with a mix 59 SHOMICULS ced Gone vesasdeuadupe seesdeuddepe eeeuvecuads 60 INO CISDIAY u u k t te ec ee 8 u 8 2 ss seatedes 60 Talkback and listenback 60 FIC MENU si2560s45e0iessaeeteveeindevaeetanectewaxes 62 Sedane n e uu u 2 EE PE E 62 Scope channel selection 62 DEVICES MENMU L uu t e rapra 63 FFT Analysis spectrogram
38. ration 1 Choose File menu gt Load Hardware Preset to make it the current active preset 2 Choose Configuration menu gt Create New or Save To to save it as a configuration TALKBACK MENU Choose the commands in the Talkback menu to engage or disengage Talkback or Listenback See Talkback and listenback on page 60 PHONES MENU The Phones menu allows you to choose what you will hear on the headphone output just like the Phones setting in MOTU Audio Setup However this menu provides one extra option that is exclusive to CueMix FX Follow Active Mix This menu item when checked causes the headphone output to mirror the output of the current mix being viewed in CueMix FX For example if you are currently viewing mix bus 3 the headphones will mirror the mix bus 3 output whatever it is assigned to CONTROL SURFACES MENU CueMix FX can be controlled from an automated control surface such as the Mackie Control Use the commands in the Control Surfaces menu to enable and configure this feature Application follows control surface When checked the Application follows control surface menu command makes the CueMix FX window scroll to the channel you are currently adjusting with the control surface if the channel is not visible when you begin adjusting it The same is true for the bus tabs if you adjust a control in a bus 79 CUEMIX FX that is not currently being displayed CueMix FX will jump to the app
39. samples of the monitored audio signal the most recent samples are displayed When the Trigger is enabled set to any mode other than None the graph updates in response to specific conditions in the signal The Trigger section defines that criteria and how the graph will display the events that match Trigger menu Criteria check boxes Figure 11 14 Trigger settings Criteria The criteria check boxes Figure 11 14 determine the conditions that the trigger is looking for and where it will look for them The Left check box causes the condition to be looked for in the left channel of the signal likewise the Right check box looks for the condition in the right channel One or both of these can be enabled simultaneously If neither is enabled the criteria will not be found because the trigger is not looking at any audio signal The Pos and Neg check boxes determine the slope of the event When the Pos check box is enabled the trigger will look for an event where amplitude is increasing likewise enabling the Neg check box tells the trigger to look for an event where amplitude is decreasing One or both of these can be enabled simultaneously If neither is enabled the criteria will not be found because the trigger is not looking for any particular kind of event The Level setting defines the amplitude threshold that the trigger is looking for The Level is indicated on the graph by a blue horizontal line or two blue horizo
40. se j0 U0 ued pue uln oA UsaMjaq HH0 0 qouy XIW t pjoy pue ysnd 3AL SI XIW P U yM pow Uull1 10 XIUI JUIN IY 9 P3Ipul ZL sq71 4L powu wuy pue s xiui lejed sunoj u Huowe IP 0 jp ze d y qouy XIW ay ysnd pued Jad Y UO SPef oquo Sy 1 Y7X 34 40 ued pue uln o0A XIU A WJ Y 1 A0 011u02 UOUNZJ Jd1 piA01d S19p02U 0101 y WH e3161 u0ISD 1d OM ASA s sdx oipne jaued U014 ss idx3 OIlpny adUaJaJaYy MIND 19 nduuo2 ANOA 10 ss 1dx3 oipnv y u sju u Od WO e211 29 ay WY up UDIUA abseypsip 3137S Jo AjI IqIssod ay splone SIUu1 se qed M u u Bu 56n d uaym ss 1dx3 oipny ay JJO uan 0 Jsaq SI11 ou zuezrodw A ddns amod a4 INOYIM uoesado paramod snq s1340 AIMH JPY Jdadxa 3u J Jjip YONW JOU s J ul SSodXJ olpny JNOA YIM D DIA01d QL JSN 40 V AIMH POEL piepue s ay 194419 Husn ZASA 10 MMH 1944 PIA 3494 J9NGWOD y 0 ss 1dx3 Olpny y oUU0 qe abed uo epad ajqeug s dn siy Jas 0 MOY noqe sjle ap 104 bulpsoda4 Buunp yno ysund pue ul yund 9 1J SpueU 10 AY Y IMS 7004 prepue s e JIU jaueg 1e u 8 gp ZZ 40 abues e J A0 p sn pe aq up WI ay AeMYOS XJ XIW n p pnpuli u 10 ued JU J u I WO s u ul Dul gp Ajayewixosdde ul java nduli ysnfpe no ey suu Hojeue p o1uo2 Ajjeybip aunjeay w Wu Jey big uols Dald SSS 1dx3 Olpny u YIM paddinba osje ave syndul S
41. 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 he 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
42. software see the next section Do this To do this Turn To adjust balance or width Push and hold To toggle between balance and width In balance mode push To set balance to center In width mode push To toggle between 100 full stereo and 0 full mono To go back to controlling volume push and hold the MIX VOL knob again The volume vol LED once again becomes illuminated Stereo pairs From the factory the two mic instrument inputs and two TRS analog jacks are configured as individual mono inputs each with its own knob However the CueMix FX software gives you the option of controlling them as stereo pairs See Mono stereo pairing on page 59 If you do so the two front panel knobs that correspond to the pair will each affect both channels in identical fashion For example if the two mic inputs are configured as a stereo pair you could use either the MIC 1 knob or the MIC 2 knob to control the volume of the pair Panning can also be controlled using either knob as explained in the previous section for stereo pairs The S PDIF input is different than the analog inputs because its two channels are by default grouped as a stereo pair In addition there is only one knob on the front panel for the pair Most of the time you will operate the S PDIF input in stereo However the CueMix FX software does let you configure the S PDIF channels as two separate mono channels If you choose to do so the front pane
43. the preferences window and click the Audio tab Choose CoreAudio from the Driver Type menu Choose the MOTU Audio Express from the Input Audio Device and Output Audio Device menus as shown below in Figure 9 6 For information about the Buffer Size setting see Adjusting the audio I O buffer on page 53 600 Preferences Figure 9 6 Enabling the Audio Express in Live OTHER MAC OS X SOFTWARE Reaper In Cockos Reaper access the Preferences and click Devices under the Audio preferences Choose MOTU Audio Express from the Audio Device menu fs Cy O Y General Paths Keyboard Multi Y Project Defaults Y Audio Device REAPER Preferences Audio device setting Audio Device MOTU Audio Express g Request sample rate 44100 Audio MIDI Setup Request block size 512 If you need to use multiple devices open Audio MIDI Setup and create an aggregate device MIDI Devices Buffering Playback Recording Y Appearance Media Peaks Waveforms VU Meters Faders Theme Editor Y Editing Behavior Envelopes Allow use of different input and output devices legacy option not recommended Mouse Y Media MIDI dee INPN aaa Y Find OK Cancel Figure 9 7 Enabling the Audio Express in Reaper Reason and Record In Propellerhead Reason or Record open Preferences choose Audio preferences from the menu and choose MOTU Audio Express from the Audio Device menu as shown
44. to external SMPTE time code choose Internal If you have a S PDIF digital audio device connected to the Audio Express see Connect and sync S PDIF devices on page 20 If you are slaving the Audio Express and your host software to SMPTE time code follow the directions in Syncing to SMPTE time code on page 84 Phones This Audio Express setting lets you choose what youll hear from the headphone jack For example if you choose Main Out 1 2 the headphones will duplicate the main outs Or you can choose any other output pair If you choose Phones 1 2 this setting makes the headphone jack serve as its own independent output pair As a result you ll see Phones 1 2 as an additional audio destination in your host software s audio output menus CHOOSING THE MOTU AUDIO EXPRESS CORE AUDIO DRIVER Once you ve made the preparations described so far in this chapter youre ready to run your audio software and enable the MOTU Audio Express Core Audio driver Check the audio system or audio hardware configuration window in your software There will be a menu there that lets you choose among various drivers that may be in your system Choose the MOTU Audio Express from this menu Pro Tools In Pro Tools go to the Setup menu and choose Playback Engine as shown in Figure 9 3 Choose the MOTU Audio Express from the Current Engine menu For information about the H W Buffer Size setting see Adjusting the audio I O buffer on
45. when monitoring live inputs or processing them with software plug ins Below are a few examples S PDIF 9 18V OC 5 tip or MAIN w 2 Sor 10 Configure Hardware Driver CareAudio r Master Device Sample Rate Audio PERTE internal F Figure 10 3 In Digital Performer and AudioDesk choose Setup menu gt Configure Audio System gt 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 S 1 Live input from mic guitar etc enters the MOTU interface LINE 4 our 3 L 4 a iN S t 3 Mic signal is mixed with the main outs and you can control the volume relative to the rest of the mix with the mics fader in CueMix FX 2 CueMix immediately patches the live mic signal directly to the main outs or other output completely bypassing the computer Figure 10 2 This diagram shows the signal flow when using CueMix no latency monitoring Notice that this method does not process the live input with plug ins in your audio software REDUCING MONITORING LATENCY t Device Setup M VST Audio System MIDI MIDI Port Setup l Release Driver when Application is in Background Remote Devices Quick Controls 9 Transport Output Latency 6 417 ms Record Time Max Time Display HW Sample Rate 44 100 kHz G
46. Audio Express User Guide for Mac MOTU 1280 Massachusetts Avenue Cambridge MA 02138 Business voice 617 576 2760 Business fax 617 576 3609 Web site www motu com Tech support www motu com support 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
47. Audio Express Sample Rate 44100 x Glock source Internal m Launch MOTU Audio Setup when hardware Default Stereo Input Mic Instrument 1 2 x3 Default Stereo Output Analog 1 2 Analog 1 2 ry Phones Assign firmware 1 0 bootloader 1 0 becomes available Channel Names Edit M Enable Pedal Pedal Down E Pedal Up firmware 1 0 bootloader 1 0 Figure 7 1 Choose Setup menu gt Configure Audio System gt Configure Hardware Driver to open the dialog shown above and access the Audio Express Core Audio driver To access the rest of the Audio Express settings open MOTU Audio Setup For complete details about the Audio Express settings see chapter 5 MOTU Audio Setup page 29 The following sections provide a brief explanation of each Audio Express setting for use with Digital Performer 37 Sample rate Choose the desired overall sample rate for the Audio Express 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 their move handles to indicate that they cannot be played Clock Source This setting is very important because it determines which audio clock the Audio Express will follow If you do not have any digital audio connections to your Audio Express you are u
48. Ba ww s fT O I I View Icon Size Configuration Add Device Remove Device Show Info Rescan MIDI Test Setup Sound Module G Figure 4 3 Connecting devices to the Audio Express In this example a controller keyboard is connected to the Audio Express s MIDI IN and a sound module is connected to the Audio Express MIDI OUT 3 Double click the device to make settings such as input and output channels that further describe the device S OO new external device Properties Device Name new external device Manufacturer iv Model iv zz Open Icon Browser Less Information 4 Transmits Channels Z lgb y riyEkggy ed max 16 L E MIDI Beat Clock _ MIDI Time Code Receives Channels Kas Ku e eS Ko ee ee o T SS SS e e max 16 _ MIDI Beat Clock MIDI Time Code Features General MIDI r MIDI Machine Control System Exclusive ID Revert 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 Core MIDI compatible software CUEMIX FX This program provides a mixing console that gives you control over the Audio Express s no latency CueMix FX features For details see chapter 11 CueMix FX page 57 MOTU SMPTE CONSOLE The MOT
49. E 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 amp S dealer agent or employee is authorized to make any modification extension or addition to this warranty MOTU S amp 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 amp 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 Digital Performer AudioDesk Mark of the Unicorn and the unicorn silhouette logo are registered 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 m
50. IDI GEAR Connect your MIDI device s MIDI IN jack to the Audio Express s MIDI OUT jack Connection A below Conversely connect the MIDI devices MIDI OUT jack to the Audio Express s MIDI IN jack Connection B Audio Express rear panel MIDI OUT MIDI IN cables Connection A MIDI MIDI Connection B IN OUT Figure 3 3 Connecting a MIDI device to the Audio Express One way MIDI connections MIDI devices that do not receive MIDI data such as a dedicated keyboard controller guitar controller or drum pad only need Connection B shown in Figure 3 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 Audio Express to the MIDI IN on the additional device as shown below in Figure 3 4 The two devices then share the Audio Express 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 Audio Express rear panel MIDI MIDI Device IN MIDI MIDI TARY cable MIDI IN Additional device Figure 3 4 Connecting additional devices with MIDI THRU ports
51. INPUTS AND OUTPUTS Once youve enabled the MOTU Audio driver as explained earlier in The Audio Express settings on page 37 Audio Express audio inputs and outputs will appear in Digital Performer s audio input and output menus as well as the Bundles window Figure 7 2 Mix1 Return 1 2 bus In Digital Performer s audio input menus and the Bundles window you ll see an Audio Express input pair called Mix1 Return 1 2 Figure 7 2 This is a stereo feed from the Audio Express that matches its main outs Mix 1 This can be used for example to record a final stereo mix for reference and archiving purposes AAA Bundles Bu ndiles 4 Outputs Busses instruments MIDI Devices Mic instrument 1 Mic instrument 2 Analog 1 2 S PDIF 1 2 Mix 1 Return 1 2 H lt gt lt gt o oo ae ce ae Delete Unused Edit Figure 7 2 The Mix1 stereo return from the Audio Express in Digital Performer s Bundles window can be used to feed the Audio Express output back into DP 38 DIGITAL PERFORMER Warning the Mix Return inputs can cause feedback loops DO NOT assign this input to a track assigned to the Audio Express main outs For Mix1 Return 1 2 you can choose whether or not to include audio being sent to the main outs from the computer See Mix1 Return Includes Computer Output on page 62 The Phones 1 2 output Host audio tracks assigned to the Phones 1 2 output pair will be heard on the headpho
52. If you use USB2 you must also use the DC power supply included with your Audio Express as USB2 does not supply enough power by itself If you are connecting via FireWire 1 Before you begin make sure your computer and the Audio Express are switched off 2 Plug one end of the Audio Express FireWire cable included into the FireWire socket on the computer as shown below in Figure 3 1 You can connect the Audio Express to an 800Mbit FireWire B port using a 9 pin to 6 pin FireWire B cable not shown However the Audio Express will still operate at its specified 400Mbit FireWire A data rate 3 Plug the other end of the FireWire cable into the Audio Express I O as shown below in Figure 3 1 aha Eo h Figure 3 1 Connecting the Audio Express to the computer via FireWire Make absolutely sure to align the flat side of the FireWire plug properly with the flat side of the FireWire socket on the Audio Express If you attempt to force the plug into the socket the wrong way you can damage the Audio Express 16 INSTALLING THE AUDIO EXPRESS HARDWARE High Speed USB 2 0 versus USB 1 1 There are primarily two types of USB host controllers widely available on current personal computers USB 1 1 controllers support simple peripherals that dont require a high speed connection such as a computer keyboard a mouse or a printer USB 2 0 controllers support high speed devices such as the Audio Express Since the Audio Express re
53. In AudioDesk s audio input menus and the Bundles window youll see an Audio Express input called Mix1 Return 1 2 Figure 8 2 This is a stereo feed from the Audio Express that matches its main outs Mix 1 This can be used for example to record a final stereo mix for reference and archiving purposes 000 Bundles Bundles Outp Busses MOTU Audio Express lt b N e N FEP MV NAME MODEL 2 a Mic instrument 1 Mono ov Mic instrument 2 Moo vy E Analog 1 2 Stereo vY gog S PDIF 1 2 Stereo v Mix 1 Return 1 2 Stereo vY oae Figure 8 2 The Mix1 stereo return from the Audio Express in AudioDesk s Bundles window can be used to feed the Audio Express output back into AudioDesk 42 AUDIODESK Warning the Mix Return 1 2 return inputs can cause feedback loops DO NOT assign this input to a track assigned to the Audio Express main outs For Mix1 Return 1 2 you can choose whether or not to include audio being sent to the main outs from the computer See Mix1 Return Includes Computer Output on page 62 The Phones 1 2 output Host audio tracks assigned to the Phones 1 2 output pair will be heard on the headphone jack only If the Phones are set to mirror another output such as the main outs the mirrored audio stream is mixed with the phones audio output For further explanation see Phones Assign on page 32 24 BIT OPERATION Your Audio Express hardware fully support
