Home

828mk3 User Guide for Mac OS X

1. INSTALLING THE 828MK3 HARDWARE recorded by your MOTU FireWire interface will not drift apart from tracks on the other device during long playback or recording passes To synchronize multiple devices via the MOTU FireWire driver choose one device PCI FireWire or otherwise as the master clock and then slave the 828mk3 and other FireWire devices to it All interfaces will remain resolved to each other via the master interface Make the Clock Source settings for each interface as follows m For the master interface click its tab in the FireWire Console and choose any clock source you wish except any of the slave interfaces of course m For each slave interface click its tab and choose the master interface from the Clock Source menu as demonstrated below in Figure 3 23 This causes the slave interfaces to resolve to the master interface een MOTU Audio Setup General 828mk3 Traveler UltraLite Sample Rate 48000 F Clock Source Internal AES EBU Default Stereo t efau ereo Inpu S PDIF Default Stereo Output Word Clock In me ADAT 9 pin Optical Input SMPTE Optical Output MOTU UltraLite MOTU amp 28mk3 Built in Audio Phones Figure 3 23 To resolve a MOTU FireWire interface to another Core Audio device choose the other device from the Clock Source menu in the MOTU FireWire Audio Console In this example the Traveler will slave to the 828mk3 If you have multiple 828mk3s choos
2. 2008 2007 2006 2005 2004 2003 by Mark of the Unicorn Inc All rights reserved No part of this publication may be reproduced transmitted transcribed stored in a retrieval system or translated into any human or computer language in any form or by any means whatsoever without express written permission of Mark of the Unicorn Inc 1280 Massachusetts Avenue Cambridge MA 02138 U S A Limited Warranty on Hardware Mark of the Unicorn Inc and S amp S Research MOTU S amp S warrant this equipment against defects in materials and workmanship for a period of TWO 2 YEARS from the date of original retail purchase This warranty applies only to hardware products MOTU software is licensed and warranted pursuant to separate written statements If you discover a defect first write or call Mark of the Unicorn at 617 576 2760 to obtain a Return Merchandise Authorization Number No service will be performed on any product returned without prior authorization MOTU will at its option repair or replace the product at no charge to you provided you return it during the warranty period with transportation charges prepaid to Mark of the Unicorn Inc 1280 Massachusetts Avenue MA 02138 You must use the product s original packing material for in shipment and insure the shipment for the value of the product Please include your name address telephone number a description of the problem and the original dated bill of sale with the
3. 64 Processing live inputs with host plug ins 64 Working with CueMix FX mixing and effects 64 SYNCHVONIZAUON s sussesassqanaaquawass 64 Using a foot switch 65 INSTALLING THE 828MK3 MAC OS X DRIVERS To install the 828mk3 s Mac OS X audio and MIDI drivers just run the installer on the MOTU Audio installer CD as detailed in chapter 4 Installing the 828mk3 Mac Software page 31 PREPARING MIDI INPUT AND OUTPUT If you will be using the 828mk3 s MIDI input and output ports be sure to follow the procedure in Preparing MIDI input and output on page 59 RUN MOTU AUDIO SETUP Before you run your host audio software launch MOTU Audio Setup to configure your 828mk3 hardware MOTU Audio Setup lets you configure your audio interface and it lets you enable the desired inputs and outputs Only enabled inputs Other Mac OS X Audio Software and outputs will be available to your software so this is an important step For complete details see chapter 5 MOTU Audio Setup page 35 AD OTU Aandi Setup arf MITU Aao Setup Canea CRG Eien aama Tampile Rate 060060 i Clock Source asss we aa Launch MOTL Audio Setup when hardware k bsec rnat dill Default Siete input Me 1 2 oe Default Stereo Qutput Anakaq d 2 W E pee Prones MainOwi 2 W p inpe Bank A ADAT Ciptiew mal Tes iam a pocas Quiput Bank A TEFL ots ie Optical inper Hark E Disa
4. 87 Type III H hz Had if oO ia 20008 Figure 11 15 Type III EQ filter style The Type III EQ filter increases Q as boost is applied Therefore lower amounts of boost provide a softer wider EQ effect since the affected frequency range widens while higher boost tends to sound louder and more up front due to the increase in Q as the gain is increased The more gentle Q curve at lower settings is well suited for overall EQ fills and more subtle corrections in instrument and vocal sources Boosting or cutting by small amounts will seem to produce the effect that your ear expects without the need to adjust Q As a result this filter style and similar EQs with this characteristic behavior are often referred to as being more musical More specifically this style emulates the classic Neve EQs their modern derivatives and later SSL G series EQs Many current popular outboard boutique EQs exhibit this same gain Q relationship Type IV ez 00c if Figure 11 16 Type IV EQ filter style The Type IV EQ filter is a more extreme form of the Type III filter It exhibits a high degree of interaction between Q and gain in order to maintain as closely as possible an equal amount of area under the response curve as gain is adjusted Type IV is the most gentle of the four EQ styles and is ideal for large scale EQ adjus
5. Each filter can be set to one of four different filter types I II III or IV The two top most filters orange and green provide an extra low and high shelf setting in addition to the four standard band settings The additional low pass and high pass filters lower left have gray cutoff frequency knobs and six settings for slope in octaves dB Frequency response display The frequency response display at the top of the window displays the response curve of the current settings in the window The horizontal frequency range is from 10 hertz to 20 KHz The vertical amplitude scale is in dB and is adjustable between 3 and 24 dB using the vertical scale buttons Figure 11 10 85 CUEMIX FX Showing and hiding filter curves To view a filter in the display turn on the filter The shape of the filter according to its current settings is shaded in the same color as the filter s knob s Use the filter curve toggle Figure 11 10 to show or hide them in the display Adjusting filters in the display Each filter has a handle displayed as shown below in Figure 11 12 in the filter s color for adjusting its boost cut and or frequency Filter handle Filter Q red line Figure 11 12 Drag the filter handle to adjust its frequency and or boost cut Drag the Filter Q handles to adjust the Q For the EQ filters when you click the handle you ll also see lines on either side for adjusting the Q parameter as
6. tract 2 Optical A 4 ADAT 13 16 2 TOSLink 13 14 Optical B 4 ADAT 17 20 These channel num 2 TOSLink 15 16 ber ranges assume that optical A is oper ating with the same format Outputs at 4x sample rates When operating the 828mk3 at a 4x sample rate 176 4 or 192 kHz outputs are listed as follows Output List 176 4 192 kHz Channels position Comment Analog 8 1 8 Main outs Mirror only Phones Mirror only SPDIF Not available Optical A Not available Optical B Not available NUMBER OF CHANNELS If your host audio software requires that you specify the number of audio voices or channels you will be using be sure to choose enough channels to cover the 28 inputs and 30 outputs provided by your 828mk3 although the number of channels may depend on how your 828mk3 is configured MIDI I O VIA THE 828MK3 MIDI PORTS Once you ve followed the procedure for enabling the 828mk3 s MIDI features as explained in Software installation on page 31 the 828mk3 MIDI ports will appear as an input source and output destination in your host software s MIDI I O menus PROCESSING LIVE INPUTS WITH HOST PLUG INS If you patch a live input such as a MIDI synthesizer through a plug in effect in your host software you might hear a slight delay There are several ways to reduce this delay For details see chapter 10 Reducing Monitoring Latency page 67 WORKING WITH CUEMIX FX MIXING AND EFFECTS The 828mk3 pr
7. All828mk3inputsandoutputs can be routed to the on board CueMix FX 16 bus 8 stereo bus digital mixer driven by hardware based DSP with 32 bit floating point precision The CueMix FX mixer allows you to apply no latency effects processing to inputs outputs or busses directly in the 828mk3 hardware independent of the computer Effects can even be applied when the 828mk3 is operating stand alone without a computer as a complete rack mounted mixer Input signals to the computer can be recorded wet dry or dry with a wet monitor mix for musicians during recording for example Effects include m Classic Reverb with tail lengths up to 60 seconds m 7 band parametric EQ modeled after British analog console EQs m A standard compressor with conventional threshold ratio attack release gain controls m The Leveler an accurate model of the legendary LA 2A optical compressor which provides vintage musical automatic gain control The 838mk3 s flexible effects architecture allows you to apply EQ and compression on every input and output a total of 58 channels with enough DSP resources for at least one band of parametric EQ and compression on every channel at 48 kHz DSP resources are allocated dynamically and a DSP meter in the CueMix FX software allows you to keep tabs on the 828mk3 s processing resources 73 Each input output and mix bus provides a send to the Classic Reverb processor which then feeds reverb re