54. J 1 0 Buffer Size 256 Samples Resulting Roundtrip Latency 12 8 ms or ar M universal Track Mode V 24 Bit Recording V Software Monitoring C independent Monitoring Level for Record Enabled Channel Strips Process Buter Range Medium ReWire Behavior Maximum Scrub Speed Normal Scrub Response Normal Figure 9 3 Enabling the Audio Express in Logic Pro or Logic Express Soundtrack Pro In Soundtrack Pro access the preferences window click the Recording tab and choose MOTU Audio Express from the Input and Monitor menu as shown below in Figure 9 4 Figure 9 4 Enabling the Audio Express in Soundtrack Pro Garage Band In Garage Band go to the Audio MIDI preferences and choose MOTU Audio Express from the Audio Output and Audio Input menus as shown below in Figure 9 5 For information about the Optimize for setting see Adjusting the audio I O buffer on page 53 eoo Audio MIDI 2 x General Audio MIDI Export Advanced MOTU Audio Express MOTU Audio Express Audio Output Audio Input Optimize for Maximum number of simultaneous tracks Large buffer size Minimum delay when playing instruments live Small buffer size MIDI Status 5 MIDI Input s detected Keyboard Sensitivity Less Neutral i i More Drag the slider to adjust the velocity level of notes you play Figure 9 5 Enabling the Audio Express in Garage Band Live In Ableton Live access
55. MIC INST A clip CLOCK mic MAIN LINE main 48V Figure 6 1 The Audio Express front panel 33 MIXING WITH THE FRONT PANEL CONTROLS The Audio Express can operate as a mixer and you can use the knobs on the front panel to control the mix The mixer combines the signals of all inputs and sends the mixed signal to an output pair such as the main outs You can control the relative volume of the inputs as well as the overall volume of the mix signal on output Input signals Output signal Audio Express ss s mixer F Figure 6 3 The Audio Express mixer takes all the input signals and combines them to an output You control the volume of each input separately to produce a good mix Controlling the volume of inputs Use the Input controls Figure 6 1 to control the volume of the Audio Expresss three input pairs Notice that you can mix the digital S PDIF input alongside the four analog inputs Push to mute or unmute the input Controlling the volume of the mix Use the Mix volume knob Figure 6 1 to control the overall output volume of the mix Four separate mixes The Audio Express provides a separate mix for each of its four output pairs as follows Mix name Physical output Mix 1 Main Out 1 2 Mix 2 Analog 1 2 Mix 3 S PDIF 1 2 Mix 4 Phones 1 2 This means that for each Audio Express output pair the volume of each input can be completely different than it is for other output pairs
56. Mac Windows manual m One cross platform CD ROM m Product registration card MAC SYSTEM REQUIREMENTS The Audio Express system requires the following Mac system m PowerPC G4 CPU 1GHz or faster including PowerPC G5 CPUs and all Intel processor Macs 1 GB of RAM 2 GB or more is recommended m Available FireWire or USB 2 0 port m A large hard drive preferably at least 250 GB a Mac OS X version 10 5 or 10 6 v10 5 8 or later required Packing List and Mac System PLEASE REGISTER TODAY Please register your Audio Express today There are two ways to register a Visit www motu com registration to register on line OR m Fill out and mail the included product registration card As a registered user you will be eligible to receive technical support and announcements about product enhancements as soon as they become available Only registered users receive these special update notices so please register today Be sure to do the same for the included AudioDesk software which must be registered separately You can do so online Please be sure to register AudioDesk as well so that you will be eligible to receive online 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 13 14 PACKING LIST AND MAC SYSTEM REQUIREMENTS CHAPTER 3 Hardware OVERVIEW Here s an overview for installi
57. U SMPTE Console software provides a complete set of tools to resolve the Audio Express to SMPTE time code and to generate SMPTE for striping regenerating or slaving other devices to the computer For details see chapter 12 MOTU SMPTE Console page 81 AUDIODESK WORKSTATION SOFTWARE The MOTU Audio installer places AudioDesk in your system s Applications folder AudioDesk is an advanced workstation software package for the Audio Express that lets you record edit mix process bounce and master multi track digital audio recording projects Advanced features include real time 32 bit effects processing 24 bit recording and much more See the AudioDesk manual available via the Help menu m E leternal Clock gt GA uty me 12131174 0 00 23 05 s 16 Bit integer v a eo ee ap es eJ le start 48131417 stop 46111000 w project Demo Au Music by Chris Parks C J 120 00 J Demo AudioDesk Full Be N Music by Chris Parks IS ttoo 3268141147 gt 190711147 gt e D 2 sua 1 fy 7 25 33 e FO eel sn newnan oO 1 DBintro Q D u OBA QBJungle Bridge QB Mod A Q8r 9 F Mutronbass a AEn aapa ae tv vehhetbebyeeclimitiet nba lat ban mapa His aa erh x A alg E td i
58. ace operation of CueMix FX Uncheck it to turn off control surface support Configure Choose this menu item to configure your control surface product Launch the on line help for specific detailed instructions on configuring CueMix FX for operation with your control surface product eo MOTU CueMix Mackie Control Surface Settings Edit settings for HUI on MIDI Timepiece AV output Port 8 im Group 1 Group position 2 Help Cancel OK SKORS CueMix Control Surfaces Help ad te Qr Ask a Questio ia CueMix Control Surfaces Help HAT Mackie Control Surfaces with CueMix The MOTU FireWire CueMix Console is capable of being controlled remotely via one of the Mackie Control Surfaces Mackie Control HUI or Baby HU connected to the computer thru a MIDI Port Before you are able to configure a surface within CueMix you must add the device in the Audio Midi Setup application Make sure the added control surface manufacturer is set to Mackie and the model matches the surface being configured CueMix Console Control Surfaces menu Application follows control surface When this menu item is checked CueMix will always show the fader being moved This is helpful in setups with multiple control surfaces where you might be mixing two different buses and you always want to see on screen the fader being moved Figure 11 32 Refer to the extensive on line help for details about configuring CueMix FX for operation with y
59. all features in one window CueMix also provides a full screen real time FFT display spectrogram waterfall display oscilloscope X Y plot linear or polar phase analysis and a tuner a AudioDesk full featured audio workstation software for Mac OS X that supports both 16 bit and 24 bit recording With a variety of I O formats mic preamps and no latency mixing and processing of live input the Audio Express is a complete portable studio in a box when used with a Mac or Windows computer THE AUDIO EXPRESS REAR PANEL The rear panel has the following connectors m Four gold plated balanced 4dB quarter inch TRS analog outputs with 24 bit 96 kHz converters m Two gold plated balanced quarter inch TRS analog inputs with 24 bit 96 kHz converters m Two combo XLR TRS mic instrument inputs m Coaxial S PDIF in out MIDI IN and MIDI OUT connectors m 1394 FireWire A connector a High speed USB 2 0 connector m Foot pedal input a DC power jack 6 inputs and 6 outputs All Audio Express inputs and outputs can be used simultaneously for a total of 6 inputs and 6 outputs Connection Input Output Analog 24 bit 96 kHz on bal unbal TRS 2 4 Mic preamps 24 bit 96 kHz on XLR TRS combo 2 SPDIF 24 bit 96kHz digital 2 2 Total 6 6 All inputs and outputs are discrete and can be active simultaneously The headphone outputs can operate as an independent output pair or they can mirror any other Audio Exp
60. ample accurate Audio Express 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 If you continue to have difficulties try repairing Mac OS X disk permissions using Disk Utility 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 Audio Express If you encounter the same artifacts you may want try using another drive in your computer Clicks and pops can also occur when the drive is severely fragmented or the disk drivers are outdated Connecting or powering gear during operation It is not recommended that you connect disconnect or power on off devices connected to the Audio Express while recording or playing back audio Doing so may cause a brief glitch in the audio How do I 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 us
61. an view detailed information about a particular time range by using the measurement bars 0 4 0 3 0 2 01 0 0 0 1 0 2 0 3 Figure 11 15 Measurement information 68 CUEMIX FX To adjust the left and right edges of the measurement area click and drag the blue bars in the graph or click and drag the blue numbers in the upper left or right corners To reset them to the default value double click the numbers Information about the measured area is displayed at the center of the top ruler the duration in seconds and samples the approximate frequency and the scientific note name If the measured area is long enough the approximate beats per minute bpm is displayed Ideas for using the Oscilloscope The Oscilloscope can be used in many useful ways during the routine operation of your recording studio Here are just a few examples Analyzing and comparing harmonic content The oscilloscope lets you see the nature of the harmonic profile in any audio material You can also view two signals side by side in stereo mode to compare their profiles and if necessary make adjustments to the source of each signal and view your changes in real time 00 Effects Seq 1 Audio 1 recs aaa sea 7 Audio 1 v Inset A v Dynamics gt Basson None gt Snapshot J Auo v 1 1 n n Gain dB Ww w 2 9 6 3 0 ID on Level iar Control Level IRS 9 84 72 6 48 36 At 12 0
62. aptop and the Audio Express This is the most compact and portable operating scenario Running time is determined by the capacity of the laptop battery For extended recording sessions bring extra fully charged laptop batteries DC power supply If you do not want the Audio Express to draw power from the computer and AC power is available you can power the Audio Express from any standard 9 18 volt 5 watt DC power supply with any polarity tip positive or negative and amperage as shown below Voltage Amperage 9 volts 1 33 amps 12 volts 1 amp 18 volts 0 66 amps Turning off the Audio Express To turn on the Audio Express push the PHONES volume knob To turn it off push and hold the PHONES volume knob When the Audio Express is turned off it is really in a sort of sleep mode where it still draws just enough power to detect the power switch a digital encoder when the Audio Express is turned back on But the amount of power that the Audio Express draws when it is turned off is so small that it has very little practical impact If you are running a laptop under battery power and you are in a situation where you are not using the Audio Express and you need every last bit of laptop battery power unplug the Audio Express entirely from the computer 21 INSTALLING THE AUDIO EXPRESS HARDWARE A TYPICAL AUDIO EXPRESS SETUP Here is a typical Audio Express studio setup In this example no external mixer is needed
63. ation see Phones Assign on page 32 AUDIO INPUT AND OUTPUT NAMES The Audio Express Core Audio driver supplies text string labels for its inputs and outputs to clearly identify each one but some applications do not display these labels The following tables show how you can identify each input and output in a host that does not display port names Number of List Input Channels position Comment Mic 2 1 2 Analog 2 3 4 SPDIF 2 5 6 Mixl return 2 7 8 See Mix1 1 2 return bus on page 49 Outputs are listed in this order Output Channels List position Main 2 1 2 Analog 2 3 4 SPDIF 2 5 6 Phones 2 7 8 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 8 input and output streams provided by your Audio Express MIDI I O Once you ve followed the procedure for enabling the Audio Express s MIDI features as explained in Software installation on page 25 the Audio Express MIDI ports will appear as an input source and output destination in your host softwares MIDI I O menus 49 OTHER MAC 0S X SOFTWARE PROCESSING LIVE INPUTS WITH HOST PLUG INS If you patch a live input such as a MIDI synthesizer through a plug in effect in your host software you might hear a slight delay There are several ways to reduce this delay For details see chapter 10 Reducing Monitori
64. ative to the entire frequency range For example when the horizontal zoom value is Lx the entire frequency range from 10 to 24000 Hertz is displayed when the horizontal zoom value is 2x one half of the entire frequency range is displayed Pos determines which frequency is displayed at the center of the graph 64 CUEMIX FX In Min Max mode Min and Max set the lowest and highest displayed frequencies in Hertz Vertical controls amplitude axis The Vertical controls Figure 11 7 operate similarly to the Horizontal controls except that they configure the y axis amplitude In Zoom Offset mode Zoom sets the display zoom from 1x to 100x and Pos sets the center amplitude of the graph In Min Max mode Min and Max set the smallest and largest displayed amplitude Spectrogram controls The Floor control Figure 11 5 sets the amplitude threshold for the spectrogram display from 144 dB up to 1 dB The Alpha control Figure 11 5 sets the opacity of the spectrogram information displayed in the graph from 100 fully visible down to 0 fully hidden OSCILLOSCOPE The Oscilloscope Figure 11 10 graphs the amplitude of an audio signal over time Amplitude is displayed on the y axis and time is displayed on the x axis A thick white vertical line marks where time equals zero a thick white horizontal line marks where amplitude equals zero Figure 11 10 below Level meters are displayed to the right of the graph
65. ay 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 e Relocate or reorient the receiving antenna e Increase the separation between the equipment and the receiver e 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 C E Contents 25 29 33 37 41 45 51 57 81 85 Quick Reference Audio Express Front Panel Quick Reference Audio Express Rear Panel Quick Reference MOTU Audio Setup About the Audio Express Packing List and Mac System Requirements Installing the Audio Express Hardware Installi
66. ble Channel Names Edit Mi Enable Pedal Pedal Down Set B Pedal Up Set none firmware 1 0 bootloader 1 0 Figure 5 1 MOTU Audio Setup gives you access to all of the settings in the Audio Express hardware 30 MOTU AUDIO SETUP S PDIF The S PDIF clock source setting refers to the S PDIF coaxial input jack on the Audio Express This setting allows the Audio Express 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 Audio Express It is not necessary in the opposite direction when you are transferring from the Audio Express to the DAT machine For further details about this setting see Connect and sync S PDIF devices on page 20 SMPTE Choose this setting to resolve the Audio Express directly to SMPTE time code LTC being received via one of the Audio Express s audio inputs For details see Syncing to SMPTE time code on page 84and chapter 12 MOTU SMPTE Console page 81 Built in Audio Choose this setting to resolve the Audio Express to your Mac s built in audio Doing so will ensure that audio streams playing back from or recorded by the Audio Express will not drift apart from audio streams simultaneously played or recorded by the Mac s built in mic speakers or audio output For complete details see Resolving to other Core Audio drivers on page 23 Other audio devices driv
67. ck output set up a headphone distribution amp or set of speakers in the live room and connect it to a pair of outputs For example you might connect a headphone distribution amp to analog outputs 3 4 on your Audio Express as demonstrated below in Figure 11 2 60 CUEMIX FX Control room Talkback mic Outs mic input Live room Headphone distribution amp I mic Figure 11 2 Typical hardware setup for Talkback and Listenback Talkback Listenback mic input Choose the audio input to which your Talkback and or Listenback mic is connected as shown below Talkback mic input Listenback mic input Talk listen routing Listen dim Talk dim Scope Channel Selection Left Analog 1 Right Analog 2 Figure 11 3 Specifying the talkback and listenback mic inputs Use the input fader for the chosen input to control the mic volume Talkback Listenback monitor dim Use the knobs next to the Talk and Listen buttons Figure 11 3 to determine the amount of attenuation you would like to apply to all other audio signals besides the talkback listenback signal when Talkback and or Listenback is engaged To completely silence all other CueMix audio turn them all the way down Attenuation only occurs when talkback or listenback is engaged Audio playing back from disk your host software is not affected