8. Digital Performer 53 Edit Channel Names 7 Edit menu 98 File menu 98 focus 75 installation 74 Listenback explained 96 listenback settings 97 Mac OS X software 64 Mixer 41 output jacks 6 20 overview 73 75 Phones menu 99 Share surfaces with other applica tions 99 shortcuts 97 signal flow 78 stand alone operation 74 Talkback menu 99 talkback settings 96 97 Customer support 105 Daisy chaining 30 DAT connecting 22 Default Stereo Input Output 7 38 Devices menu 98 Digital converter see Optical converter Digital Performer 14 51 accessing 8pre settings 35 clock source 52 Main Outs Assign 52 Optical input output 52 phones 52 reverb return 53 sample rate 52 synchronization 54 Disc replacing 106 Drivers installing USB drivers 31 DSP meter 74 96 resources 74 96 Dynamics enabling 80 91 graph 79 inputs 79 outputs 81 tab 91 E Early reflections 95 Edit Channel Names 7 40 EQ enabling 80 84 filter types 86 frequency 86 gain 86 graph 79 inputs 79 outputs 81 Q 86 tab 84 Expansion 28 107 index 108 F Factory defaults 44 Feedback loops 53 57 60 File menu Clear Peaks 98 Copy Paste 98 Hardware Follows CueMix Stereo Settings 98 Load Hardware Preset 98 Mix return includes computer 98 Peak Hold Time 98 Save Hardware Preset 98 Show meter in dock icon 98 undo redo 98 FireWire 12 connecting 17 connector 6 Focus 75 Inputs tab 79 Mixes tab 77 Outputs tab 81 Follo
9. HIp INOA Wo 1ndul Jo sjauUeYD IYbIa Aes 104 N V B311do u1 104 IVQV 9SOOY p n02 nod duuex 104 ueq Yea UIYIIM N0 pue N Se Jam se g pue v UG Yea 10J sewo Ju pu d pul sooup ue NOA a ou Jep ds u0 ZH 96 01 dn s e1 ajdwes ye 0319 s SI yur 01 ZH196 1 yueq Jad sjauuey y yueq Jad Q e1IBip 11g pz Jo sjauuey gt 1uBi s l ddns e3i do jyaqy slie1 p 104 6 aed uo yndino induli e2 ndo s qy1 ued u01 34 Husn 10 eMyos dn olpny ION 24 U euo BY S 0 aNs ag BUIYDeW V 10 10SS 201d s 2 JJ Up Se yns DAP ql eduio2 AUNTSOL P3ndo J q S 8 0 10 JaXIW e HIp e se Yyons J1A p didiuBi qineduio2 jyqy Ue 0 JaY I9 pa IBUUOD aq ue si012 uuo2 0J e1IBip e3i1do s ul joued Jeay EHWYZEY aduaJaJay MIND Quick Reference MOTU Audio Setup aan MOTU Audio Setup Click the tabs to access general Determines the clock source for your MOTU FireWire interface settings 828mk3 If you re just using the analog General g8gsmka jx or settings specific to the 828mk3 ins and outs set this to Internal The ee or other connected interface other settings are for digital transfers sample Rate 96000 k a Choose the global sample rate via S PDIF or optical ports or for for the system here slaving the 828mk3 to word clock w Clock Source Internal HH l Default Stereo Input Mic 1 2 HH Specifies the stereo input an
10. MOTU AudioDesk Mark of the Unicorn and the unicorn silhouette logo are trademarks of Mark of the Unicorn Inc This equipment has been type tested and found to comply with the limits for a class B digital device pursuant to Part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instruction manual may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause interference to radio or television equipment reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by any combination of the following measures 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 Cla
11. as shown below in Figure 10 7 3 From the Studio menu choose Audio Patch Thru and choose any monitoring mode except Off Input Monitoring Mode Input Monitoring Mode Direct hardware playthrough Monitor record enabled Tacks through effects Figure 10 7 Enabling CueMix FX in AudioDesk or Digital Performer Note the Only during recording and Always options are for AudioDesk 2 and DP4 only Later versions of DP have expanded input monitoring features Consult your documentation Once enabled CueMix FX monitoring is tied with Digital Performer or AudioDesk s Audio Patch Thru feature when you record enable a track the track s input is routed directly to its output via CueMix FX in the 828mk3 hardware For example if you record enable a track called guitar in your DP or AudioDesk project and its audio input assignment is Analog in 2 and its audio output assignment is optical channels 7 8 CueMix FX no latency hardware monitoring will automatically be set up from analog in 2 to optical outputs 7 8 Controlling CueMix DSP from within other software Consult the manual for your software 72 REDUCING MONITORING LATENCY CHAPTER 11 CueMix FX OVERVIEW CueMix FX is a cross platform software application that provides graphic on screen control for the 828mk3 s flexible CueMix FX on board mixer and effects processing CueMix FX can be used independently of host audio software or together with
12. digital audio recording projects Advanced features include real time 32 bit effects processing 24 bit recording and much more See the AudioDesk manual included with your 828mk3 system for details AudoOebk tie idt Asdo 3 Sedo Setup Wadai Qe P QU GIS I lip EELT Gis m S Q G8 G Gs Q qp q lt G Z 25 s hs SSE ha ee RE ISI z a Se ee oe oe oe oD En er ee oe ee ee ee ee OD ms w gt w wJ s w aJ I er eee P 2 0 L Sifo Ury OTs 0 U 0 L 0 L Dtr Ony ee eS es ee eee 7 7 s I Dra UPa EI OF s EES BF os ET Os A aai en A re A As ee As pen aii e ee 0 o v UD UL UL UD UL UL CU RA RI RN LD LZ LE L CU Ss L s k Figure 4 5 AudioDesk for Mac OS X INSTALLING THE 828MK3 MAC SOFTWARE 34 INSTALLING THE 828MK3 MAC SOFTWARE CHAPTER 5 OVERVIEW MOTU Audio Setup gives you access to basic 828mk3 hardware settings such as sample rate clock source optical format and more Accessing the 828mk3 settings 35 S28mk3 Tab Settings 36 Sample Rate 36 Clock SOUECE uuu A u y uya ua iuuaasuusu ywakicyaawsaqs 37 Default Stereo Input Output 38 PHONES u yy y asapaewhupayukuykawppkupaahkaqkuyaqpaqa 39 Optical input output 39 Main Outs Assign 39 RECUINASS
13. 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 youd like to do integrated MIDI sequencing your best bet is Digital Performer which offers pretty much all of the same features as AudioDesk along with powerful state of the art MIDI sequencing Talk to your authorized MOTU dealer for details about upgrading from AudioDesk to Digital Performer 58 AUDIODESK CHAPTER 9 OVERVIEW The 828mk3 provides multichannel audio and MIDI input and output for all Mac OS X audio applications including Apples Logic Pro Logic Express SoundTrack Pro and GarageBand Other third party software applications are also supported such as Ableton Live Propellerhead Reason Steinberg Cubase and others Installing the 828mk3 Mac OS X drivers 59 Preparing MIDI input and output 59 Run MOTU Audio Setup 59 Choosing the MOTU FireWire Core Audio driver 60 Working with 828mk3 inputs and outputs 62 Audio Input and output names 62 Numberofchannels 64 MIDI I O via the 828mk3 MIDI ports
14. low rate of 48 kHz Similarly when the 828mk3 is operating at 96 kHz MOTU Audio Setup lets you choose a word clock output rate of 48 kHz Punch in out The quarter inch Punch in out jack accepts a standard foot switch When you push the foot switch the 828mk3 triggers a programmable keystroke on the computer keyboard For example with MOTU s Digital Performer audio sequencer software the foot switch triggers the 3 key on the numeric keypad which toggles recording in Digital Performer Therefore pressing the foot switch is the same as pressing the 3 key The 828mk3 Control Panel software lets you program any keystroke you wish 1394 FireWire The two 1394 FireWire jacks accept a standard IEEE 1394 FireWire cable to connect the 828mk3 to a FireWire equipped Mac or Windows computer The second jack can be used to daisy chain multiple interfaces up to four MOTU FireWire interfaces on a single FireWire bus It can also be used to connect other FireWire devices without the need for a FireWire hub Keep in mind however that the 828mk3 uses more FireWire bus bandwidth when one or both optical banks are enabled or when it operates at higher sample rates These operating configurations will limit the number of devices you can daisy chain on a single FireWire bus THE 828MK3 FRONT PANEL Mic guitar inputs with preamps Individual 48V phantom power and 20 dB pad switches are supplied for each of two front panel mic guitar com
15. port independently For example you could use the ADAT optical format on the Bank A input with a digital mixer for example and optical S PDIF on the Bank A output with a DAT deck for example Main Outs Assign Choose Main Outs from the Main Outs Assign menu to treat the Main Outs as their own independent output pair Choose any other output pair to cause the Main Outs to mirror duplicate the output pair you choose Return Assign The Return Assign menu lets you choose any pair of 828mk3 audio outputs The audio signal from this output pair is then sent back to the computer via the Stereo Return 1 2 bus This stereo return bus from the 828mk3 appears in your host software alongside all other 828mk3 inputs wherever your host software lists them The 828mk3 stereo return bus can be used for a variety of purposes For example you could use it to send a final mix being played through the 828mk3 back to the computer where you could record it for mastering or archiving purposes As another example you could use the stereo return bus to capture tracks played from your host software along with live inputs being routed directly through the 828mk3 hardware via CueMix FX with or without CueMix effects processing on the live inputs 39 MOTU AUDIO SETUP Word Out The Word Out menu appears when the 828mk3 is operating at a 2x sample rate 88 2 or 96kHz or 4x sample rate 176 4 or 192kHz This menu lets you set the w
16. 43 Multi function LCD display 43 828mk3 SETUP menu 44 Audio MENU acscccacncsnepesecsancemaemeaeseenensanes 44 CUGIMIX MENU 222 syostesasqasqakoakssatapuesuaqa 45 INDULS MENU 5 ssssc0cccsorcdasincvessecvtaressedeesees 48 OULDUTS MENU s sic50 caine beddseeeeseve iniii orreri 48 Mixesmenu 49 Reverbmenu 49 Stand alone operation 49 MIC GUITAR INPUTS The 828mk3 front panel mic guitar inputs are equipped with many features to handle a wide variety of recording situations For information about connections and settings see Mic guitar inputs with preamps on page 18 in the installation chapter 1M PAD INSTR ABV 20dB TRS ka a F A MICINSTR Mic gt IND XR MIC INSTR IN 2 828mk3 Front Panel Operation For information about the many settings available for the mic guitar inputs see a The Inputs tab on page 78 mg The channel settings section on page 82 a The Channel tab on page 82 a The EQ tab on page 84 a The Dynamics tab on page 91 MASTER VOL AND MAIN PHONE JACK The phone jack labeled MAIN Figure 6 1 is a standard quarter inch stereo headphone jack Its output is hard wired to mirror the XLR main outs on the rear panel From the factory the MASTER VOL knob above it controls the main outs and
17. 828mk3 s inputs By connecting the 828mk3 optical outputs to another device such as another ADAT optical equipped interface or a digital mixer you add up to sixteen additional inputs to your system or eight inputs at the 2x sample rates To learn how to program the 828mk3 when it is operating as a stand alone expander in this fashion see chapter 6 828mk3 Front Panel Operation page 41 Choosing a clock source for optical connections When connecting an optical device make sure that its digital audio clock is phase locked in sync with the 828mk3 as explained in Making sync connections on page 24 There are two ways to do this 1 Resolve the optical device to the 828mk3 2 Resolve the 828mk3 to the optical device For 1 choose Internal or any other clock source except ADAT optical as the clock source for the 828mk3 in MOTU Audio Setup For 2 choose either ADAT Optical A or ADAT Optical B as the 828mk3 s clock source Figure 3 8 Be sure to choose the optical port that the device is connected to 86860 MOTU Audio Setup Sample Rate 44100 a Clock Source ADAT Optical A k Default Stereo nput Mic 1 2 E Figure 3 8 Resolving the 828mk3 to an optical device 20 INSTALLING THE 828 MK3 HARDWARE For details about using the clock source setting and the MOTU Audio Setup software in general see chapter 5 MOTU Audio Setup page 35 Using word clock to resolve optical devices I
18. 828mk3 Front Panel Operation page 41 828mk3 tab settings The 828mk3 tab Figure 5 1 provides settings that apply to a specific 828mk3 interface If you have several 828mk3 or other MOTU interfaces connected you ll see a separate tab for each one General tab settings The General tab provides settings that apply globally to all connected MOTU interfaces 828MK3 TAB SETTINGS Sample Rate Choose the desired Sample Rate for recording and playback The 828mk3 can operate at 44 1 the standard rate for compact disc audio 48 88 2 96 aan MOTU Audio Setup Sample Rate 96000 F Clock Source Default Stereo Input Mc1 2 Default Stereo Output Analogl 2 j Phones f Main Out 1 2 F Optical Input Bank A ADAT Optical PA Optical Output Bank A ToSLink P Optical Input Bank B Disabled sf Optical Output Bank ADAT Optical PA l Main Outs H Analog 1 2 KA System Clock F firmware 1 0 bootloader 1 0 Main Outs Assign Return Assign Word Out 176 4 or 192 kHz Make sure that all of the devices connected digitally to the 828mk3 match the 828mk3 s sample rate Also make sure that your Digital Timepiece MIDI Timepiece AV or other digital audio synchronizer matches it as well At the 4x sample rates 176 4 or 192kHz all digital I O on the 828mk3 is disabled Mismatched sample rates cause distortion and crackling If you hear this sort of thing check the sample rate settings in your hardwar
19. ALMPALY willlir A S E4W8z7B y YIM paddinba osje ae syndur 31u s ul 1ndui yT pue SY y YIOG 19409 S1a 9W BY A jJeuBis Indu y 1e1ql e2 0 UOIP S DulJ91 uu y U J A0 S19 ul JAA ndu W u pue qouy wi y asf peaysul Indu Sy jaued sead e asn sdwe sd y 0 snp 31y jeubis p e ul And j uop ing UyUAs e p in6 e suoydoniw e way OU Huryyue ynoqe snf 6n d ued NOK os sdweasd aney syndul u og ndui1u unsul Je1inbB SY 7 14 ayy pue yndul 31u 47X 7 0 BY 104 urep Jo gp 5 jayewxordde piA01d sqouy w om 9S u joued U014 yXuug8Z8 35u J1 J u MIND Jam se 31y sindul gYUgZE aAl JOWUOW 0 XJ XIW N asn osje ued no s n0 urew 9S9U 0 19peJ Jo SewW pue 24 JS p y ubIsse syno ureu asay UO JMYOS 0Ipne ANOA UI 4924 SID 12 OL OU TOA YILSYW I ued uoy y W014 tun 0A IY 017U0 Udy pue s103UOW 01pN S D J M00 Jo Jas L 0 Way D9UUO ue no sind1no urew s EYUgZS IY SP AJ9S SyDel YTY OM SoU Laat Li UM na Barus Ungal e se yndui y Aue asf H pueoqyno 19U 0 10 I9A91 DJ 10ss 1duu02 Io0AeJ ANOA Vasu 0 Way dS J ued JUOL ay uo s ndul JUIN sul peynir ay woy jeub s yndu p y jdwe aud y Ajddns s nd no puas sy p uejeq UDui 19 1enb om asay ap 77 0 96 J0 abuel e J A0 paysn pe aq ued WI UY ALMYOS Y4 XIW n papnydu ay 40 V jaued 1u01J 1 UI tu01J SJu tu Duli gp Ul J A 1nduli ysn pe n
20. Clock Source setting is Internal as shown below For details see chapter 5 MOTU Audio Setup page 35 eeo MOTU Audio Setup General ana Sample Rate 44100 HH Clock Source Internal FE Default Stereo Input Mic1 2 E alog 1 ais 2 HA Figure 3 13 You can run the 828mk3 under its own internal clock when it has no digital audio connections and you are not synchroniz ing the 828mk3 system to an external time reference such as time code Situations that require synchronization There are three general cases in which you will need to resolve the 828mk3 with other devices a Synchronizing the 828mk3 with other digital audio devices so that their digital audio clocks are phase locked as shown in Figure 3 14 a Resolving the 828mk3 system to SMPTE time code from a video deck analog multi track etc Both of the above Synchronization is critical for clean digital I O Synchronization is critical in any audio system but it is especially important when you are transferring audio between digital audio devices Your success in using the 828mk3 s digital I O features depends almost entirely on proper synchronization The following sections guide you through several recommended scenarios Be sure to choose a digital audio clock master When you transfer digital audio between two devices their audio clocks must be in phase with one another or phase locked Otherwise you ll hear clicks pops and distortio
21. 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 FX 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 surface 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 Anm MTU Derbin Markie Control kuriscw paniri Edit sinaga for HIE on MID Timepiece AN owiput Port B E Geng ses Cikin Contre Sarapas Help sel Ge a ina Mackie Control Surfaces with CueMix ueghdin Cona Suslataq Haig The HOTU PirwtVire Cosbi Console in capable of beng controlled rermotuky wid one of the Mackie Control Surlaceq Mackie Caer HU oe Baby HUD connected to the bbm bpr Thr a MD Por Before you ace able to cosligett siriani
22. Instructions All operating and use instructions should be followed 5 Donotuse the 828mk3 near water 6 Cleaning Unplug the 828mk3 from the computer and clean only with a dry cloth Do not use liquid or aerosol cleaners 7 Ventilation Do not block any ventilation openings Install in accordance with the manufacturer s instructions 8 Heat Do not install the 828mk3 near any heat sources such as radiators heat registers stoves or another apparatus including an amplifier that produces heat 9 Overloading Do not overload wall outlets and extension cords as this can result in a risk of fire or electrical shock 10 Grounding Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult and electrician for replacement of the obsolete outlet 11 Power cord Protect the 828mk3 power cord from being walked on or pinched by items placed upon or against them Pay particular attention to cords and plugs convenience receptacles and the point where they exit from the unit 12 Power switch Install the 828mk3 so that the power switch can be accessed and operated at all times 13 Disconnect The main plug is considered to be the disconnect device for the 828mk3 and shall remain readil
23. MOTU interface with or without 828mk3 based effects processing EQ compression or reverb See CueMix FX hardware monitoring later in this chapter for details on how to use CueMix FX with your audio software or with the included CueMix FX software If the material you are recording is suitable there is a third way to monitor live input use both methods Figure 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 signal on the main outs with dry guitar from CueMix FX or perhaps with a touch of 828mk3 Classic Reverb a ee es amc ego es m E E zau k u Es Ca K J LE 8 Es parai K fete Cee te O O O O O O O O O O _O O O O O O O O O O 2 Mic signal goes immedi ately to the computer 3 Mic signal is patched thru back to the audio interface with host based plug in effects if any 4 4 Mic signal with plug in processing if any is routed to the main outs or other outputs that you ve specified in the software Figure 10 1 There are two ways to monitor live audio inputs with an 828mk3 1 through the computer or 2 via CueMix FX hardware monitor ing 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 s