68. ct and sync S PDIF devices on page 20 If you are slaving the Audio Express and AudioDesk to SMPTE time code via the Audio Express itself choose SMPTE and follow the directions in Resolving DP or AudioDesk to SMPTE time code on page 83 Buffer Size The Buffer Size setting can be used to reduce the delay or monitoring latency that you hear when live audio is patched through your Audio Express hardware and AudioDesk For example you might have MIDI instruments samplers microphones and so on connected to the analog inputs of the Audio Express If so you will often be mixing their live input with audio material recorded in AudioDesk See chapter 10 Reducing Monitoring Latency page 51 for complete details Phones This Audio Express setting lets you choose what youll hear from the headphone jack For example if you choose Main Out 1 2 the headphones will duplicate the main outs Or you can choose any other output pair If you choose Phones 1 2 this setting makes the headphone jack serve as its own independent output pair As a result you ll see Phones 1 2 as an additional audio destination in AudioDesk s audio output menus WORKING WITH AUDIO EXPRESS INPUTS AND OUTPUTS Once youve enabled the MOTU Audio driver as explained earlier in The Audio Express settings on page 41 Audio Express audio inputs and outputs will appear in AudioDesk s audio input and output menus Mix1 1 2 return bus
69. dio Express under bus power when connecting it with other devices to the same FireWire bus See Power options and Bus power requirements on page 20 Multiple interfaces in MOTU Audio Setup MOTU Audio Setup displays the settings for one interface at a time To view the settings for an interface click its tab as shown below in Figure 3 9 e680 MOTU Audio Setup 828mk2 Audio Express 48000 HJ _ Internal KA 2 al Figure 3 9 To view the settings for an interface click its tab General sample Rate Clock Source Mac OS X provides an advanced flexible driver model that allows multiple Core Audio drivers to be active at one time accessed by multiple applications simultaneously For example you can run both FireWire and PCI audio interfaces at the same time accessing all of their inputs and outputs from your host audio application or even multiple applications simultaneously You can take advantage of Mac OS X s aggregate device driver feature which allows you to create a unified meta device out of several different audio interfaces The aggregate device presents to your host software all of the inputs and outputs of the included devices An important feature of this flexible driver model is that multiple drivers can be synchronized to one another in order to remain resolved to each other Without synchronization the audio streams being handled by each interface might
70. drift with respect to one another For example the audio tracks playing back through the Audio Express might drift out of sync with the audio tracks playing back through your 2408mk3 PCI interface Synchronizing them to each other ensures that they remain tightly and continuously phase locked as if they were one unified interface Resolving to other Core Audio drivers The MOTU FireWire USB driver can resolve to other Core Audio drivers This allows the Audio Express and other MOTU interfaces to resolve to other audio interfaces running simultaneously on the same computer such as the Mac s built in audio a PCI 424 core system or third party interfaces without the need for external word clock connections between the devices Doing so ensures that audio tracks being played or recorded by your MOTU interface will not drift apart from tracks on the other device during long playback or recording passes INSTALLING THE AUDIO EXPRESS HARDWARE To synchronize multiple devices via the MOTU driver choose one device PCI FireWire or otherwise as the master clock and then slave the Audio Express and other FireWire devices to it All interfaces will remain resolved to each other via the master interface Make the Clock Source settings for each interface as follows m For the master interface click its tab in MOTU Audio Setup and choose any clock source you wish except any of the slave interfaces of course m For each slave int
71. e Scatter Choose either Line or Scatter from the menu in the View section Figure 11 24 to plot each data point as either a single pixel or as a continuous line that connects each frequency data point to the next as shown below in Figure 11 19 2 1 0 1 2 2 1 0 1 2 Figure 11 25 The same Phase Analysis displayed in Line versus Scatter mode Line mode is significantly more CPU intensive than Scatter You can reduce Line mode CPU overhead for the Phase Analysis display by increasing the Floor filter and reducing the Max Delta Theta filters see Filters on page 76 Color Grayscale In Color mode Figure 11 24 signal amplitude is indicated by color as follows red is loud and blue is soft In grayscale mode white is loud and gray is soft Linear Logarithmic Choose either Linear or Logarithmic from the menu in the View section Figure 11 24 to change the scale of the frequency axis In rectangular coordinates the vertical axis represents frequency and in polar coordinates the radius from the center is frequency With a linear scale frequencies are spaced evenly in a logarithmic scale each octave is spaced evenly frequencies are scaled logarithmically within each octave Linear is better for viewing high frequencies logarithmic is better for viewing low frequencies Rectangular Polar Choose either Rectangular or Polar from the menu in the View section Figure 11 24 to control how audio is plotted on the P
72. e XLR mic input and the TRS instrument input are equipped with 60 dB and 22 dB of trim control respectively Use the digital trim encoders on the front panel to adjust the input level for each input as follows 1 Push the MIX knob repeatedly until the green trim LED is illuminated on the front panel 2 Turn the MIC knob to adjust the trim The ten segment MIC INST meters provide visual feedback as you turn the knob The Audio Express s input trims are digitally controlled so they allow you to make fine tuned adjustments in approximately 1dB increments You can also adjust trim in the MOTU CueMix FX software See Input trim on page 59 20 dB pad Each XLR mic input is equipped with a 20 dB pad To toggle the pad for a mic input 1 Push the MIX knob repeatedly until the green trim LED is illuminated on the front panel 2 Push the MIC knob to toggle the pad The amber pad LED will turn on or off accordingly Combo jack summary Use these general guidelines for the 48V phantom power pad and trim settings on the two combo input jacks Input 4V Pad Trim Condenser mic On As needed As needed Dynamic mic Off As needed As needed Guitar Off As needed As needed Quarter inch analog The quarter inch analog inputs 3 4 and outputs 1 4 are balanced TRS connectors that can also accept an unbalanced plug The quarter inch outputs are calibrated to produce a 4 dBu line level output signal Quarter inch analog input trim
73. e current settings in CueMix FX Save To Same as Save above except that it lets you first choose the configuration you wish to save to instead of the current one Delete Lets you choose a configuration to perma nently remove from the menu Import Loads all configurations from a configuration file on disk Export Saves all current configurations as a file on disk Configuration Choose any configuration to load it The cur list rent last loaded or saved configuration has a check mark next to it Modifying a configuration The name of the current configuration is displayed in the CueMix FX window title bar If you make any changes to the settings in CueMix FX an asterisk appears in front of the name to remind you that the current state of CueMix FX doesn t match the saved configuration If you wish to update the saved configuration with the new changes use the Save command To save the current state of CueMix FX to another configuration use Save To To save as a new separate configuration use Create New Saving a CueMix FX configuration as a hardware preset To save a CueMix FX configuration as a hardware preset 1 Choose the configuration from the Configurations menu to make it the current active configuration 2 Choose File menu gt Save Hardware Preset 3 Typeinaname choose a preset slot and click OK Saving a hardware preset as a CueMix FX configuration To save a hardware preset as a CueMix FX configu
74. e is connected to it and it will automatically switch to FireWire operation or USB operation accordingly Some FireWire or USB ports that do not provide bus power can not be automatically detected by the Audio Express and you may need to switch the device to FireWire mode or USB mode manually Toswitchto Press and hold this knob while turning on the Audio Express FireWire LINE 3 knob USB LINE 4 knob When the Audio Express switches to FireWire operation it displays F on the front panel LEDs When it switches to USB operation it displays Uon the front panel LEDs INSTALLING THE AUDIO EXPRESS HARDWARE CONNECT AUDIO INPUTS AND OUTPUTS Here are a few things to keep in mind as you are making audio connections to other devices Mic instrument inputs Connect a microphone guitar instrument or other analog input to the XLR TRS combo jack with either a standard mic cable or a balanced cable with a quarter inch plug Do not connect a 4 line level XLR cable to the mic inputs because of the preamps Use the separate quarter inch inputs instead Phantom power If you are connecting a condenser microphone or other device that requires phantom power enable phantom power as follows 1 Push the MIX knob repeatedly until the green trim LED is illuminated on the front panel 2 Push and hold the corresponding MIC knob for a few seconds to toggle phantom power The red 48V LED will turn on or off accordingly Trim Th
75. e the Audio Express s hardware based CueMix monitoring feature Please see Mixing with the front panel controls on page 34 Controlling monitoring latency See chapter 10 Reducing Monitoring Latency page 51 CUSTOMER SUPPORT We are happy to provide customer support to our registered users If you haven t already done so please take a moment to register on line at motu com or fill out and mail the registration card included with your Audio Express Doing so entitles you to technical support and notices about new products and software updates REPLACING DISCS If your Audio Express software installer disc 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 85 asking for the customer service department In the meantime you can download the latest drivers from www motu com TECHNICAL SUPPORT If you are unable with your dealer s help to solve problems you encounter with the Audio Express system you may contact our technical support department in one of the following ways a Tech support hotline 617 576 3066 Monday through Friday 9 am to 6 pm EST m Tech support 24 hour fax line 617 354 3068 m Online support www motu com support Please provide the following information to help us solve your problem as quickly a
76. e two channels Figure 11 17 X Y Plot The higher the meter the higher the correlation between the two channels Below are a few examples Situation Meter X YPlot graph Mathematical level relationship Perfect 1 Diagonal line going y x correlation from lower left to upper right Zero 0 No discernible pat None correlation tern Perfectly out 1 Diagonal line going y x of phase from upper left to lower right N Opening the X Y Plot Each MOTU audio interface has its own X Y Plot window Choose the X Y Plot item from the Devices menu under the desired interface Figure 11 6 on page 63 View H Ame z Horizontal Zoom Pos w Vertical Zoom 171 10x Pos Persistence CUEMIX FX Choosing a channel to display The X Y Plot follows the currently chosen Scope channels Figure 11 1 on page 58 View controls The View controls Figure 11 18 provide several options for the X Y Plot display Pause button Horizontal T zoom Figure 11 18 View controls Pausing the display The Pause button in the upper right corner of the View section Figure 11 18 allows you to freeze the display at any time To resume click the button again The level meters will remain active while the display is paused Line Scatter Choose either Line or Scatter from the menu in the View section Figure 11 18 to plot each point sample as either a single pixel or as a continuous line t
77. e your audio software to time code as well as long as your software supports sample accurate sync which is the means by which the software follows the Audio Express The accuracy may not be sample accurate but in most cases it will be very close eno MOTU Audio Setup General Audio Express f Sample Rate 44100 Clock Source _ SMPTE Default Stereo Input _Mic Instrument 1 2 Default Stereo Output Analog 1 2 H Analog 1 2 HH Phones Assign SMPTE time code source audio cable bearing LTC Longitudinal Time Code Any analog input Audio Express interface Mac running AudioDesk Digital Performer or other sample accurate software First choose SMPTE as the clock source in AudioDesk Digital Performer or MOTU Audio Setup This setting can also be made in the MOTU SMPTE Console shown below Use this setup if you have V A SMPTE time code source such as a multitrack tape deck V An Audio Express by itself OR with another slaved device such as a digital mixer J Host software that supports sample accurate sync This setup provides V Continuous sync to SMPTE time code V Sub frame timing accuracy J Transport control from the SMPTE time code source Preferences and Settings Receive Sync SMPTE Frame Format 30 tps Non Drop hai Type o sync Sample accurate T O Standard beat clocks O Tap tempo
78. e zero line In Min Max mode Min and Max let you scale the grid by moving the end points along the axis Min Max mode lets you set the boundaries of the graph directly Filters The Filters section Figure 11 29 lets you control the density of the Phase Analysis display Figure 11 29 Filters Floor Floor Figure 11 29 determines the amplitude threshold for the display When the amplitude of both channels drops below this threshold the signal is not shown Max delta theta Max delta theta Figure 11 29 only affects Line view see Line Scatter on page 75 and sets the maximum difference in frequency between plot points in the line plot For two adjacent frequencies if the distance phase difference between the two frequencies is greater than the Max delta theta then the line is not drawn Using the Phase Analysis In the polar display top row of Figure 11 30 on page 77 stereo material that is predominantly phase aligned correlated appears along the vertical axis as demonstrated in the first column Perfectly in phase in Figure 11 30 If the vertical line tilts left or right this indicates general differences in phase the more the tilt delta theta the more the phase difference If the vertical line points downwards in the polar display this indicates that the stereo image is predominantly out of polarity as demonstrated by the fourth column Inverted in Figure 11 30 Delays appear as spirals i
79. eMix connections made inside your host audio software dovetail with any other mixes youve set up in CueMix FX For example if your host application routes audio to an output pair that is already being used in CueMix FX both audio streams will simply be merged to the output 55 REDUCING MONITORING LATENCY Controlling CueMix from within AudioDesk or Digital Performer To turn on CueMix in AudioDesk and Digital Performer 1 From the Setup menu choose Configure Audio System gt Input Monitoring Mode 2 Choose the Direct hardware playthrough option as shown below in Figure 10 7 Input Monitoring Mode Input Monitering Mode w Direct hardware playthrough Monitor record enabled Tacks through effects Figure 10 7 Enabling CueMix in AudioDesk or Digital Performer Note the Only during recording and Always options are for AudioDesk and DP only Later versions of DP have expanded input monitoring features Consult your documentation 3 From the Studio menu choose Audio Patch Thru and choose any monitoring mode except Off Once enabled CueMix 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 in the Audio Express 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
80. ecting 20 22 DC power supply 21 Default Stereo Input Output 7 31 Delay latency 51 Devices menu 63 Digital Performer 12 37 accessing Audio Express settings 29 clock source 38 sample rate 38 synchronization 39 Disc replacing 85 Dock 7 Drivers installing FireWire drivers 25 Dynamic mic 18 E Edit Channel Names 7 32 Expansion 23 F Factory defaults 36 Feedback loops 39 43 49 FFT Analysis 63 File menu Clear Peaks 62 Copy Paste 62 Hardware Follows CueMix Stereo Settings 62 Load Hardware Preset 62 Mix return includes computer out put 62 63 Peak Hold Time 62 Save Hardware Preset 62 undo redo 62 FireWire 11 6 pin vs 4 pin 20 additional busses 24 connecting 16 17 connector 6 installing drivers 25 PC card adapters 21 PCI cards 20 Follow Active Mix 79 Foot switch 11 32 configuring 7 jack 6 Freewheel address 82 clock 82 infinite 82 83 Front panel 33 G GarageBand 47 clock source 45 phones 46 Return Assign 49 sample rate 45 General tab 7 29 Generate from sequencer 83 Guitar connecting 18 22 Hardware Follows CueMix Stereo Settings 62 Hardware reset 36 Headphone jack 5 11 33 Headphones connecting 22 controlling output 7 32 HUI 80 87 index 88 I iMovie audio input output 7 31 Infinite freewheel 82 83 Inputs analog 6 naming 60 pan 60 S PDIF 6 trim 59 Installation hardware 15 Installer CD replacing 85 Internal sync setting 30 Inve
81. ed device has no output controls Output volume a so C Mute v Show volume in menu bar Figure 5 2 The Mac OS X sound preferences let you use the Audio Express for general stereo audio input and output for your Mac The Default Stereo Input and Default Stereo Output settings in MOTU Audio Setup Figure 5 1 on page 30 let you specify the stereo input and output on the Audio Express to be used when it is chosen as the audio I O device in the system preferences MOTU AUDIO SETUP Phones Assign MOTU Channel Names The Phones Assign setting lets you choose what you will hear from the headphone jack Choose Main Device Channel Name Out 1 2 if youd like the headphone output to M ag conics i Y Inpu match the main outs If you choose Phones 1 2 this Mic instrument 1 a oe setting makes the headphone jack serve as its own Mic Instrument 2 Acoustic guitar fad d Youll Ph 1 2 Analog 1 Overheads L independent output pair You ll see Phones 1 2 as an ri ada additional audio destination in your host softwares S PDIF 1 S PDIF 1 audio output menus siasa pekan Mix 1 Return 1 Mix 1 Return 1 Mix 1 Return 2 Mix 1 Return 2 GENERAL TAB SETTINGS Y Output Names Main Out 1 Main Out L Launch MOTU Audio Setup when hardware Main Out 2 Main Out R becomes available pi pale a a nalo Check this option if you would like the MOTU Pasta 1 po 1 Audio Setup icon to appear in the application dock S PDIF 2 S PDIF 2 as s
82. eload Adjust for Record Latency 0 Samples Record Shift Figure 9 9 Enabling the Audio Express audio driver in Cubase OTHER MAC OS X SOFTWARE Other audio software For other audio applications the procedure is similar to that shown above Consult your owners manual for further information WORKING WITH AUDIO EXPRESS INPUTS AND OUTPUTS Once you ve enabled the Audio Express s Core Audio driver Audio Express audio inputs and outputs will appear in your host software wherever audio inputs and outputs are listed Mix1 1 2 return bus In your OS X host audio software audio input menus youll see an Audio Express input called Mix1 Return 1 2 This is a stereo feed from the Audio Express that matches its main outs Mix 1 This can be used for example to record a final stereo mix for reference and archiving purposes Warning the Mix Return 1 2 return inputs can cause feedback loops DO NOT assign this input to a track assigned to the Audio Express main outs For Mix Return 1 2 you can choose whether or not to include audio being sent to the main outs from the computer See Mix1 Return Includes Computer Output on page 62 The Phones 1 2 output Host audio tracks assigned to the Phones 1 2 output pair will be heard on the headphone jack only If the Phones are set to mirror another output such as the main outs the mirrored audio stream is mixed with the phones audio output For further explan
83. ended computer 13 T TACH light SMPTE Setup Console 82 Talkback explained 60 menu 61 79 settings 61 Technical support 86 Time code sync 81 84 Tip positive negative 21 Traveler connecting to Audio Express 24 Trim 18 59 Troubleshooting feedback loop 39 43 49 TRS connectors 18 TRS XLR jacks 6 Tuner 78 U Unbalanced analog 18 Undo Redo 62 USB2 11 V Video sync 81 Volume headphone 11 Volume control 5 33 W Width 60 X XLR TRS jacks 6 89 index 90 INDEX
84. enu immediately v MOTU Audio Setup Audio Express Sample Rate Clock Source Default Input Default Output Phones Remove from Dock Open at Login Show In Finder Show Quit MOTU Audio Setup a From within AudioDesk or Digital Performer choose Setup menu gt Configure Audio System gt Configure Hardware Driver Note this dialog only provides access to basic settings such as sample rate and clock source For access to all settings use one of the techniques above m In Cubase or Nuendo open the Device Setup window click VST Audio System and choose MOTU Audio Express from the ASIO Driver menu Then click the MOTU Audio Express item in the list and click the Control Panel button Audio Express tab settings The Audio Express tab provides settings that apply to a specific Audio Express interface If you have several Audio Express interfaces connected or other MOTU interfaces you ll see a separate tab for each one General tab settings The General tab provides settings that apply globally to all connected MOTU FireWire and USB interfaces 29 AUDIO EXPRESS TAB SETTINGS Sample Rate Choose the desired Sample Rate for recording and playback The Audio Express can operate at 44 1 the standard rate for compact disc audio 48 88 2 or 96 kHz If you have a S PDIF device connected to the Audio Express make sure that it matches the Audio Express s sample rate Mismatched sample rates cau
85. er audio devices Audio Express here Internal Specifies the stereo input and _Mic Instrument 1 2 HH output pair when the Audio Clock Source Default Stereo Input Main Out 1 2 Express is chosen for Mac OS X Default Stereo Output audio I O This menu lets you choose what you will hear from the headphone jack To mirror the main outs choose Main Out 1 2 0r you can mirror any other output pair To hear the phones as their own independent output choose T Phones Assign firmware 1 0 bootloader 1 0 Phones 1 2 Main Out 1 2 l Analog 1 2 S PDIF 1 2 Phones 1 2 6 O Click the General tab to access these settings Check this option if you would like the MOTU Audio Setup application to open as soon as a MOTU interface is detected switched on plugged in etc becomes available Channel Names Main Out 1 2 E MOTU Audio Setup Audio Express Launch MOTU Audio Setup when hardware This button opens another dialog that lets you assign your own customized names to each Audio Express input and output For example if you have a lead vocal Edit a mic plugged into input 1 you If you have a foot switch connected to M Enable Pedal the Audio Express these settings let ey deren you map the foot switch to any computer keyboard key for both the up s Set 3 and down position For details about how to set this up see Enable Pedal
86. erface click its tab and choose the master interface from the Clock Source menu as demonstrated below in Figure 3 10 This causes the slave interfaces to resolve to the master interface Ban MOTU Audio Setup General 828mk2 Traveler A sample Rate _ 44100 FH Clock Source v Internal PH Default Stereo Input S PDIF j SMPTE Default Stereo Output MOTU Traveler BA Phones Assign MOTU 828mk2 Ea Built in Audio firmware 1 0 bootloader 1 0 Figure 3 10 To resolve a MOTU FireWire interface to another Core Audio device choose the other device from the Clock Source menu in MOTU Audio Setup In this example the Audio Express will resolve to the Traveler If you have multiple Audio Expresses choose one as the master and set its Clock Source to Internal Then click the tab of the other Audio Expresses and set their Clock Source to the first Audio Express Connecting other MOTU FireWire interfaces You can mix and match multiple Audio Express interfaces with other MOTU FireWire interfaces using a standard FireWire hub You can daisy chain 828mklIIs 828mk3s 896HDs 896mk3s Travelers and Traveler mk3s which all have two FireWire ports convenient for daisy chaining Up to four interfaces can be combined on one 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 ExpressCard adaptor or PCI card allow you
87. ers The MOTU FireWire Audio Driver has the ability to resolve to other Core Audio drivers Doing so will ensure that audio streams playing back from or recorded by the Audio Express will not drift apart from audio streams simultaneously played or recorded by the other devices For complete details see Resolving to other Core Audio drivers on page 23 Default Stereo Input Output In the System Preferences window Mac OS X lets you choose third party hardware such as the Audio Express for your Mac sound input and output The system input and output can be used for alert sounds and general audio I O for applications like iTunes iMovie etc eeo lt Show All Personal H C S amp S m F 0 Q Appearance Dashboard amp Desktop amp Dock International Security Spotlight Expos Screen Saver System Preferences Q yy Hardware BE gt gt m J i l j CDs amp DVDs Displays Energy Keyboard amp Print amp Fax Saver Mouse a Sound Internet amp Network e e Mac Network QuickTime Sharing System u A Q Accounts Classic Date amp Time Software Speech Startup Disk Universal Update Access eoo Sound lt p gt Show All Q Sound Effects Output Input Choose a device for sound output Port Name nternal speakers Built in Audio Digital Out Optical digital out port MOTU Audio Express Settings for the selected device The select
88. etails SYNCHRONIZATION Together AudioDesk and the Audio Express have the ability to resolve directly to SMPTE time code without an additional time code synchronizer See Syncing to SMPTE time code on page 84 EXCHANGING PROJECTS WITH DIGITAL PERFORMER To open AudioDesk Version 2 or Version 1 files in Digital Performer just use DP s Open command No conversion is required beforehand in AudioDesk To export a Digital Performer project to AudioDesk use Save As in Digital Performer s File menu and choose the AudioDesk 2 0 file format Then open the resulting AudioDesk 2 0 document in AudioDesk AUDIODESK AND MIDI SEQUENCING AudioDesk can play audio as a background application allowing you to run a sequencer at the same time in the foreground However there is no way to continuously synchronize or resolve a sequencer with AudioDesk so the two programs will eventually drift out of sync even if you manage to start them at the same time If you d like to do integrated MIDI sequencing your best bet is Digital Performer which offers pretty much all of the same features as AudioDesk along with 43 AUDIODESK powerful state of the art MIDI sequencing Talk to your authorized MOTU dealer for details about upgrading from AudioDesk to Digital Performer 44 AUDIODESK CHAPTER 9 OVERVIEW The Audio Express provides multichannel audio and MIDI input and output for all Mac OS X audio applications
89. evice are five signal analysis tools FFT Analysis Oscilloscope X Y Plot Phase Analysis and the Tuner Choose one to open its window For details on these features see the following sections FFT Analysis spectrogram 63 Oscilloscope 65 Configurations Talkback Phones v MOTU Audio Express 1 FFT Analysis Oscilloscope X Y Plot Phase Analysis Tuner Figure 11 6 Opening the FFT oscilloscope X Y Plot Phase Analysis and Tuner windows Y axis labels for FFT display Scope channels The Scope channel selection menus Figure 11 1 on page 58 let you choose what input channels will be fed to the CueMix FX audio analysis scoping features described in the following sections Scoping the main outs If you wish to scope audio output send it to the Audio Express main outs Mix 1 and choose one or both of the Mix1 returns from the Scope Channel Selection menus Scoping host software audio output If you want to scope audio output from your host software send your host s output to the main outs Mix 1 enable the Mix1 Return Includes Computer Output option File menu and choose one or both of the Mix1 returns from the Scope Channel Selection menus FFT ANALYSIS SPECTROGRAM Choose FFT Analysis from the Devices menu Figure 11 6 to open a new window that displays a real time Fast Fourier Transform FFT frequency measurement curve as shown in
90. generating SMPTE time code which allows you to slave other devices to the computer Like CueMix FX the synchronization features are cross platform and compatible with any audio software that supports them Hybrid FireWire USB2 connectivity FireWire has long been recognized as a reliable high performance connectivity standard for professional MOTU audio interfaces Meanwhile high speed USB2 has also developed into a widely adopted standard for connecting peripheral devices to personal computers To fully support both formats your Audio Express Hybrid audio interface is equipped with both a FireWire A 400 Mbit sec connector and a hi speed USB2 480 Mbit sec connector and you can use either port to connect the Audio Express to your computer This gives you maximum flexibility and compatibility with today s ever expanding universe of Mac and Windows computers The Audio Express has the ability to power itself from its FireWire connection to the computer for convenient mobile bus powered operation Power supply If you do not want the Audio Express to draw power from the computer and AC power is available you can power the Audio Express from any standard 9 18V 5 watt DC power supply with any polarity tip positive or negative THE AUDIO EXPRESS FRONT PANEL Front panel mixing The six digital rotary encoders on the Audio Express front panel provide hands on mixing of all live inputs In fact these controls provide con
91. gnal on the main outs with dry guitar from CueMix 1 Live input from mic guitar etc enters the MOTU interface 4 our 3 L 2 Mic signal goes immedi ately to the computer dry with no effects processing KIATE ORAS 30 lL aaa n 3 Mic signal is patched thru back to the audio interface with reverb or other plug in effects if any Figure 10 1 There are two ways to monitor live audio inputs with an Audio Express 1 through the computer or 2 via CueMix hardware monitoring This diagram shows method 1 through the computer When using this method use your host softwares buffer setting to reduce the slight delay you hear when monitoring the live input but don t lower it too much or your computer might get sluggish 52 REDUCING MONITORING LATENCY ADJUSTING THE AUDIO I O BUFFER A buffer is a small amount of computer memory used to hold data For audio interfaces like the Audio Express buffers are used for the process of transferring audio data in and out of the computer The size of the buffers determines how much delay you hear when monitoring live inputs through your audio software larger buffers produce more delay smaller buffers produce less Under Mac OS X audio I O buffer size is handled by the host audio application not the Audio Express Core Audio driver Most audio software applications provide an adjustable audio buffer setting that lets you control the amount of delay youll hear
92. grid by moving the 1 0 and 1 0 points along the axis Min Max mode lets you control the graph boundaries directly 72 CUEMIX FX Persistence The Persistence controls Figure 11 21 affect the appearance of data from when it is first displayed until it disappears from the grid Figure 11 21 The Persistence controls Length Length Figure 11 21 sets the number of recent samples to show on the plot For example when Length is set to 10 000 the 10 000 most recent samples are shown Decay The brightness in Grayscale mode or hue in Color mode of each sample on the plot is determined by a linear scale with the most recent sample displayed at the maximum value and the oldest sample displayed at the minimum value Decay Figure 11 21 on page 73 determines the brightness or hue of the minimum value When Decay is zero the oldest sample is black When Decay is 1 000 the oldest sample is fully opaque in Grayscale mode or red in Color mode Warp Warp Figure 11 21 determines the position of data points after they are first drawn When warp is zero data points remain in the same position When warp is positive they contract towards the origin center of the grid When warp is negative they expand away from the origin The further the warp value is from zero the greater the effect Using the X Y Plot The X Y Plot helps you see the width of the stereo field of a mix It also helps you determine if a mix
93. hase Analysis grid Rectangular plots the audio on an X Y grid with frequency along the vertical axis and phase difference on the horizontal axis Polar plots the data on a polar grid with zero Hertz at its center The length of the radius distance from the center represents frequency and the angle theta measured from the y vertical axis represents the phase difference in degrees 2 1 0 1 2 5000 2500 0 2500 5000 Figure 11 26 Rectangular versus Polar display with a linear plot Above Figure 11 26 shows Rectangular versus Polar display with a Linear plot Below Figure 11 27 show s the same displays and the same data with a Logarithmic plot 2 A 0 1 2 Figure 11 27 Rectangular versus Polar display with a logarithmic plot Axes The Axes control Figure 11 24 sets the opacity of the grid displayed in the graph from 100 fully visible down to 0 fully hidden CUEMIX FX 75 Horizontal and vertical controls The Horizontal and Vertical controls Figure 11 28 let you scale each axis of the grid and offset its zero point Click and drag the values up or down to set them or double click to return to the default value There are two modes for the controls Zoom Offset and Min Max To change the mode use the menu shown in Figure 11 28 Zoom Offset Min Max Figure 11 28 Setting the Horizontal or Vertical control modes In Zoom Offset mode Zoom scales the axis Pos moves th