24. Or you can disconnect the 828mk3 from the computer to change the Clock Source from the front panel ADAT SMUX Type When the 828mk3 is operating at either 88 2 or 96 kHz the AUDIO menu includes an item called ADAT SMUX Type This setting lets you configure the optical ports for ADAT format operation at the 2x sample rates only 88 2 or 96 kHz There are two choices a Type I for 2x optical connection to 3rd party SMUX compatible hardware products 44 828MK3 FRONT PANEL OPERATION a Type II for 2x optical connection to MOTU products that are equipped with optical ports and support 2x operation Turn the VALUE knob to select an optical port and push the knob to toggle between the Type I and Type II setting CUEMIX MENU To access the CUEMIX menu push the PARAM knob until you see CUEMIX displayed in the LCD This menu displays the settings for the 828mk3 CueMix FX mixer CueMix mixer basics It is much easier to navigate the CUEMIX menu in the LCD if you have a general understanding of the CueMix FX mixer We strongly recommend that you review chapter 11 CueMix FX page 73 before learning the LCD especially CueMix FX basic operation on page 75 CUEMIX menu organization Mixer settings are divided into four sub menus which correspond to the Inputs Mixes Outputs and Reverb tabs in the CueMix FX software m IN inputs a OUT outputs a MIX Mixes m REVERB reverb processor Navigating the
25. Out 1 8 If you program your own monitor output group the presets menu displays the words user def user defined Monitor group meters The monitor group meters Figure 11 1 on page 74 show levels for any all output pairs that are currently included in the monitor group The width of the meters scales proportionally so that all current monitor group outputs will fit within the prescribed space for the meters If many outputs are included then the meters will look fairly thin but they will all be included in the meter DSP METER The DSP meter Figure 11 1 shows how much of the available DSP processing power is currently being used by the 828mk3 for effects processing DSP resources are allocated in channel order from the first input to the last output If there aren t enough DSP resources for all effects to be enabled on a channel none of them are allocated on that channel or any following channel EQ on a stereo channel requires approximately twice the DSP resources as the same EQ on a mono channel The Compressor 2 5 x 1 EQ band and Leveler 4 x 1 EQ band require about the same DSP resources for a mono or stereo channel SOLO LIGHT The Solo light Figure 11 1 illuminates when any input in the current active mix bus is soloed even if it is currently scrolled off screen TALKBACK AND LISTENBACK CueMix FX provides Talkback and Listenback buttons Talkback allows an engineer in the control room to temporarily dim
26. Reverb tab Figure 11 23 provides access to the 828mk3 s single global reverb processor which provides high fidelity reverberation and graphic control over its parameters Low band Mid band reverb High band yellow time handle purple Crossover handle HIGH TIME 40 HIGH FREO 5 235 kHz CHANNEL f EQ DYNAMICS METERS REVERB PRIMARY CONTROLS Reverb enable disable REVERB PRE DELAY FREQ TIME SHELF FITER ji EARLY REFLECTIONS rooma v S SIZE EARLY REFLECTIONS LEVEL REVERS DESIGN REVERS TIME CROSSOVER 222 Q SPLIT POINT x mc C Figure 11 23 The Reverb tab Enabling reverb Use the enable disable button Figure 11 23 to turn the reverb processor on or off Since reverb uses considerable DSP resources it is best to leave it off when you are not using it Routing inputs busses and outputs to the reverb processor The reverb processor is a single independent unit that provides stereo reverb You can route multiple signals to it from various points sends in the CueMix FX mixer but all incoming signals to the reverb processor are merged and processed together The resulting stereo output from the reverb can then be inserted into a mix bus or output using stereo returns Reverb sends The following signals can be sent to the reverb processor via their corresponding sends discussed earlier in this chapter Mono or stere
27. S PDIF connection itself m Via word clock S PDIF devices with no word clock If your S PDIF device has no word clock sync connectors just connect it to the 828mk3 via the S PDIF connectors When the device records S PDIF audio from the 828mk3 it will simply synchronize to the clock provided by the audio On the other hand when you transfer audio from the S PDIF device into the 828mk3 you ll have to slave the 828mk3 to its S PDIF input If you have other digital audio devices connected to the 828mk3 and they are not slaved directly to the 828mk3 itself you may hear clicks and pops resulting from their unsynchronized audio clock If so just turn them off during the transfer S PDIF devices with word clock If your S PDIF device has a Word Clock input slave the S PDIF device to the 828mk3 via their word clock connection You can then freely transfer audio between the 828mk3 and the S PDIF device input o m 828mk3 828mk3 828mk3 ERRER Clock Source setting Clock Source setting S PDIF Internal when transferring from the S PDIF when transferring from 828mk3 to the S PDIF device S PDIF DAT deck or other S PDIF device the S PDIF device to the 828mk3 828mk3 Clock Source setting nternal 828mk3 DAT deck or other SPDIF device With this setup in the MOTU Audio Setup window choose nternal or any other clock source setting except SPDIF The DAT deck or other SPDIF device slaves to the 828mk3
28. Sample rate Choose the desired overall sample rate for the 828mk3 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 828mk3 will follow If you do not have any digital audio connections to your 828mk3 you are using the analog inputs and outputs only and you will not be slaving Digital Performer to external SMPTE time code choose Internal If you have digital audio devices connected to the 828mk3 or if you are not sure about the clock source of your setup be sure to read Choosing a clock source for optical connections on page 20 and Clock Source on page 37 If you are slaving the 828mk3 and Digital Performer to SMPTE time code via the 828mk3 itself choose SMPTE and follow the directions in Syncing to SMPTE time code directly on page 25 Buffer Size The Buffer Size setting can be used to reduce the delay or monitoring latency that you hear when live audio is patched through Digital Performer For example you might have MIDI instruments samplers microphones and so on connected to the analog inputs of the 828mk3 If so you will often be mixing their live input
29. U3 IAS piul ul uosidn josiiumoq ndui uoud 0DIU AI D2 d59 1 1194 104 ped gp oZ pue J mod wozueyd Agy 9pIA01d S U31IAS 9S9U L HTN z Ni Li HLS A oii Shi Gitke Afi HLEA hil LU Amt high Od Aipides sayseyy sq71 S04 Jo au0 Ju s 1d jzu uNd sI euDis yD0 2 OU UY D AH D aq JJIA 3421 ajduues ay UDIUA tu01J 21nos 20 BU191X UL SOOYD 0 10 9181 dutes ay Jas 0 eMYOS dnjas OIPNY MLOW 24 asp buljesado s EYWYZZ 4 YIYM Je a e1 ajdwes jeqoj6 y 9 e3Ipul S4451 s u yndul 41ddS 10 Bul1 9 uu u wp s y J ued Jad t uo sppe ndul Sy Hojeue 8 9U140 5 Sia aW Indu jo yueq Siul JBUULYD UBSOY y 104 sbul119s XIU IYI S9IIe 0 SOU J 1VA pue WVulVd 39Vd 84 asf snq 10 jauUeY paulsap ay 9S00U 0 uan Udy s ssnq pue sind no syndur Buotue yrs 0 1 usnd 1ID 0 YSIM NOA xitu 10 nd no Indu ay 9S00U 0 qouy TINNYHD 24 asf 031 94 JO SuONI s pajaqe ino a4 0 12 14Ip puods 1102 J1 BY JO YJ9 BY 0 sqouy NO y sassng Xiu 10 pue s nd no sjndul 0 quaAed 10 pue UOIssasdwod 03 Ajdde ued nog 91049 ANOA Jo nd no 091375 0 YSIM NOK Jasqns Aue 10 syndul ile SAXIL Sng Yea sassng XIW 0313S 1UBI ae ay SPY pue JAXIW XJ XIW N UI ING yU1gZ9 a4 s 01Ju02 UO DAS SIY I qouy UIn 0A pa edIpap UMO S seu 1 ef auoyd Hewnd ay sy sno urew ay Punou 0 SYNeJap 3 ZHY 96 788 1e ojdwexa 404
30. already assigned to another bus that bus output will become disabled Bus fader The bus fader Figure 11 2 controls the overall level of the mix its volume on its stereo output Use the individual input faders to the left to control individual input levels 828mk3 Mix bus 1 inputs master fader Bus name Bus output aan Main Out 1 2 Y v E Ons Q Bus Reverb send return ant Owam Om WIDTH Bus fader Bus mute Bus level meter Inputs grouped as stereo pairs 76 CUEMIX FX Bus mute The bus mute button Figure 11 2 disables silences the mix Bus level meter The bus level meter which is post fader shows you the output for the mix s output Bus reverb send return The bus reverb send Figure 11 2 feeds the output of the mix bus pre fader to the 828mk3 s global reverb processor where it is merged with any other signals being fed to the reverb The reverb s output can then be fed back into the mixer at various return points including the bus return discussed below The bus reverb return Figure 11 2 feeds the output of the 828mk3 s global reverb processor into the mix bus pre fader This includes any other signals currently being fed to the reverb The bus reverb return is disabled grayed out when the reverb Split Point is set to Output to eliminate the possibility for feedback loops created by reverb send return loops See Split point on page 94 Input section The horiz