94. hat connects each plot point to the next as shown below in Figure 11 19 1 0 Figure 11 19 The same X Y Plot displayed in Line versus Scatter mode Line mode is significantly more CPU intensive than Scatter You can reduce Line mode CPU overhead on the X Y Plot by reducing the Length parameter described below Color Grayscale In Color mode Figure 11 18 the most recently displayed audio data is shown in red which fades to yellow green and then finally blue before disappearing In Grayscale mode data is first shown in white and then fades to gray To adjust the scale of this color brightness change see Decay on page 73 Axes The Axes control Figure 11 18 sets the opacity of the grid displayed in the graph from 100 fully visible down to 0 fully hidden Horizontal and vertical controls The Horizontal and Vertical controls Figure 11 20 configure the value range of the x axis left channel amplitude and y axis right channel amplitude respectively Click and drag the values up or down to set them or double click to return to the default value There are two modes for the controls Zoom Offset and Min Max To change the mode use the menu shown in Figure 11 20 Figure 11 20 Setting the Horizontal or Vertical control modes In Zoom Offset mode Zoom scales the axis Pos moves the lines marking x 0 left and right or y 0 up and down In Min Max mode Min and Max let you scale the
95. he frequency reference for the pitch A4 between 400 and 480 Hz The default frequency is 440 Hz The reference frequency can be adjusted by dragging on the bar below the number or by clicking the number and typing a value To reset the tuner to the default frequency double click the slider or click the number press the Delete key and press Enter Tuning stereo signals When tuning a stereo signal the tuner analyzes the sum of the two channels If the channels are not phase coherent the tuner may not be able to measure the frequency of the signal To tune only one channel of the channel pair disable one of the channels as described in Choosing a channel to tune CONFIGURATIONS MENU A configuration is just like a hardware preset a snapshot of all settings in CueMix FX and therefore the Audio Express hardware itself except that it can be created and managed using the CueMix FX software on your computer completely independently of the Audio Express hardware The commands in the Configurations menu let you create save load import export and otherwise manage as many configurations as you wish 78 CUEMIX FX Here is a summary of Configurations menu operations Configurations Menu item What it does Create New Lets you name and save a new configuration which appears at the bottom of the Configura tions menu Save Overwrites the current configuration checked in the list at the bottom of the menu with th
96. id latency delay issues that can arise when using audio software on a computer See chapter 10 Reducing Monitoring Latency page 51 for more information about dealing with latency 35 AUDIO EXPRESS FRONT PANEL OPERATION Using the Audio Express as a stand alone mixer When the Audio Express is not connected to a computer it can operate as a stand alone mixer and you can use the front panel to control your mix VISUAL FEEDBACK WHEN ADJUSTING MIX CONTROLS When you turn a knob to adjust volume or pan the ten segment MIC INST ladder LEDs provide visual feedback as you turn the knob For example when adjusting pan the two meters show the relative amount of signal going to the left and right channels METERING AND ACTIVITY LEDS The MIDI and SPDIF LEDs Figure 6 2 indicate input and output activity on the MIDI and digital audio jacks The MAIN meters Figure 6 1 provide five segment metering for the Main Outs The LINE meters provide four segment metering for line inputs 3 4 Below them are signal activity LEDs for line outputs 3 4 The MIC INST meters provide ten segment metering for the mic instrument combo jacks RESTORING FACTORY DEFAULTS To restore factory default settings hold down the MIX and PHONES buttons simultaneously for three 3 seconds 36 AUDIO EXPRESS FRONT PANEL OPERATION CHAPTER 7 OVERVIEW This chapter provides a brief overview of Digital Performer s basic I O and synchr
97. ide variety of analog inputs for optimum levels Different trim configurations can then be saved as files on disk for instant recall S PDIF The Audio Express rear panel provides coaxial S PDIF input and output MIDI I O The Audio Express s standard MIDI IN and MIDI OUT jacks supply 16 channels of MIDI I O to and from the computer via the Audio Express s 10 ABOUT THE AUDIO EXPRESS FireWire or USB connection Timing accuracy can be sample accurate with host software that supports it Pedal input The quarter inch foot pedal jack accepts a standard foot switch When you push the foot switch the Audio Express 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 Audio Express Control Panel software lets you program any keystroke you wish On board SMPTE synchronization The Audio Express can resolve directly to SMPTE time code via any analog input without a separate synchronizer It can also generate time code via any analog output The Audio Express 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 for generating and re
98. including Apple s Logic Pro Logic Express SoundTrack Pro and GarageBand Other third party software applications are also supported such as Avid Pro Tools Ableton Live Propellerhead Reason Steinberg Cubase and others Installing the Audio Express Mac OS X drivers 45 Preparing MIDI input and output 45 Run MOTU Audio Setup 45 Choosing the MOTU Audio Express Core Audio driver 46 Working with Audio Express inputs and outputs 49 Audio Input and output names 49 Numberofchannels 49 MIDIIO wccnacteveesenevay des vosvemusiees vaneaonrels 49 Processing live inputs with host plug ins 50 Working with CueMix FX mixing 50 Synchronization u s s s s s 50 INSTALLINGTHEAUDIO EXPRESS MAC OS X DRIVERS To install the Audio Expresss Mac OS X audio and MIDI drivers Just run the installer on the MOTU Audio installer CD as detailed in chapter 4 Installing the Audio Express Mac Software page 25 PREPARING MIDIINPUT AND OUTPUT If you will be using the Audio Expresss MIDI input and output ports be sure to follow the procedure in Preparing MIDI input and output on page 45 RUN MOTU AUDIO SETUP Before you run your host audio software launch MOTU Audio Setup to configure your Audio Express hardware MOTU Audio Setup lets you Other Mac OS X Software
99. input and some of the right input and vice versa with the effect of narrowing the field Input fader Use the input fader Figure 11 1 to adjust the level for the input in the mix Note that an input can have different level pan mute and solo settings for each mix Input channel level meters are post fader SHORTCUTS Use these general modifier keys as shortcuts Shortcut Result Shift key Applies your action to all inputs or all out puts in the mix Command key Applies your action to the stereo input pair even when it is currently configured as mono Option key Applies your action to all busses Shift Option Applies your action to all inputs and mixes Double click Returns the control to its default value pan center unity gain etc INFO DISPLAY The info display shows fly over help for items in the CueMix FX window TALKBACK AND LISTENBACK CueMix FX provides Talkback and Listenback buttons Talkback allows an engineer in the control room to temporarily dim all audio and talk to musicians in the live room Conversely Listenback allows musicians to talk to the control room Hardware setup Figure 11 2 below shows a typical hardware setup for Talkback and Listenback For Talkback set up a dedicated mic in your control room and connect it to a mic input on your Audio Express For Listenback set up a dedicated listenback mic in the live room for the musicians and connect it to another mic input For talkba
100. l knob controls volume for both channels identically For pan it controls them using either balance or width as explained in the previous section for stereo pairs Adjusting input trim When you push the Mix Volume knob Figure 6 4 repeatedly to cycle among the four different mixes there is a fifth choice the trim LED Figure 6 4 When it is illuminated the input volume knobs Figure 6 1 control the trim level for each input The trim level adjustment occurs before the signal enters the Audio Express mixer so it applies to all mixes Trim is useful for adjusting the overall level of the input For example if you plug in a mic and the signal is so strong loud that it distorts the input use trim to reduce the volume until it no longer overdrives the input Toggling pad and 48V phantom power When adjusting trim the trim LED is illuminated you can toggle the 20 dB pad and 48 volt phantom power for each mic input as follows m Push the knob to toggle the 20 dB pad m Push and hold the knob to toggle 48V power When enabled the corresponding 48V or pad LED Figure 6 4 will illuminate Using the Audio Express as a monitor mixer while recording tracks on the computer You can use the Audio Express front panel mixer while connected to a computer This allows you to create monitor mixes that are independent of what s going on in the computer Using the Audio Express as a monitor mixer in this fashion is a good way to avo
101. like an input to be treated as a mono channel If you would like to work with it as one channel of a linked stereo pair click the Stereo button Inputs are grouped in odd even pairs Mic instrument 1 2 Analog 1 2 etc Stereo pairs appear as a single channel strip in the CueMix FX mixer 59 CUEMIX FX Naming an input Click the input name at the top of the input channel strip Figure 11 1 to edit the name Input names are global across all mixes This name also appears in host audio software on the computer if the software supports channel names Input pan The pan knob Figure 11 1 for each input pans the input across the mix s stereo outputs If the input itself is grouped as a stereo pair two forms of panning control are provided Balance Balance works like the balance knob on some radios turn it left and the right channel dims turn it right and left channel dims But the left channel always stays left and the right channel stays right Width Width spreads the left and right channels across the stereo image depending on the knob position Maximum value turning the pan knob all the way up maintains the original stereo image the left channel goes entirely left and right goes entirely right without attenuation The minimum value turning the knob all the way down creates a mono effect equal amounts of left and right are combined and sent to both outputs In between the left out is a mixture of the left
102. lt Stereo Output _Analog 1 2 HJ f Channel Names Phones Assign Analog 1 2 ry Edit V Enable Pedal Pedal Down C Set 3 Pedal Up Set none firmware 1 0 bootloader 1 0 firmware 1 0 bootloader 1 0 Figure 8 1 Choose Setup menu gt Configure Audio System gt Configure Hardware Driver to open the dialog shown above and access the Audio Express Core Audio driver To access the rest of the Audio Express settings open MOTU Audio Setup For complete details about the Audio Express settings see chapter 5 MOTU Audio Setup page 29 The following sections provide a brief explanation of each Audio Express setting for use with AudioDesk 41 Sample rate Choose the desired overall sample rate for the Audio Express 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 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 Audio Express will follow If you do not have any digital audio connections to your Audio Express you are using the analog inputs and outputs only and you will not be slaving your host software to external SMPTE time code choose Internal If you have a S PDIF digital audio device connected to the Audio Express see Conne
103. make your software respond faster raising the buffer size will make it a little bit slower but barely enough to notice 54 REDUCING MONITORING LATENCY 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 HARDWARE MONITORING The Audio Express has a more direct method of patching audio through the system CueMix CueMix is a digital mixer in the Audio Express hardware itself CueMix has two important benefits a First it completely eliminates the patch thru delay reducing it to a small number of samples the same amount as any digital mixer m Secondly CueMix FX imposes no strain on the computer The trade off however is that CueMix FX bypasses your host audio software Instead live audio inputs are patched directly through to outputs in the Audio Express 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 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 CueMicx Instead reduce latency with the buffer setting as explained earlier in this chapter
104. n the polar display The rectangular display bottom row of Figure 11 30 also shows a predominantly phase aligned stereo image along the vertical axis and tilt or left right offset from the center vertical axis represents differences in phase If a signal is predominantly out of polarity it appears along the theta 1 0 or theta 1 0 lines in the rectangular display as demonstrated in the fourth column Inverted in Figure 11 30 on page 77 Using Phase Analysis for multiple mic placement The polar display can be very useful when recording drums or another instrument with multiple microphones The slight delays caused by the differences in distance to the source can often create a comb filtering delay effect between two mic signals due to phase cancellation These comb filter effects appear as spirals in the polar display If you arrange the mics so that the null points where the spiral pattern meets the negative y axis are 76 CUEMIX FX outside the critical frequency range of the instrument being recorded you can avoid phase problems among the mic signals Tuning PA systems The Phase Analysis window can also be used to troubleshoot and tune PAs and sound reinforcement systems by placing microphones in strategic locations comparing the two signals in the Phase Analysis grid and looking for phase issues at various locations Summing to mono The Phase Analysis window is ideal for checking stereo audio that needs to
105. ne jack only If the Phones are set to mirror another output such as the main outs the mirrored audio stream is mixed with the phones audio output For further explanation see Phones Assign on page 32 24 BIT OPERATION Your Audio Express 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 choose this as your preferred audio file format in Digital Performer s Preferences MIDI I O Once you ve followed the procedure for enabling the Audio Express s MIDI features as explained in Software installation on page 25 the Audio Express MIDI ports will appear as a input source and output destination in Digital Performer s MIDI I O menus PROCESSING LIVE INPUTS WITH PLUG INS If you patch a live input such as MIDI synthesizer through a plug in effect in Digital Performer you might hear a slight delay There are several ways to reduce this delay For details see chapter 10 Reducing Monitoring Latency page 51 WORKING WITH CUEMIX FX MIXING The Audio Express provides its own hardware based mixing which you can operate hand in hand with Digital Performer s complete mixing environment For example the Audio Express can serve as a monitor mixer routing channels to musicians or it can serve as an integrated extension of your Digital Performer mixing environment If you prog
106. ng Latency page 51 WORKING WITH CUEMIX FX MIXING The Audio Express provides its own hardware based mixing which you can operate hand in hand with your host s mixing environment For example the Audio Express can serve as a monitor mixer routing channels to musicians or it can serve as an integrated extension of your hosts mixing environment If you program an Audio Express mixing configuration that goes hand in hand with your host project be sure to use the file save features in CueMix FX to save the Audio Express settings as a file in your host project folder for instant recall of all settings See chapter 11 CueMix FX page 57 for complete details SYNCHRONIZATION If your host audio software supports Core Audios sample accurate positioning protocol then it can resolve to the Audio Express s built in time code synchronization feature To resolve your Audio Express directly to SMPTE time code with no additional synchronization devices use the setup shown in Syncing to SMPTE time code on page 84 50 OTHER MAC OS X SOFTWARE CHAPTER 10 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 an amp modeling plug in running in your audio sequencer This delay is caused by the amount of time it takes for audio to make the entire
107. ng the Audio Express Important note before you begin 15 Take these precautions to prevent damage to your computer the Audio Express and other equipment Connect the Audio Express interface 16 Connect the Audio Express to the computer Connect audio inputs and outputs 18 Make analog and digital connections as desired Connect MIDI gear 19 Connect a controller synth or control surface Connect and sync S PDIF devices 20 Connect a DAT deck effects processor or other device with digital I O but be sure to make the correct clock source settings Power Options 20 Choose from among several convenient options A typical Audio Express setup 22 An example setup for computer based mixing FX Connect multiple MOTU interfaces 23 Connect additional Audio Express or other audio interfaces Installing the Audio Express IMPORTANT NOTE BEFORE YOU BEGIN Before you begin installing the Audio Express or any bus powered device take these important precautionary measures to avoid damaging the sensitive electrical components in your computer the Audio Express or other devices being connected m Turn off the computer m Turn off the Audio Express push and hold the phones volume knob m Turn off the power of any other devices m Touch the
108. ng the Audio Express Mac Software MOTU Audio Setup Audio Express Front Panel Operation Digital Performer AudioDesk Other Mac OS X Software Reducing Monitoring Latency CueMix FX MOTU SMPTE Console Troubleshooting A S 01 U02 0 A0qe qouy uln oA ay sr ZE abed uo _ ubissy s uoud IS nd no Ju pu d pui umo s Se aAJaS 0 pawwWesboud q UdAd uL Do eue 10 e 161p sed yndjno 13430 Aue aox 0 pawwesbosd aq ued ng J ued 1231 ay UO s no urew ay Say gt eW INdyno s 10128 Y WO pef auoydpeay oasa s youl JaqJenb puepuels e SI SIUI EL S A WI 1ndul 01 u02 SqOUY al P S SI poui WH UdY 04 U0 ued pue wunjoa UdaMJaq 31660 0 qouy XIW 34 ploy pue Ysng XIW JUIN Y 104 S A9 yNdu 011u02 SqoUY dy 9AIDe SI XIW P U UM DOU WI pue saxiw a esedas ino ay Huowe 919A o Ajpayeaday 7 qouy XIW 94 ysnd t pue z L sqouy tu1 xtuu y Aq p llo1uo2 Hujaq s yeym PIPU SATT XIN PUL ZL nd no pue ndul yee 10 2u s d euBis aye gt 1pul SAJI 4128 41Ad S PUL ICI AUL LL a321 duups jeuoiesado Juan ay sayeripul dip 0 gp Zy wou Purpur sy gt ef oquo Ju tuni su 31UI OM BY 104 Bul uu QJ Jappe juawbas ue apiAoid s1 1 uu ISNI IW L TE LSNI SIN gt Foleo te 6 NI I Ipiu 9 Id I zpedj MSY NIT NIVIN ow p SINO ul 104 WO 0q 34 42 sq AYAL jeubis pue p syndu ul ay
109. ng with Audio Express inputs and outputs 42 24 bit operation 43 MIDI VO u ss s usssassasssksassersessscssssassucapuss 43 Processing live inputs through plug ins 43 Working with CueMix FX mixing 43 SYNCHFONIZALION u u s u s roisean 43 Exchanging projects with Digital performer 43 AudioDesk and MIDI sequencing 43 SETTING UP YOUR SYSTEM As described in chapter 4 Installing the Audio Express Mac Software page 25 the MOTU Audio software installer will properly install everything for you including AudioDesk THE AUDIO EXPRESS SETTINGS Choose the Audio Express as your audio input output device by choosing Configure Audio System gt Configure Hardware Driver from the Setup menu This window shows some of the Audio Express settings such as sample rate and clock source but to access all of the Audio Express settings open MOTU Audio Setup as shown in Figure 5 1 on page 30 Configure Hardware Driver CoreAudio T m Master Device MOTU Audio Express Sample Rate Glock Modes Butter Size HostBuerMutipler 7 Work Prorty eoo MOTU Audio Setup eoo MOTU Audio Setup General TR __ Ga Audio Express Sample Rate 44100 B Clock Source Internal E m Launch MOTU Audio Setup when hardware becomes available Default Stereo Input Mic Instrument 1 2 B Defau
110. ntal lines if Magnitude is enabled Events which cross this threshold using the enabled slope s in the enabled channel s will activate the trigger The response of the trigger is set by the Trigger mode see Trigger modes below Enabling the Magnitude check box tells the trigger to look for both positive and negative Level values regardless of whether the Level value is positive or negative For example if Level is set to 0 500 and 67 CUEMIX FX Magnitude is enabled the trigger will look for both 0 500 and 0 500 You will see a second blue line appear in the display when Magnitude is enabled to denote the second value Holdoff Holdoff defines a time interval during which the oscilloscope does not trigger The most recent trace will be displayed during that period When the period is over the trigger is re armed i e it will begin looking for the criteria again Click and drag this value up or down to set it or double click to return to the default value Trigger modes The Trigger menu Figure 11 14 on page 67 provides four modes Trigger mode Whatit does None The Trigger is not active this is the default mode The incoming audio signal will be displayed con tinuously as audio is received Auto The display is always updating but when the condition is met the trigger event will be dis played centered around the line marking time equals zero Normal The display updates only when the c
111. o compatible software Once the Audio Express s Core Audio driver has been successfully installed by the installer and you have chosen it for use in your host audio software the Audio Express will appear as a choice for audio inputs and outputs in your software All MOTU audio hardware including our PCI systems and other FireWire USB interfaces ship with Core Audio drivers that allow them to operate successfully with virtually all Mac OS X audio software Software component Location Purpose For more information MOTUFireWireAudio kext System Library Provides Audio Express multi channel audio The Audio Express Core Extensions input and output with all Mac OS X audio software Audio driver on page 25 MOTU MIDI driver kext System Library Provides Audio Express MIDI input and output Core MIDI and Audio Extensions for all Mac OS X MIDI software MIDI Setup on page 26 MOTU MIDI driver plugin Library Audio Provides Audio Express MIDI input and output Core MIDI and Audio MIDI Drivers for all Mac OS X MIDI software MIDI Setup on page 26 MOTU Audio Setup Applications folder Provides access to all of the settings in the Audio chapter 5 MOTU Audio Express and other MOTU FireWire interfaces Setup page 29 Required for Audio Express operation CueMix FX Applications folder Gives you complete control over the Audio chapter 11 CueMix FX Express s CueMix DSP feature which provides page 57 no latency monitoring and
112. ondition is met the last trace will be displayed until the next matching event is found Single Sweep Similar to Normal mode but the last trace will be displayed until you manually arm the trigger by clicking the Trigger indicator Figure 11 14 on page 67 or by pressing the spacebar Trigger indicator The Trigger indicator Figure 11 14 on page 67 displays the state of the trigger and also provides a way to manually interact with it The Trigger indicator always displays one of three colors Color Status Green When the current Trigger criteria has been met including when the Trigger mode is None Yellow When the Trigger is armed but has not yet found an event which matches its criteria Yellow can also indi cate that the graph has been manually paused using the Pause button in the View section see Pausing the display on page 66 Red When the Trigger is being held off either because the Trigger mode is set to Single Sweep or the Holdoff time is not set to zero You can also click on the Trigger indicator to force certain actions depending on the Trigger mode In Auto and Normal modes clicking on the Trigger indicator causes the display to run freely you may click amp hold to force this to occur for as long as youd like In Single Sweep mode clicking on the Trigger indicator re arms the trigger When the Trigger mode is None clicking on the Trigger indicator has no effect Measurement information You c
113. onization operation with the Audio Express hardware Setting UP your system 37 The Audio Express settings 37 Working with Audio Express inputs and outputs 38 24 bit operation 39 NNO WO PAE EENE s sz z2ss E 39 Processing live inputs with plug ins 39 Working with CueMix FX mixing 39 Synchronizationi u sss sss skessaspusq 39 Exchanging projects with AudioDesk 39 SETTING UP YOUR SYSTEM As described in chapter 4 Installing the Audio Express Mac Software page 25 the Digital Performer and MOTU Audio Express software installers will properly install and update everything for you THE AUDIO EXPRESS SETTINGS Choose the Audio Express as your audio input output device by choosing Configure Audio System gt Configure Hardware Driver from the Setup menu This window shows some of the Audio Express settings such as sample rate and clock source but to access all of the Audio Express settings open MOTU Audio Setup as shown in Figure 5 1 on page 30 Digital Performer Configure Hardware Driver kj Master Device Sample Aate Clock Modes MOTU Audio Express internal Butter Size Host Buter utpler 7 Work Prorty pp ss Cancel OK eoo MOTU Audio Setup eoo MOTU Audio Setup General Audio Express General
114. oon as a MOTU interface is detected switched ere dae Phones 2 Phones 2 on plugged in etc Figure 5 3 The Edit Channel Names window Edit Channel Names g Click the Edit Channel Names button to open the Channel Names window Figure 5 3 This Bundles window lets you edit the names of the Audio Express inputs and outputs as they appear in your host audio software For example when you click on a menu that displays the Audio Express inputs or outputs you will see the names you specify in this window e g vocal mic lead guitar etc instead of the default generic names Analog 1 Analog 2 etc Notall Mac OS X audio software supports j cis Delete Unused oe names If not on Il see oe ort Figure 5 4 Audio Express channel names as they appear in Digital names in your host audio software Performer Enable Pedal Check the Enable Pedal option if a foot switch is connected to the Audio Express 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 32 MOTU AUDIO SETUP CHAPTER 6 Audio Express Front Panel Operation OVERVIEW The Audio Express offers front panel mixing via six rotary encoders and a bank of status LEDs Push button rotar
115. ordinates the radius represents frequency and the angle theta from the y vertical axis represents the phase difference of left channel minus the right channel Correlation Meter The blue Correlation Meter to the right of the display shows the correlation between the two channels The higher the meter the higher the correlation between the two channels Opening the Phase Analysis Each MOTU audio interface has its own Phase Analysis window Choose the Phase Analysis item from the Devices menu under the desired interface Figure 11 6 on page 63 Figure 11 23 Phase Analysis Choosing a channel to display The Phase Analysis window follows the currently chosen Scope channels Figure 11 1 on page 58 View controls The View controls Figure 11 24 provide several options for the Phase Analysis display Figure 11 24 View controls 4 Pause button I View A Analog 1 B Analog 2 w Scatter w Color w Linear Rectangular Axes E Pausing the display The Pause button in the upper right corner of the View section Figure 11 24 allows you to freeze the display at any time To resume click the button again The correlation meter will remain active while the display is paused A B stereo audio channels The View section Figure 11 24 displays the pair of input or output audio channels you are viewing See Choosing a channel to display above Rectangular 74 CUEMIX FX Lin
116. our control surface product Other HUI compatible control surfaces Any control surface that has the ability to emulate a HUI should be compatible with CueMix FX Just add a Mackie HUI to Audio MIDI Setup and put the control surface hardware into HUI emulation mode Consult the control surface manual for details about how put it into HUI emulation mode Other control surface hardware products If you install other control surface drivers written for CueMix FX they will appear as separate menu items at the bottom of the Control Surfaces menu with the same sub menu items described above 80 CUEMIX FX CHAPTER 12 MOTU SMPTE Console OVERVIEW The Audio Express can resolve directly to SMPTE time code via any analog input without a separate synchronizer The Audio Express can also generate time code via any analog output The Audio Express provides a DSP driven phase lock engine with sophisticated filtering that provides fast lockup times and sub frame accuracy Direct time code synchronization is supported by AudioDesk and Digital Performer on Mac OS X MOTU SMPTE Setup 81 CIOGK AGOIESS 4c 0650sapnedecanwenraseeareaueraronns 81 Frame Rate i cscsscreiceriaiiidationtweersneeriaews 81 Reader seCtion a s e essaakesasaeqasaaq 82 Generator section 83 Resolving DP or AudioDesk to SMPTE time code 83 Syncing to SMPTE time code 84
117. past the drop out and then resume lockup again as soon as it receives readable time code Choose the amount of time you would like the Audio Express to freewheel before it gives up and stops altogether The Audio Express cannot freewheel address without clock Therefore the Freewheel Address setting will always be lower than or equal to the Freewheel Clock setting and both menus will update as needed depending on what you choose Keep in mind that freewheeling causes the system to keep going for as long as the duration you choose from this menu even when you stop time code intentionally Therefore if you are starting and stopping time code frequently such as from the transports of a video deck shorter freewheel times are better On the other hand if you are doing a one pass transfer from tape that has bad time code longer freewheel times will help you get past the problems in the time code The Infinite freewheel setting The Infinite freewheel setting in the Freewheel Address menu causes the Audio Express to freewheel indefinitely until it receives readable time code again To make it stop click the Stop Freewheeling button Freewheel clock Freewheeling occurs when there is glitch or drop out in the incoming SMPTE time code for some reason The Audio Express can freewheel past the drop out and then resume lockup again as soon as it receives a stable readable clock signal 82 MOTU SMPTE CONSOLE The Audio Expres
118. patch on a synthesizer or forming similar highly periodic audio material you can run the audio signal through the Oscilloscope as you adjust its sound to check in real time for undesirable and possibly inaudible characteristics which are easily seen in the Oscilloscope display A good example is DC offset If a signal develops DC offset the apparent vertical center of its overall waveform will drift above or below the line marking amplitude equals zero Try setting Waveform Recognition to Type I and setting Trigger to None Another example is waveform polarity If you are combining several raw waveforms polarity is a critical yet not always obvious factor in determining the resulting sound You can use the Oscilloscope to easily view and compare polarities to see if they are inverted from one another or not The Add and Subtract L R View menu settings are particularly useful here You can also use the Oscilloscope to help you apply waveform modulation and keep it in bounds For example you could easily see if pulse width modulation is collapsing in on itself to choke the sound an effect that is readily seen in the Oscilloscope display but not necessarily easy to determine by ear when using multiple modulation sources Guitarists can also visually observe the effects of their pedals and processing while playing With the Trigger mode set to None and Waveform Recognition set to Type I the waveform will be tracks automa
119. power the PCI card must have a 20 INSTALLING THE AUDIO EXPRESS HARDWARE direct connection to the power supply harness inside your computer This is the same power supply harness to which you connect internal hard drives CD DVD drives etc PCMCIA or ExpressCard slot adapters If you plan to connect the Audio Express to a PC card FireWire adapter inserted in the PC card slot in your laptop it must provide a 6 pin connection and it must also have its own power supply Most commonly these types of products have a DC power adapter As you can see however this situation does not allow for remote battery operation as the PC card adapter requires AC Examples of bus powered operation Here are a few typical examples of bus powered Audio Express operation Bus power from a desktop computer Your desktop computer is running off of its usual AC power connection and the Audio Express draws power from the FireWire cable connected to the computer There are no limits to running time Bus power from an AC powered laptop This scenario is identical to the desktop situation described above the laptop is powered by AC the Audio Express is powered via the FireWire bus and there are no limits to running time Bus power from a battery powered laptop The laptop is being powered by its own battery and the Audio Express is being powered by its FireWire connection to the computer So the laptop battery is supplying power to both the l
120. put See Scoping host software audio output on page 63 Warning When this option is enabled it can cause feedback loops In your host software make sure that the stereo return bus is not routed back to the main outs For more information on the Mix 1 Return feature see the section below that applies to you a Digital Performer Mix Return 1 2 bus on page 38 a AudioDesk Mix1 1 2 return bus on page 42 mg Other OS X hosts Mix1 1 2 return bus on page 49 Hardware follows console stereo settings This File menu item applies to other MOTU interfaces products and has no effect on the Audio Express EDIT MENU Undo Redo CueMix FX supports multiple undo redo This allows you to step backwards and forwards through your actions in the software Copying amp pasting duplicating entire mixes To copy and paste the settings from one mix to another 1 Select the source mix Figure 11 1 and choose Copy from the Edit menu or press Command C 2 Choose the destination mix and choose Paste from the Edit menu or press Command V Clear Peaks Choose Clear Peaks from the Edit menu to clear all peak indicators in all CueMix FX meters 62 CUEMIX FX DEVICES MENU If you are working with more than one MOTU audio interface product this menu displays all interfaces that are currently on line Choose any device from the menu to edit its settings using the CueMix FX software Below each d