31. applications 90 CUEMIX FX The Dynamics tab The Dynamics tab Figure 11 21 displays the Dynamics processing settings for the input or output channel that currently has the focus Click any focus button in the Inputs or Outputs tab to view the Dynamics tab settings for the channel Input Output Gain Threshold level level reduction meter meter meter Trim e JE EH IB Iz GR THRESHOLD 17 3 dB Input Mic 1 Dynamics tab ompressor enable disable ATTACK RELEASE THRESHOLD e aa TRIM MODE LEVELER Leveler enable disable MODE REDUCTION GAIN GAIN RED OT Figure 11 21 The Dynamics tab Enabling Dynamics Each input and output channel has a global Dynamics enable disable button Figure 11 3 and Figure 11 6 This button enables or disables all dynamics processing for the channel In addition the Dynamics tab has two different dynamics processors the Compressor and Leveler which can be individually enabled or disabled Figure 11 21 for the channel Compressor The Compressor Figure 11 21 lowers the level of the input when it is above the threshold The amount of attenuation is determined by the Ratio and the input level If the input is 6 dB above the Threshold and the Ratio is 3 1 then the output will be 2 dB above the Threshold When the input level goes above the threshold the attenuation is added gradually to reduce distortion The rate at which the attenuation i
32. as an integrated extension of your AudioDesk mixing environment If you program an 828mk3 mixing and processing configuration that goes hand in hand with your AudioDesk project be sure to use the file save features in CueMix FX to save the 828mk3 settings as a file in your AudioDesk project folder for instant recall of all settings See chapter 11 CueMix FX page 73 for complete details SYNCHRONIZATION As you read through the following sections to decide what form of synchronization you might need with other devices in your studio be sure to consult Making sync connections on page 24 for the proper hardware connections Use the synchronization diagrams to be clear about how you will be synchronizing AudioDesk and the 828mk3 to the other components of your system 57 AUDIODESK Synchronizing digital audio connections If you have devices connected to the 828mk3 digital inputs optical or RCA S PDIF you need to be concerned with the synchronization of the 828mk3 s digital audio clock with other devices connected to it digitally if any For example if you have a digital mixer connected to the 828mk3 via an ADAT optical light pipe cable you need to make sure that their audio clocks are phase locked For details see Choosing a clock source for optical connections on page 20 and Making sync connections on page 24 If you dont have any digital audio devices connected to the 828mk3 digital audio p
33. button Figure 11 3 if you would like an input to be treated as a mono channel If you would like to work with it as one channel of a linked stereo pair click the Stereo button Inputs are grouped in odd even pairs mic 1 2 Analog 1 2 3 4 etc Stereo pairs appear as a single channel strip in the CueMix FX mixer in all tabs Invert phase Click the Phase button Figure 11 3 to invert the phase of the input signal For stereo pairs you can invert the phase for the left and right channels independently Input trim All 828mk3 inputs both analog and digital offer continuously variable input trim In all cases trim level can be controlled digitally in 1 dB increments This includes the digitally controlled analog trims on the two mic guitar inputs on the front panel and the eight quarter inch analog inputs on the back panel Here is a summary of input trim ranges for each type of 828mk3 input Trim Trim Trim Input cut boost Range Mic Guitar 0 dB 53 dB 53 dB TRS analog inputs 96 dB 22 dB 118 dB S PDIF RCA 0 dB 12 dB 12 dB ADAT optical 0 dB 12 dB 12 dB S PDIF TOSLink 0dB 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 98 and Configurations menu on page 98 Input EQ and dynamics The 828mk3 lets you apply 7 band parametric EQ and dynamics processing DSP to any input analog or digital The c
34. check the MOTU Audio Setup to make sure they are turned on and set to the format you require If you dont plan to use either optical bank turn it off to conserve computer bandwidth Phones 1 2 If you ve chosen to treat the 828mk3 headphones as an independent output you ll see Phones 1 2 in AudioDesk s output menus Audio tracks assigned to this output pair will be heard on the headphone jack only For further explanation see Phones on page 56 24 BIT OPERATION Your 828mk3 hardware fully supports AudioDesk s 24 bit recording capabilities including both analog and digital 24 bit recording If you would like to record and play back 24 bit audio files go to the Audio Options in the AudioDesk Preferences AudioDesk menu and choose 24 bit recording as the sample format for the project This setting is saved with the AudioDesk project PROCESSING LIVE INPUTS THROUGH AUDIODESK 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 67 WORKING WITH CUEMIX FX MIXING AND EFFECTS The 828mk3 provides powerful external mixing EQ compression and reverb which you can operate hand in hand with AudioDesk s complete mixing environment For example the 828mk3 can serve as a monitor mixer routing channels to musicians or it can serve
35. connected to the 828mk3 via an ADAT optical light pipe cable you need to make sure that their audio clocks are phase locked For details see Choosing a clock source for optical connections on page 20 and Making sync connections on page 24 If you dont have any digital audio devices connected to the 828mk3 digital audio phase lock does not apply to you Resolving directly to time code with no synchronizer If you need to slave Digital Performer and the 828mk3 to SMPTE time code you can do so with or without a dedicated synchronizer To resolve your 828mk3 directly to SMPTE time code with no additional synchronization devices use the setup shown in Syncing to SMPTE time code directly on page 25 Resolving to video and or time code with a dedicated synchronizer To resolve your 828mk3 to video and or SMPTE time code using an additional synchronization device use the setup shown in Syncing to video and or SMPTE time code using a synchronizer on page 26 USING A FOOT SWITCH Use a foot switch connected to the 828mk3 to trigger recording punch in and punch out or any other feature in Digital Performer that is assigned to a computer keystroke By default the foot switch triggers the 3 key on the computer keypad which toggles Digital Performer s record button To trigger a different set of keystrokes with the foot switch visit the MOTU Audio Setup See Enable Pedal on page 40 EXCHANGING PROJE
36. devices on page 27 ADAT Optical A B The ADAT optical clock source settings ADAT Optical A and ADAT Optical B refer to the clock provided by the 828mk3 s two optical inputs when either one is connected to another optical device These two settings only appear in the Clock Source menu when their corresponding optical bank input is enabled and set to the ADAT Optical format as explained in Optical input output on page 39 This setting can be used to resolve the 828mk3 directly to the optical input connection Most of the time you can set up a better operating scenario that uses one of the other synchronization options However there may be occasions when you have an optical device that has no way of synchronizing digitally to the 828mk3 or an external synchronizer In this case the ADAT Optical clock source setting lets you slave the 828mk3 to the device itself via its digital input to the 828mk3 37 MOTU AUDIO SETUP This setting is also useful if you just need to make a simple click free digital transfer between the 828mk3 and another device where a time code reference and shared transport control are not needed without having to set up an elaborate synchronization scenario For further details see Choosing a clock source for optical connections on page 20 TOSLink A B The TOSLink clock source settings TOSLink A and TOSLink B refer to the clock provided by the 828mk3 s two optica
37. digital audio clock For example you may be in a situation where all you are doing is playing tracks off hard disk in your digital audio software on the computer In a situation like this you most often don t need to reference an external clock of any kind Another example is transferring a mix to DAT You can operate the 828mk3 system on its internal clock and then slave the DAT deck to the 828mk3 via the S PDIF connection usually DAT decks slave to their S DIF input when you choose the S PDIF input as their record source or via the 828mk3 s word clock output if your DAT deck has a word clock input If you would like help determining if this is the proper clock setting for your situation see Making sync connections on page 24 Word Clock In The Word Clock In setting refers to the Word Clock In BNC connector on the 828mk3 rear panel Choosing this setting allows the 828mk3 to slave to an external word clock source such as the word clock output from a digital mixer or another 828mk3 S PDIF The S PDIF clock source setting refers to the S PDIF RCA input jack on the 828mk3 This setting allows the 828mk3 to slave to another S PDIF device Use this setting whenever you are recording input from a DAT deck or other S PDIF device into the 828mk3 It is not necessary in the opposite direction when you are transferring from the 828mk3 to the DAT machine For further details about this setting see Syncing S PDIF