121. quires a high speed connection it must be connected to a USB 2 0 host controller or hub For the most reliable connection it is recommended that you connect the Audio Express directly to one of your computer s USB 2 0 compatible ports However since USB 2 0 hubs are compatible with both types of devices the Audio Express can be connected to a USB 2 0 hub along with USB 1 1 devices if necessary The Audio Express will not operate properly if it is connected to a USB 1 1 hub Follow these instructions to determine whether your computer supports USB 1 1 or USB 2 0 1 Inthe Apple menu choose About this Mac 2 Click the More Info button to open System Profiler 3 Inthe Contents pane select USB 4 Look at the devices in the USB Device Tree A device named USB High Speed Bus represents a USB 2 0 root hub A device named USB Bus represents a USB 1 1 root hub If you are connecting via high speed USB 2 0 1 Before you begin make sure your computer and the Audio Express are switched off 2 Plug the flat type A plug of the Audio Express USB cable included into a USB2 equipped socket on the computer as shown below in Figure 3 1 3 Plug the squared type B plug of the USB cable into the Audio Express I O as shown below in Figure 3 1 Figure 3 2 Connecting the Audio Express to the computer via USB Switching Between FireWire and USB Most of the time the Audio Express can detect whether a FireWire or a USB cabl
122. ram an Audio Express mixing configuration that goes hand in hand with your DP project be sure to use the file save features in CueMix FX to save the Audio Express settings as a file in your DP project folder for instant recall of all settings See chapter 11 CueMix FX page 57 for complete details You can even set up your Audio Express configuration file as a DP startup clipping so that it automatically loads when you open the project See your DP manual for details SYNCHRONIZATION Together Digital Performer and the Audio Express have the ability to resolve directly to SMPTE time code without an additional time code synchronizer See Syncing to SMPTE time code on page 84 EXCHANGING PROJECTS WITH AUDIODESK Digital Performer can exchange projects with AudioDesk To open an AudioDesk project in Digital Performer open it in same way you would a DP project To export a project to AudioDesk use DP s Save As command and choose the AudioDesk 2 0 file format 39 DIGITAL PERFORMER 40 DIGITAL PERFORMER cHAPTER8 AudioDesk OVERVIEW This chapter provides a brief overview of AudioDesk s basic I O and synchronization operation with the Audio Express For complete information about all of AudioDesk s powerful workstation features see the AudioDesk manual included with your Audio Express Setting up yoursystem 41 The Audio Express settings 41 Worki
123. ress output pair such as the main outs Mic guitar inputs with preamps The two mic instrument inputs are equipped with preamps and combo XLR TRS jacks which accept XLR microphone inputs or quarter inch guitar instruments inputs Individual 48 volt phantom power and a 20 dB pad can be supplied independently to each mic input The Precision Digital Trim knobs on the front panel for each mic instrument input provide 60 dB of boost for the XLR mic input and 22 dB of boost for the TRS instrument input in approximately 1 dB increments Analog The quarter inch analog inputs are equipped with 24 bit 96 kHz A D converters The analog outputs have 24 bit 96 kHz D A converters All audio is carried to the computer in a 24 bit data stream All quarter inch analog outputs and inputs are on balanced TRS 4dB jacks All of these jacks can also accept unbalanced plugs Precision Digital Trim All of the Audio Express s analog inputs are equipped with digitally controlled analog trims that allow adjustments in approximately 1 dB increments The mic guitar input trims can be adjusted using front panel digital rotary encoders with 60 dB of adjustment for the mic input and 22 dB for the TRS input All analog inputs including the rear panel TRS analog inputs can be trimmed using the Audio Express s included CueMix FX control software for Mac and Windows This allows you to fine tune trim settings for synths effects modules and a w
124. rials and workmanship for a period of TWO 2 YEARS from the date of original retail purchase This warranty applies only to hardware products MOTU software is licensed and warranted pursuant to separate written statements If you discover a defect first write or call Mark of the Unicorn at 617 576 2760 to obtain a Return Merchandise Authorization Number No service will be performed on any product returned without prior authorization MOTU will at its option repair or replace the product at no charge to you provided you return it during the warranty period with transportation charges prepaid to Mark of the Unicorn Inc 1280 Massachusetts Avenue MA 02138 You must use the product s original packing material for in shipment and insure the shipment for the value of the product Please include your name address telephone number a description of the problem and the original dated bill of sale with the returned unit and print the Return Merchandise Authorization Number on the outside of the box below the shipping address This warranty does not apply if the equipment has been damaged by accident abuse misuse or misapplication has been modified without the written permission of MOTU or if the product serial number has been removed or defaced ALL IMPLIED WARRANTIES INCLUDING IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE LIMITED IN DURATION TO TWO 2 YEARS FROM THE DATE OF THE ORIGINAL RETAIL PURCHAS
125. ropriate tab to display the control you are adjusting Share surfaces with other applications When the Share surfaces with other applications menu command is checked CueMix FX releases the control surface when you switch to another application This allows you to control your other software with the control surface Here s a simple way to understand this mode the control surface will always control the front most application Just bring the desired application to the front make it the active application and your control surface will control it When youd like to make changes to CueMix FX from the control surface just bring CueMix FX to the front make it the active application When this menu item is unchecked your control surface will affect CueMix FX all the time even when CueMix FX is not the front most application In addition you will not be able to control other host audio software with the control surface at any time because CueMix FX retains control over it at all times This mode is useful when you do not need to use the control surface with any other software CueMix Control Surfaces CueMix FX includes support for the following control surface products a Mackie Control a Mackie HUI a Mackie Baby HUI Use the sub menu commands in the CueMix Control Surfaces menu item to turn on and configure control surface support as described briefly below Enabled Check this menu item to turn on control surf
126. round trip through your computer from when it first enters an Audio Express input passes through the Audio Express hardware into the computer through your host audio software and then back out to an Audio Express output If you don t need to process a live input with plug ins the easiest way to avoid monitoring latency is to use the Audio Express s CueMix digital mixer to patch the input directly to your monitor outs via the Audio Express audio hardware For details see CueMix hardware monitoring on page 55 If you do need to process a live input with plug ins or if you are playing virtual instruments live through your Audio Express audio hardware you can significantly reduce latency and even make it completely inaudible regardless of what host audio application software you use This chapter explains how It is important to note that monitoring delay has no effect on when audio data is recorded to disk or played back from disk Actual recording and playback is extremely precise Monitoring live input 52 Adjusting the audio I O buffer 53 Lower latency versus higher CPU overhead 54 Transport responsiveness 54 Effects processing and automated mixing 55 CueMix hardware monitoring 55 Three methods for controlling CueMix 55 Controlling CueMix from the front panel 55
127. rt phase 59 iTunes audio input output 7 31 kext 25 Keyboard controller connecting 19 Laptop operation 21 Latency 51 54 57 Launch console when hardware becomes available 7 Launch MOTU Audio Setup when hard ware becomes available 32 Level meter bus 59 Listenback explained 60 Live 47 Load Hardware Preset 62 Logic Pro Express 12 46 clock source 45 phones 46 Return Assign 49 sample rate 45 M Mac OS X 45 input and output names 49 sound input output 7 31 Macintosh built in clock source setting 31 Mackie Control 80 Main outs Jacks 6 volume 5 33 volume control 5 11 Main volume 5 11 Master fader mix busses 59 Master volume 5 33 Mic guitar inputs trim 59 Mic instrument inputs 6 17 connecting 22 overview 10 phantom power 5 MIDI connections 19 driver 25 jacks 6 overview 10 Mix bus level meter 59 mute 59 Mix 1 2 AudioDesk 42 Digital Performer 38 Mac OS X software 49 Mix return includes computer output 62 63 Monitoring 52 Mono button 59 MOTU Audio Setup software 25 MIDI driver 25 MOTU Audio Setup 29 Edit Channel Names 32 MOTU SMPTE Setup 81 Multiple interfaces 23 N Nuendo 12 29 clock source 45 Mac OS X 48 phones 46 Return Assign 49 sample rate 45 O Optimization 54 OS X audio software clock source 45 phones 46 Return Assign 49 sample rate 45 Outputs analog 6 P Packing list 13 Pad 18 Paste 62 Patch thru latency 54 PCI clock source setting 31 FireWire adapters 24
128. s The quarter inch inputs are calibrated to accommodate either 4 dBu or 10 dBV signals and are equipped with digitally controlled analog trims that provide 22 dB of gain You can use either the front panel knobs or the included CueMix FX software to adjust the input trim To adjust these trims using CueMix FX see Input trim on page 59 To adjust the trims using the front panel knobs 1 Push the MIX knob repeatedly until the green trim LED is illuminated on the front panel 2 Turn the corresponding LINE knob to adjust the trim 18 INSTALLING THE AUDIO EXPRESS HARDWARE Main outs In a standard studio configuration the main outs are intended for a pair of studio monitors but they can also be used as regular outputs for any purpose Their reference level is 4dB Use the front panel VOL knob to adjust the Main out volume Push the VOL knob until you see main LED turn red or flash red and then turn it to adjust the main output volume S PDIF If you make a S PDIF digital audio connection to another device be sure to review the digital audio clocking issues as explained in Connect and sync S PDIF devices on page 20 The Audio Express on board mixer also supplies 12dB of digital trim adjustment for the S PDIF input pair which can be adjusted from CueMix FX Input trim on page 59 or the front panel using the same procedure as explained earlier for Quarter inch analog input trims above CONNECT M
129. s 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 choose this as your preferred audio file format in AudioDesk s Preferences MIDI I O Once you ve followed the procedure for enabling the Audio Express s MIDI features as explained in Software installation on page 25 the Audio Express MIDI ports will appear as a input source and output destination in AudioDesk s MIDI I O menus PROCESSING LIVE INPUTS THROUGH PLUG INS If you patch a live input such as MIDI synthesizer through a plug in effect in AudioDesk you might hear a slight delay There are several ways to reduce this delay For details see chapter 10 Reducing Monitoring Latency page 51 WORKING WITH CUEMIX FX MIXING The Audio Express provides its own hardware based mixing which you can operate hand in hand with AudioDesk s complete mixing environment For example the Audio Express can serve as a monitor mixer routing channels to musicians or it can serve as an integrated extension of your AudioDesk mixing environment If you program an Audio Express mixing configuration that goes hand in hand with your AudioDesk project be sure to use the file save features in CueMix FX to save the Audio Express settings as a file in your AudioDesk project folder for instant recall of all settings See chapter 11 CueMix FX page 57 for complete d
130. s cannot freewheel address without clock Therefore the Freewheel Address setting will always be lower than or equal to the Freewheel Clock setting and both menus will update as needed depending on what you choose The Infinite freewheel setting The Infinite freewheel setting in the Freewheel Clock menu causes the Audio Express to freewheel indefinitely until it receives readable time code again To make it stop click the Stop Freewheeling button Stop Freewheeling The Stop Freewheeling button stops the system if it is currently freewheeling GENERATOR SECTION The Generator section on the right hand side of the window in Figure 12 1 provides settings for generating SMPTE time code Level Turn the level knob to adjust the volume of the SMPTE time code being generated by the Audio Express The level knob disappears when the Destination is set to None Tach light The Tach light blinks once per second when the Audio Express is generating SMPTE time code Destination In the Destination menu choose either SMPTE to generate time code or None to turn it off Stripe Click this button to start or stop time code To set the start time click directly on the SMPTE time code display in the Generator section and type in the desired start time Or drag vertically on the numbers Generator Click here to edit the start time or drag vertically on the numbers Destination Stripe Regenerate Generate from
131. s possible m The serial number of the Audio Express system This is printed on a sticker placed on the bottom of the Audio Express unit You must be able to supply this number to receive technical support a 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 a The pages in the manual which refer to the parts of the Audio Express or AudioDesk with which you are having trouble m The version of your computers operating system Were 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 wed like to hear from you Please write to the Audio Express Development Team MOTU Inc 1280 Massachusetts Avenue Cambridge MA 02138 86 TROUBLESHOOTING Symbols main 5 33 kext 25 1394 connector 6 11 16 17 24 bit AudioDesk 43 Digital Performer 39 recording 12 4 pin FireWire 20 6 pin FireWire 20 828 connecting to Audio Express 24 896mk3 connecting to Audio Express 24 Ableton Live 47 Analog inputs outputs 6 making connections to 18 trim 59 Apple GarageBand 47 Logic Pro Express 46 Soundtrack Pro 47 Application follows control surface 79 Audio MIDI Setup utility 26 sample rate 30 Audio Express connecting multiple interfaces 24 expansion 23
132. se distortion and crackling If you hear this sort of thing check the sample rate settings in your hardware and here in MOTU Audio Setup Clock Source The Clock Source determines the digital audio clock that the Audio Express will use as its time base The following sections briefly discuss each clock source setting een MOTU Audio Setup General Sample Rate 44100 Default Stereo Input Mic Instrument 1 2 Default Stereo Output Analog 1 2 7 Analog 1 2 Clock Source Phones Assign firmware 1 0 bootloader 1 0 Internal Use the Internal setting when you want the Audio Express 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 Audio Express system on its internal clock and then slave the DAT deck to the Audio Express via the S PDIF connection usually DAT decks slave to their S PDIF input when you choose the S PDIF input as their record source If you would like help determining if this is the proper clock setting for your situation see Connect and sync S PDIF devices on page 20 eoo MOTU Audio Setup Audio Express wi Launch MOTU Audio Setup when hardware becomes availa
133. self Bus power requirements The Audio Express draws all the power it needs from the FireWire bus connection to the computer However the FireWire connection to the computer must meet all of the requirements discussed below 6 pin FireWire connectors The Audio Express can only draw power over the FireWire bus from a 6 pin to 6 pin cable or a 6 pin to 9 pin FireWire B cable It cannot draw power from a FireWire cable with a 4 pin connector as shown below 6 pin FireWire 4 pin FireWire Figure 3 6 4 pin FireWire connectors cannot be used for bus power When operating under bus power daisy chaining is not recommended The Audio Express can be daisy chained with other FireWire devices from a single FireWire connection to the computer However if the Audio Express is operating under bus power this is not recommended If you need to daisy chain the Audio Express with other devices on the same FireWire bus power the Audio Express with the included power adapter The other devices on the chain should also have their own power supply In general bus powered FireWire devices should not be daisy chained FireWire adapter products must be powered If you are using a FireWire adapter a third party product that supplies one or more FireWire ports to your computer it must have direct access to a power supply a PCI FireWire cards If you plan to connect the Audio Express to a PCI card and run the Audio Express under bus