38. feature Please see chapter 10 Reducing Monitoring Latency page 67 Controlling monitoring latency See chapter 10 Reducing Monitoring Latency page 67 CUSTOMER SUPPORT We are happy to provide customer support to our registered users If you haven t already done so please take a moment to register on line at motu com or fill out and mail the registration card included with your 8pre Doing so entitles you to technical support and notices about new products and software updates 105 REPLACING DISKS If your 828mk3 software installer CD becomes damaged and fails to provide you with fresh working copies of the software our Customer Support Department will be glad to replace it You can request a replacement disc by calling our business office at 617 576 2760 and asking for the customer service department In the meantime you can download the latest drivers from www motu com TECHNICAL SUPPORT If you are unable with your dealer s help to solve problems you encounter with the 828mk3 system you may contact our technical support department in one of the following ways a Tech support hotline 617 576 3066 Monday through Friday 9 AM to 6 PM EST a 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 as possible a The serial number of the 828mk3 system This is printed on a st
39. four main menus To access the four main menus above push the CHANNEL knob repeatedly Then turn the CHANNEL knob to select the desired channel or mix The IN inputs menu Push the CHANNEL button repeatedly until you see I in the channel section of the LCD Figure 6 6 This is similar to accessing the Inputs tab in CueMix FX console The Inputs tab on page 78 1 Indicates The current Access individual parameters the IN inputs channel here such as the frequency menu setting for a band of EQ Pages are groups of Change the value of the channel settings such current parameter here as one band of EQ Figure 6 6 The IN inputs menu Choosing a channel Once you see the Inputs menu Figure 6 6 in the LCD turn the CHANNEL knob to select the desired input that you wish to edit This is roughly equivalent to specifying an input channel strip to work with in the Inputs tab in CueMix FX software Figure 11 3 on page 78 Choosing a setting to modify Once you ve selected an input channel you can access the various settings for that channel using the PAGE knob and PARAMETER knobs Turn the PAGE knob to scroll through channel settings such as individual bands of EQ the compressor reverb sends etc Push the PAGE knob to jump to the next section of parameters or to jump back to the beginning of the list This is roughly the equivalent of moving through the various channel controls in an
40. longer freewheel times will help you get past the problems in the time code The Infinite freewheel setting The Infinite freewheel setting in the Freewheel Address menu causes the 828mk3 to freewheel indefinitely until it receives readable time code again To make it stop click the Stop Freewheeling button 102 MOTU SMPTE CONSOLE Freewheel clock Freewheeling occurs when there is glitch or drop out in the incoming SMPTE time code for some reason The 828mk3 can freewheel past the drop out and then resume lockup again as soon as it receives a stable readable clock signal The 828mk3 cannot freewheel address without clock Therefore the Freewheel Address setting will always be lower than or equal to the Freewheel Clock setting and both menus will update as needed depending on what you choose The Infinite freewheel setting The Infinite freewheel setting in the Freewheel Clock menu causes the 828mk3 to freewheel indefinitely until it receives readable time code again To make it stop click the Stop Freewheeling button Stop Freewheeling The Stop Freewheeling button stops the system if it is currently freewheeling GENERATOR SECTION The Generator section on the right hand side of the window in Figure 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 828mk3 The level knob disappears when the Destination i
41. making connections to 19 trim 79 Apple GarageBand 61 Logic Pro Express 60 Soundtrack Pro 61 Application follows control surface 99 Attack compressor 91 Audio bit resolution 36 MIDI Setup utility 32 Audio menu LCD 44 Audio Setup software 31 AudioDesk 14 31 33 55 accessing 8pre settings 35 Main Outs Assign 56 optical input output 56 reverb return 57 synchronization 57 B Balance 77 Balanced analog 19 Buffer Size 52 56 Built in Audio clock source setting 38 Bus activity LEDs 83 93 fader 76 C Channel tab 82 reverb settings 83 Clear Peaks 98 Clock 192kHz operation 36 Clock LEDs 5 13 Clock source 7 24 37 AudioDesk 56 SMPTE setting 38 Coax 11 Comp button 93 Compressor 91 enabling 91 Condenser mic input 5 Configurations menu 98 Configure Hardware Driver 35 Configure interface 29 Connecting multiple 828mk3s 28 Control Surfaces menu 99 Controller connecting 21 Converter mode setup example 23 Converters 6 Copy Paste 98 Core Audio defined 31 Core MIDI benefits 32 CoreMIDI Audio MIDI Setup 32 Cubase 35 Audio Buffer Size 62 clock source 59 Mac OS X 62 Main Outs Assign 60 optical I O 60 phones 60 Return Assign 60 reverb return 60 sample rate 59 syncing to time code 104 troubleshooting 105 CueMix menu 45 CueMix FX 71 73 100 Application follows control surface 99 AudioDesk 57 Configurations menu 98 control surfaces 100 Control Surfaces menu 99 CueMix control surfaces 100 Devices menu 98
42. more than two FireWire interfaces on a single FireWire bus Adding additional interfaces with a second FireWire bus Third party FireWire bus expansion products in the form of a cardbus PC card adapter or PCI card allow you to add a second FireWire bus to your computer In may be possible to add additional MOTU FireWire interfaces connected to such a third party product depending on their performance with your host computer 30 INSTALLING THE 828MK3 HARDWARE CHAPTER 4 Installing the 828mk3 Mac Software OVERVIEW The 828mk3 CoreAudio driver Software installation 31 CoreAudio is a term that refers to the software C ueMIKkI X uu ss ss EEEE 33 technology built into Mac OS X that provides all of MOTU SMPTE Console 33 AudioDesk workstation software SOFTWARE INSTALLATION Install the 828mk3 software as follows its standardized audio features More specifically 33 we use CoreAudio to refer to Mac OS X s standard audio driver model A CoreAudio driver allows the 828mk3 to establish audio input and output with any Mac OS X CoreAudio compatible software 1 Insert the MOTU FireWire Installer disc and launch the installer 2 Follow the directions that the installer gives you What does the installer do The installer checks the computer to make sure it satisfies the minimum system requirements for your MOTU interface If so the installer procee
43. sample accurate sync which is the means by which the software follows the 828mk3 The accuracy may not be sample accurate but in most cases it will be very close Use this setup if you have V A SMPTE time code source such as a multitrack tape deck UY An828mk3 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 een MOTU Audio Setup First choose SMPTE as the clock source Preferences and Settings in AudioDesk Digital Performer or Genera MOTU Audio Setup This setting can sa s enera also be made in the MOTU SMPTE SMPTE Frame Format 30 ips Non Drop Sample Rate 44100 me Console shown below Clock Source SMPTE Fk Sample accurate Default Stereo Input Mic 1 2 ba el aloq 1 2 KS Standard beat clocks Tap tempo C Record while still framed SMPTE time code source In AudioDesk or Digital Performer 1 Choose Receive Sync from the Setup menu When lockup is achieved the audio cable bearing LIC LOCK TACH light glows Longitudinal Time Code SMPTE IN quarter inch jack SMPTE Word out Out sti BNC FireWire cable cable cable Mac running AudioDesk Digital Performer or other sample accurate software Other digital audio device slave
44. the channel section of the LCD Figure 6 9 This is similar to accessing the Reverb tab in CueMix FX The Reverb tab on page 94 The REVERB processor is not available at sample rates above 48 kHz Therefore when the 828mk3 is operating at 88 2 kHz or higher the REVER menu does not appear in the LCD Access individual parameters here such as reverb time Change the value of the current parame ter here CHANNEL REVERE Figure 6 9 The REVERB menu Working with reverb settings in the LCD Once you ve selected the REVERB menu you can access all settings using the PARAMETER and VALUE knobs The PAGE knob is not needed and is therefore disabled when editing reverb settings Summary of Reverb menu settings For asummary of Reverb menu settings see Reverb menu on page 49 47 828MK3 FRONT PANEL OPERATION INPUTS MENU OUTPUTS MENU CHANNEL PAGE PARAM CHANNEL PAGE PARAM EQ INPUTS PAIR OUTPUTS ENABLE mic 1 2 PHASE Main global COPY Analog 1 2 L R M S stereo or M S Analog 1 2 PASTE Analog 3 4 SWAP Analog 3 4 etc RESET etc WIDTH TRIM LIMITER Mic LOOKAHEAD only SOFTCLIP LF ENABLE EQ ENABLE Low w shelf TYPE global COPY ee PASTE RESET WIDTH HPF ENABLE LMF ENABLE High pass SLOPE owed TAPE ness FREQ GAIN LF ENABLE WIDTH Low w shelf TYPE FREQ MF ENABLE GAIN Mid TYPE WIDTH FREQ GAIN LME ENABLE wbt Low mid TYPE FREQ HMF ENABLE GAIN High mid TYPE WID