134. sequencer Figure 12 2 Setting the time code start time Regenerate This option when enabled causes the generator to generate time code whenever the Audio Express is receiving SMPTE time code Generate from sequencer This option when enabled causes the generator to generate time code whenever you are running AudioDesk or Digital Performer Time code begins at the time specified by the AudioDesk or Digital Performer main transport RESOLVING DP OR AUDIODESK TO SMPTE TIME CODE To resolve your Digital Performer Audio Express system directly to SMPTE time code with no additional synchronization devices use the setup shown in Figure 12 3 on page 84 Choose Receive Sync from the Setup menu and choose the Sample accurate option Then make sure that the Slave to External Sync command in the Studio menu is checked Make sure the Clock Source setting in the MOTU Audio Setup window is set to SMPTE Also make sure that you ve connected an LTC input signal to the Audio Express Time Code input and that you ve specified that input in the SMPTE Setup 83 MOTU SMPTE CONSOLE SYNCING TO SMPTE TIME CODE The Audio Express system can resolve directly to SMPTE time code It can also generate time code under its own clock or while slaving to time code Therefore the Audio Express can act both as an audio interface and as a SMPTE time code synchronizer to which you can slave other devices You can use the Audio Express to slav
135. sing the analog inputs and outputs only and you will not be slaving your host software to external SMPTE time code choose Internal If you have a S PDIF digital audio device connected to the Audio Express see Connect and sync S PDIF devices on page 20 If you are slaving the Audio Express and Digital Performer to SMPTE time code via the Audio Express itself choose SMPTE and follow the directions in Resolving DP or AudioDesk to SMPTE time code on page 83 Buffer Size The Buffer Size setting can be used to reduce the delay or monitoring latency that you hear when live audio is patched through your Audio Express hardware and Digital Performer For example you might have MIDI instruments samplers microphones and so on connected to the analog inputs of the Audio Express If so you will often be mixing their live input with audio material recorded in Digital Performer See chapter 10 Reducing Monitoring Latency page 51 for complete details Phones This Audio Express setting lets you choose what youll hear from the headphone jack For example if you choose Main Out 1 2 the headphones will duplicate the main outs Or you can choose any other output pair If you choose Phones 1 2 this setting makes the headphone jack serve as its own independent output pair As a result you ll see Phones 1 2 as an additional audio destination in Digital Performer s audio output menus WORKING WITH AUDIO EXPRESS
136. so provided for each input channel Input trim All Audio Express inputs both analog and digital offer continuously variable input trim In all cases trim level can be controlled digitally in approximately 1 dB increments This includes the digitally controlled analog trims on the two mic guitar inputs and the two quarter inch analog inputs on the back panel Here is a summary of input trim ranges for each type of Audio Express input Trim Trim Trim Input cut boost Range Mic Guitar 0 dB 60 dB 60 dB TRS analog inputs 0 dB 22 dB 22 dB S PDIF 0 dB 12 dB 12 dB Once you adjust the trim levels you can save them as a file on disk for future instant recall See Saving and loading hardware presets on page 62 and Configurations menu on page 78 Pad and phantom The Pad and phantom settings are the same 20 dB pad and 48V phantom power settings that you can also control from the Audio Express front panel encoders There are separate settings for each mic input Invert phase The Phase button Figure 11 1 inverts the phase of the input signal For stereo pairs you can invert the phase for the left and right channels independently For the mic instrument channels click the phase button repeatedly to cycle among two states for mono channels on or off and four states for stereo grouped channels no inversion left only both or right only Mono stereo pairing Click the Mono button Figure 11 1 if you would
137. t information on page 68 Pausing the display The Pause button in the upper right corner of the View section Figure 11 11 allows you to freeze the display at any time To resume click the button again The level meters will remain active while the display is paused Horizontal controls time axis The Horizontal controls Figure 11 12 configure the value range of the x axis time Click and drag the values up or down to set them or double click to return to the default value There are two modes for the controls Zoom Offset and Min Max To change the mode use the Horizontal control menu Figure 11 12 I v Zoom Offset Min Max Time Units or Figure 11 12 Horizontal control menu In Zoom Offset mode Zoom sets the display zoom from 1 1000x to 10x where the number represents the number of pixels per sample For example when the horizontal zoom value is 10x 10 samples are displayed in 100 pixels when the horizontal zoom value is 1 10x 100 samples are displayed in 10 pixels Offset moves the line marking time equals zero left or right In Min Max mode Min and Max set the earliest and most recent displayed time Time Units The Time Units sub menu Figure 11 12 provides the option to view the X axis in Seconds or Samples Vertical controls amplitude axis The Vertical controls Figure 11 12 operate similarly to the Horizontal controls except that they configure the y axis amplit
138. ted as a Talkback or Listenback input its fader becomes global for all CueMix buses SCOPE CHANNEL SELECTION The Scope channel selection menus Figure 11 1 on page 58 let you choose what input channels will be fed to the CueMix FX audio analysis scoping features See Devices menu on page 63 FILE MENU Saving and loading hardware presets The Audio Express can store up to 16 presets in its on board memory A preset includes all CueMix FX settings for all for mix busses but it excludes global settings like clock source and sample rate The Load Hardware Preset and Save Hardware Preset commands in the CueMix FX file menu let you name save and load presets in the Audio Express Peak hold time In CueMix FX a peak indicator is a line representing a virtual LED displayed in a level meter that indicates the maximum signal level registered by the meter The Peak hold time setting File menu determines how long this indicator remains visible before it disappears or begins to drop To disable peak hold indicators altogether choose Off from this sub menu Mix1 Return Includes Computer Output When checked enabled the Mix1 return includes computer Output File menu item causes audio being sent to the main outs Mix 1 from host software on the computer to be included in the Mix 1 2 return bus This feature can be used to apply the audio analysis tools such as the FFT display and oscilloscope to computer audio out
139. terface Figure 11 6 on page 63 Choosing a channel to tune The Tuner follows the currently chosen Scope channels Figure 11 1 on page 58 In the Tuner window the displayed channel pair is shown in the lower left corner Each channel has a checkbox to enable or disable its input to the tuner Tuner controls Detected frequency fundamental frequency of the incoming signal in Hertz Hz Detected note note name and octave that correspond to the detected fundamental frequency Meter representation of the pitch difference between the detected note and the detected fundamental frequency The horizontal position of the illuminated segments indicates how far the detected frequency is from the detected note The number of illuminated segments indicates uncertainty or inharmonicity in the signal a greater number of illuminated segments represents greater uncertainty The color of the segments changes gradually from green in tune to yellow orange and red progressively further out of tune Meter value difference between the detected note and the detected frequency in cents Arrows the direction in which the detected frequency needs to move to match the frequency of the detected note The color of the arrows changes progressively in the same manner as the meter segments When the detected fundamental frequency matches the detected note within three cents both arrows will be illuminated Reference frequency sets t
140. tically When applying filters and filter resonance the visual effect on the waveform can be invaluable in reinforcing what you are hearing as you make adjustments Monitoring control voltage output from Volta MOTU s Volta instrument plug in for Mac OS X turns your audio interface into a control voltage interface giving you precise digital control from your favorite audio workstation software of any hardware device with a control voltage CV input The CV signals output from Volta can be monitored in the Oscilloscope giving you visual feedback on LFOs envelopes ramps step sequencers and more For more information on Volta see www motu com 70 CUEMIX FX X Y PLOT The X Y Plot window Figure 11 17 graphs the amplitude of a stereo audio signal on a two dimensional grid For each unit of time i e each sample the amplitude of the left channel is displayed on the x axis and the amplitude of the right channel is displayed on the y axis A thick white vertical line marks where left channel amplitude equals zero a thick white horizontal line marks where right channel amplitude equals zero Figure 11 17 below There are also thick white diagonal lines for y x and y x Metering Level meters are displayed above and to the right of the graph for the left green and right red channels respectively An additional Correlation meter blue is displayed on the right This meter displays the correlation between th
141. to add a second FireWire bus to your computer It may be possible to add 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 24 INSTALLING THE AUDIO EXPRESS HARDWARE CHAPTER 4 Software OVERVIEW Software installation 25 CUGIVIN FX ccaricsnrenso rreri e ot nET esas core auour es 27 MOTU SMPTE Console 27 AudioDesk workstation software 27 SOFTWARE INSTALLATION Install the Audio Express software as follows 1 Insert the MOTU Audio Installer disc and launch the installer 2 Follow the directions that the installer gives you What does the OS X installer do The installer checks the computer to make sure it satisfies the minimum system requirements for your MOTU interface If so the installer proceeds with the OS X installation Drivers are installed along with MOTU Audio Setup CueMix FX and several other applications summarized below Installing the Audio Express Mac The Audio Express Core Audio driver Core Audio 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 Core Audio to refer to Mac OS X s standard audio driver model A Core Audio driver allows the Audio Express to establish audio input and output with any Mac OS X Core Audi
142. trol of up to four separate mixes Use the MIC LINE and S PDIF knobs to control input volume for each mix push the MIX knob to cycle among the four different mixes plus trim mode which lets you adjust input trim for each across all mixes 48V phantom power and pad The two MIC knobs let you toggle independent 48V phantom power and 20 dB pad settings for the two mic inputs See Mic guitar inputs with preamps on page 10 Headphone output and main volume control The Audio Express front panel provides a quarter inch stereo headphone output jack and volume knob which can be configured to control phones volume phones and main outs together or the main outs by themselves ABOUT THE AUDIO EXPRESS Status and metering LEDs The LED section provides visual indication of audio levels audio activity status and the current settings for all front panel controls 16 BIT AND 24 BIT RECORDING The Audio Express 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 Audio Express s analog or digital inputs and outputs 24 bit audio files can be recorded with any compatible host application that supports 24 bit recording CUEMIX MIXING AND EFFECTS All Audio Express inputs and outputs can be routed to the on board CueMix 8 bus 4 stereo digital mixer driven by hardware based DSP The mixer allows yo
143. u to mix all inputs to any output pair directly in the Audio Express hardware independent of the computer The on board mixer can be used when the Audio Express is operating stand alone without a computer as a complete portable mixer AUDIODESK AudioDesk is a full featured 24 bit audio workstation software package included with the Audio Express system for Mac 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 sample accurate editing and placement of audio and more DIGITAL PERFORMER The Audio Express system is fully integrated with MOTU s award winning Digital Performer audio sequencer software package OTHER HOST AUDIO SOFTWARE The Audio Express system includes a standard Mac OS X Core Audio driver for multichannel I O with any audio application that supports Core Audio 12 ABOUT THE AUDIO EXPRESS CHAPTER 2 Requirements PACKING LIST The Audio Express ships with the items listed below If any of these items are not present in your Audio Express box when you first open it please immediately contact your dealer or MOTU m One Audio Express I O rack unit a One 6 pin to 6 pin IEEE 1394 FireWire cable a One USB cable m One set of removable rack ears a One Audio Express
144. ude In Zoom Offset mode Zoom sets the display zoom from 1 2 to 200x and Offset moves the line marking amplitude equals zero line up or down In Min Max mode Min and Max set the smallest and largest displayed amplitude 66 CUEMIX FX Waveform Recognition The Waveform Recognition option searches through new audio data looking for a waveform which most resembles that which was previously displayed The region where this takes place is a small window around the line marking time equals zero denoted by the extra vertical graph lines surrounding it There are two kinds of waveform recognition available Type I and Type II Wavetorm Recognition v None Type Il Figure 11 13 Waveform Recognition menu Type I recognition provides the most stable display of the waveform It is the most resistant to change Louder transients such as those produced by a snare drum are not displayed inside of the waveform window Type I is best for observing the shape of a signal produced by a synthesizer or observing the tone of a guitar through a chain of pedals Type II recognition is less resistant to change It will include loud transients within the waveform recognition window Type II is better for observing percussive music where the beat itself is to be centered within the waveform window Trigger When the Trigger Figure 11 14 is not enabled the Trigger menu is set to None the graph updates based on time after every n
145. uts Both analog and digital I O are offered at sample rates up to 96 kHz All inputs and outputs can be accessed simultaneously The Audio Express is housed in a sturdy compact half rack enclosure that connects directly to a computer via a standard FireWire or USB cable The Audio Express offers the following main features m Universal computer connectivity via FireWire or high speed USB 2 0 m Bus powered operation FireWire only m Two 24 bit analog quarter inch TRS inputs m Four 24 bit analog quarter inch TRS outputs m Two combo XLR TRS mic guitar inputs with preamps 48V phantom power 20 dB pad and Precision Digital Trim preamp gain adjustment m Operation on all I O at standard sample rates up to 96 kHz a Digitally controlled analog trim for all analog inputs About the Audio Express m Coaxial S PDIF digital I O at sample rates up to 96 kHz a MIDII O m Foot switch for hands free punch in out m On board SMPTE synchronization mg Headphone jack with independent output and volume control m Front panel volume control of the Main Outs m Front panel mixing of live inputs m Front panel metering and status LEDs m Stand alone operation a Mac and Windows drivers for multi channel operation and across the board compatibility with any audio software on current Mac and Windows systems m CueMix FX cross platform mixing software with attractive graphic mixing and a convenient tabbed interface for quick access to
146. y encoders 33 POWER Wit 27 2 l sn seshupeshysarkewkawawka 33 PRONES is u u 22 uns EAEE 33 Volume controlfor phones and main outs 33 Mixing with the front panel controls 34 Visual feedback when adjusting mix controls 36 Metering and activity LEDs 36 Restoring factory defaults 36 PUSH BUTTON ROTARY ENCODERS All of the knobs on the Audio Express front panel are push button digital rotary encoders In many cases you can either push the knob hold it in or turn it to make a setting POWER SWITCH Push the PHONES knob to power on the Audio Express Push in and hold the knob to turn it off PHONES From the factory the PHONES jack Figure 6 1 mirrors the main outs but it can mirror any other output pair digital or analog See Phones Assign on page 32 Input controls tan 3 LINE 4 Mix volume VOLUME CONTROL FOR PHONES AND MAIN OUTS Push the PHONES knob repeatedly to cycle among three volume control modes as indicated by the main LED Volume control main LED Phones only Off Phones main out On Main out only Flashing IREWIRE USB2 Figure 6 2 When the red main LED is on the PHONES knob controls both the headphone out and the main outs As you turn the PHONES knob to adjust volume the MIC INST ladder LEDs Figure 6 1 provide visual feedback Current mix

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