45. this jack but MASTER VOL can be programmed to control any combination of outputs See The Monitor Group on page 95 for details Push the knob once to view the current volume setting in the LCD display push it again to mute the monitor group push a third time to return to the previous volume Note that if the Monitor Group is programmed to not include the main outs the MASTER VOL knob will no longer control the volume of the phone jack either MASTER VOL gm ABV 0 O VUS MAIN PHONES r NY ka PAD INSTA s j B TRS Figure 6 1 The 828mk3 front panel mic guitar inputs and phone jacks 41 PHONES From the factory the PHONES jack Figure 6 1 is a discrete output at 44 1 48 kHz but it can mirror any other output pair digital or analog or serve as its own independent output For example at 88 2 96 kHz it defaults to mirroring the XLR main outs At 176 4 192 kHz it defaults to mirroring analog outputs 1 2 As the primary phone jack it has its own dedicated volume knob As explained in the previous section the LCD provides detailed feedback as you turn the knob Figure 6 4 To view the current setting without changing it just push the knob without turning it If you would like the MAIN phone jack and the PHONES jack to output the same signal assign the PHONES output to mirror the main outs In this configuration both the MASTER VOL and the PHONES volume knobs
46. time code directly on page 25 and chapter 12 MOTU SMPTE Console page 101 Built in Audio Choose this setting to resolve the 828mk3 to your Mac s built in audio Doing so will ensure that audio streams playing back from or recorded by the 828mk3 will not drift apart from audio streams simultaneously played or recorded by the Mac s built in mic speakers or audio output Other audio devices drivers The MOTU FireWire Audio Driver has the ability to resolve to other Core Audio drivers Doing so will ensure that audio streams playing back from or recorded by the 828mk3 will not drift apart from audio streams simultaneously played or recorded by the other devices Default Stereo Input Output In the System Preferences window Mac OS X lets you choose third party hardware such as the 828mk3 for your Mac sound input and output The system input and output can be used for alert sounds and general audio I O for applications like iTunes iMovie etc 38 MOTU AUDIO SETUP r Show au System Preferences Personal m amp A Agpewante Dashboard amp Deskicp amp Dock Interratiursal Security Spotlight Expose Lerten Saver r h k j r W af m CDs amp Dith Displays Fnergy Keyboard amp Print Fax Smt Mistr Interne amp Nerwork e e Q Mac Network Cha belie T ime Shanng Sy aber aiim Sound Ffferts Oupa Input Choose a device for sound output Pu
47. to be active at one time accessed by multiple applications simultaneously For example you can run both FireWire and PCI audio interfaces at the same time accessing all of their inputs and outputs from your host audio application or even multiple applications simultaneously A by product of this more flexible model is that multiple devices must be synchronized to one another in order to remain resolved to each another Without synchronization the audio streams going to each interface might drift with respect to one another For example the audio tracks playing back through the 828mk3 might drift out of sync with the audio tracks playing back through your 2408mk3 PCI interface Synchronizing them to each other ensures that they remain as tightly and continuously phase locked as if they were one unified interface There are two ways to synchronize the 828mk3 with other devices as discussed in the following sections via the driver or via word clock Resolving to other Core audio drivers The MOTU FireWire driver has the ability to resolve to other Core Audio drivers This allows the 828mk3 and other MOTU FireWire interfaces to resolve to other audio interfaces running simulta neously on the same computer such as the Mac s built in audio a PCI 424 core system or even 3rd party interfaces without the need for external word clock connections between the devices Doing so ensures that audio tracks being played or 29
48. to word clock your gear Whenever there is any weird noise or distortion suspect incorrect word lock Clicks and pops due to hard drive problems If you have checked your clock settings and you are still getting clicks and pops in your audio you may have a drive related problem Set your Clock Source to Internal and try recording just using the analog inputs and outputs of the 828mk3 If you encounter the same artifacts you may want try using another drive in your computer Clicks and pops can also occur when the drive is severely fragmented the disk drivers are outdated or other drive related issues If you are using a FireWire drive on the same bus as the 828mk3 it could be that the FireWire bus is overloaded too many devices on the same bus Try removing all devices except the 828mk3 Connecting or powering gear during operation It is not recommended that you connect disconnect or power on off devices connected to the 828mk3 while recording or playing back audio Doing so may cause a brief glitch in the audio No optical inputs or outputs are available in host audio application Check to make sure you have the desired optical inputs and or outputs enabled in the MOTU Audio Setup Monitoring How to monitor inputs Please refer to the documentation for the audio application that you are using If your application does not support input monitoring you will need to use the 828mk3 s hardware based CueMix FX monitoring
49. uu0 YDuUI sayenb aAve S buls dn SUL apy p xue eq paye d pjob ae syndjno bojeue yybia s ywgzg au Op abed uo Jepag ajqeug s dn siy 9S 0 moy ynoge sJIB p 404 6ulpsoded Buunp yno yound pue ul yduNd aadj spuey 10 3134 YD IMS 100 plepue s e 9UU0 jauUeYD JWES IY UO JIWSUPJ 10 9Al9391 1 U0p Aa 12y Os sjauueyd IGIW 1104 sbeuew 0 ans aq nq sad Aap Q W uleyd Asiep osje ue no Od INO 4 0 npouu punos e pue yod N au 0 JIA D J 9 011u02 V Se NS uod yea 0 S 3IA p 1u J JJip D9UUO UL no J3IA9p 19U10 94 U0 uod INO IGIN ay 0 0d NIIGIW S 4W8Z8 94 PUD KJ9SIBAUO 3lA p 19470 y UO od NI IW 24 0 Hod LNO IGIW S 4W878 94 ou Saiqe gt q W puepue s buisn 919U IAI JAIN PAUUO H ddi ZH 96 01 dn sayes duues paysoddns Addns samod Je 3e nd no eUO eUJa U pue yndul jev bip Hulydiims oyne 4Idd S 119 12 oalays ue Yim paddinba aplaoid sypef asay SI EYW878 oy wis 15 eA W A Orak ZH 8p 10 h 01 J ued1uo01J BY 10 1PAAJ0S IA 3 81 nd no y20D psOM BY 33104 UL no ZH 96 10 7 88 9 e1 ajdwwes ybiy e ye Hulyesado si ywWgzg ay Udy EYWRZB aU YIM UO 29UUOD 0 1 e IDIp 1194 Aq paljddns y90 9 ay 0 ALIS JouUD Jey SadIAap YUM SJaJSued B IBIp 104 se Yons suoNeri dde Jo AeA e 10 Way asp PLNO POM pAepueys ae s u QUIYDEW W nok Aes 104 INO V 2I 9do y 104 yur 01 03191s pue JAXIW e
50. with audio material recorded in Digital Performer See chapter 10 Reducing Monitoring Latency page 67 for complete details Phones This 828mk3 setting lets you choose what you ll hear from the headphone jack For example if you choose Main Out 1 2 the headphones will duplicate the main outs Or you can choose any other output pair If you choose Phones 1 2 this setting makes the headphone jack serve as its own independent output pair As a result you ll see Phones 1 2 as an additional audio destination in Digital Performer s audio output menus When operating at high sample rates the phones must mirror one of the other output pairs Optical input and output To make an 828mk3 s optical inputs and or outputs available in Digital Performer choose ADAT Optical or TOSLink from the optical input and or output menus If you won t be using the optical connectors turn them off Main Outs Assign Use the Main Outs Assign setting to determine what audio you will hear on the XLR main outs of the 828mk3 If you would like to treat them as their own separate output pair choose Main Outs Note that when operating at 176 4 or 192 kHz the main outs must mirror one of the TRS analog output pairs Return Assign In Digital Performer s audio input menus and the Bundles window youl see an 828mk3 input called Return 1 2 Figure 7 2 This is a stereo feed from the 828mk3 that matches the output of one of its output pairs Use t
51. wo eee ypu meri sdo tq dgassca in the Adio Widi Sete applicsikon Mahe part the sd ed corir purik manaia perg kat to Mackie aed the model matched Ete iuriics birg e sdspaead CueMis Console Control Surfaces menu Appicates fellows conto surera Wher this mesi bem i checked Cueio will saaya chen She Pader being med Thig i ieplpf ul in setup wets multiple I k G pow divi wint lO kaw Gn tre on rgl purfoces where po might ba mirng beg defend bupati ind w an tha lider pang ws sl Figure 11 27 Refer to the extensive on line help for details about configuring CueMix FX for operation with your control surface product Other HUI compatible control surfaces Any control surface that has the ability to emulate a HUI should be compatible with CueMix FX Just add a Mackie HUI to Audio MIDI Setup and put the control surface hardware into HUI emulation mode Consult the control surface manual for details about how put it into HUI emulation mode Other control surface hardware products If you install other control surface drivers written for CueMix FX they will appear as separate menu items at the bottom of the Control Surfaces menu with the same sub menu items described above 100 CUEMIX FX CHAPTER 12 MOTU SMPTE Console OVERVIEW The 828mk3 can resolve directly to SMPTE time code via any analog input without a separate synchronizer The 828mk3 can also generate time code via its Time Code output The 828mk3 provides a DS
52. you which mix busses the input signal is being fed to For example LED 6 will glow under the following conditions the input is unmuted in mix bus 6 its fader is up and there is signal activity from the input going into the mix bus 83 CUEMIX FX The EQ tab The EQ tab Figure 11 10 displays the EQ settings for the input or output channel that currently has the focus Click any focus button in the Inputs or Outputs tab to view the EQ tab settings for the channel Vintage EQ Inspired by legendary British large console EQs the 828mk3 Vintage EQ section Figure 11 10 gives you the look feel and sound of the most sought after classic equalizers Five bands of center frequency parametric EQ filtering are provided each with four EQ types that provide current popular EQ styles and vintage analog EQ styles alike Two bands include shelf filtering Two additional bands of variable slope low pass and Q handles red lines Filter response display Filter curve toggle Parameter display high pass filtering are provided The filter response display provides comprehensive control and visual feedback of the EQ curve being applied With 64 bit floating point processing the 828mk3 Vintage EQ has been carefully crafted and meticulously engineered to produce musical results in a wide variety of applications Enabling EQ Each input and output channel has a global EQ enable disable button Figure 11 3 and Figure
53. you control over the 828mk3 s on board mixing features 74 CUEMIX FX CUEMIX FX BASIC OPERATION Here is a brief overview of the CueMix FX mixer Eight stereo mix busses CueMix provides eight stereo mix busses Bus 1 Bus 2 Bus 3 and so on Each mix bus can take any number of inputs and mix them down to any 828mk3 output pair that you choose For example Bus 1 could go to the headphones Bus 2 could go to the main outs Bus 3 could go to a piece of outboard gear connected to analog outputs 7 8 etc Many inputs to one output pair It might be useful to think of each mix bus as some number of inputs all mixed down to a stereo output pair CueMix FX lets you choose which inputs to include in the mix and it lets you specify the level pan and other input specific mix controls for each input being fed into the mix Viewing one mix bus at a time CueMix FX displays one mix bus at a time in the Mixes tab Figure 11 2 on page 76 To select which mix you are viewing choose it from the mix bus menu Figure 11 2 The mix name appears above the mix bus master fader Figure 11 2 where you can click the name to change it Each mix bus is independent Each mix bus has its own settings Settings for one bus will not affect another For example if an input is used for one bus it will still be available for other busses In addition inputs can have a different volume pan mute and solo setting in each bus Input channels The In
54. 1 Return 1 2 Return 2 Return 2 j Figure 5 3 The Edit Channel Names window OOO Bundles l inputs Outputs Busses Instruments MIDI Devices MOTU 828mk3 u m G Q N m mm qam m m m S 2 c i f Mono Mono Stereo Stereo ne e N a oo vs t 3 S paige e gt gt a amp W l 1 N Add Add Multiple Delate Delete Unused Figure 5 4 828mk3 channel names as they appear in Digital Performer Bundles window Enable Pedal Check the Enable Pedal option if a foot switch is connected to the 828mk3 and you would like to trigger recording punch in out or other software functions with it Use the Set buttons to determine what keystroke is triggered by the pedal up and pedal down positions You can assign the pedal to any two keystrokes you wish You are not restricted to punch in out 40 MOTU AUDIO SETUP CHAPTER 6 OVERVIEW The 828mk3 is the first FireWire audio interface to offer complete front panel programming via six rotary encoders and a 2x16 backlit LCD display All 828mk3 settings can be accessed via these front panel controls MIC QUItAl INPUTS wiic lt c0scscecweotceststotcsawersstees 41 Master vol and MAIN phone jjack 41 Ol spew sis ees se cas when e ready een oes ta ols 42 Meters and status LEDs 42 Push button rotary encoders
55. 11 6 This button enables or disables all bands of EQ for the channel In addition each individual band of EQ has a Filter enable disable switch Figure 11 10 allowing you to enable as few or as many bands as needed for each individual channel Filter Composite Individual handle curve filter curve white line colored area Vertical scale Filter enable disable Low pass filter High pass frequency Figure 11 10 The EQ tab 84 CUEMIX FX Vintage EQ Quick reference Filter response display Shows the response curve for the current settings Vertical scale Lets you zoom the vertical scale of the filter response display Parameter display Shows the precise numbers of the parameter you are adjusting or hovering over with the arrow cursor The labels frequency gain etc match the color of the filter being displayed When a filter handle is not selected and when the cursor is not hovering over the display the parameter display shows the name of the current channel being edited the channel that currently has the focus as shown below The name ofthe channel being EQ d Figure 11 11 When a filter handle is not selected and when the cursor is not hovering over the display the parameter display shows the name of the current channel being edited the channel that currently has the focus EQ filter one of five center bands of EQ that can be independently enabled and p
56. 11u02 0 pawwesboid aq ue 70A H31SVN Ng Pef siu pue s no urew ay 01 U0 1 BAOGE QOU TOA HIISWW 24 40128 y WoL JaUed 121 y UO S NO UW YTX 9U1 1011W 0 D IIA pieu si ndino s pef auoydpeay 3 31 duues 0919 s UDul 1911enb prepuels e s NIVW p l qe ef uoud ayy Jeqo0 6 y se yons sbuas eywugzg eqo b sapiaoid yy IBAJ 1nd no Kem Aue ul buiddi gt a e21pul yayndwiod Ino Bul11e s 1 01 U0 0 q0u 10u op Ady gp Zy punoe INOYWM UO peq 1 WIN TOA YJLSYW 94 S pjoysauy Jay S nd no pue NuIgZ9 ay Jo WN ued asf s no ureu 4 dS pue bojeue Sy jaued NoA ey sue uu zey 020101d JY 104 HuajowW Ie 19 DY UO Ju s d jeUbIS Ae d pue bnyid_ e SI 31MH juawbas 9 PIIPU sq3 1puno1 s ul 959 q1 BY JO Yo 94 0 si po32u Ae 0J Je 161p ino ay 0 19J91 J7 BY NOJ q pue aAoge sjaqe ayy un nok Sqouy UDIUA uo bulpuadap shuljas X4 xIIW nD 10 shuljjas wayshs SMOUS 1I pDeq sodind ninuu ul NuaW qn 13S 24 191U 0 qouy Wyuvd ulusnd npouu q19A 1 y pue syndjno syndui s ssnq XIUI 1 XIUI Y JO SUOIJ S UPU Jno ay Huowe p 0 p yeadad qouy TJNNVH2 au usnd C 4 E a i 1 l f hit ats lu alls i WTA mm SSS 1S a n WE Seen aut Maisie ALL whe a i i BaNOH Mineral yndul seyinb ysul sayuenb aduepadwi uBiu y pue yndul 1u y7 auepedui N0 9U U AM 9q 9S00U NOA S4
57. 28mk3 output pair such as the main outs T The 828mk3 optical connectors support several standard optical I O formats which provide varying channel counts See Optical on page 11 for details about optical bank operation With the exception of the phone jack on the front panel labeled MAIN all inputs and outputs are discrete For example using a mic input does not steal an input from the TRS analog I O bank Analog Allanalog inputs are equipped with 24 bit 192 kHz A D converters All analog outputs have 24 bit 192 kHz D A converters All audio is transferred to and from the computer in a 24 bit data stream All quarter inch analog inputs can accept either a balanced or unbalanced plug 10 ABOUT THE 828MK3 The quarter inch outputs are referenced to a 4 dBu line level output signal The inputs have 22 dB of input gain and 96 dB of cut allowing them to accommodate both 10 dBu and 4 dBu level signals Precision Digital Trim All of the 828mk3 s analog inputs are equipped with digitally controlled analog trims that allow adjustments in 1 dB increments The mic guitar input trims can be adjusted using front panel digital rotary encoders that provide feedback in the front panel LCD with up to 53 dB of boost All analog inputs including eight rear panel TRS analog inputs can be trimmed using the front panel LCD or using the 828mk3 s included CueMix FX control software for Mac and Windows This a
58. 5 MOTU Audio Setup page 35 Gives you complete control over the 828mk3 s Applications folder CueMix FX on board mixer which provides no latency monitoring mixing and process ing of live inputs through your 828mk3 chapter 11 CueMix FX page 73 Provides access to the 828mk3 system s MOTU SMPTE Setup AudioDesk Applications MOTU SMPTE time code sync features chapter 12 MOTU SMPTE Console page 101 AudioDesk User Guide Provides complete multi track recording AudioDesk Anywhere you want mixing and processing Optional AudioDesk User Guide Provides a multi track mix that you can open AudioDesk Demo Project play and mix in AudioDesk Optional 31 CoreMIDI and Audio MIDI Setup CoreMIDI is the under the hood portion of Mac OS X that handles MIDI services for MIDI hardware and software CoreMIDI provides many universal MIDI system management features including MIDI communication between your 828mk3 FireWire interface and all CoreMIDI compatible software Audio MIDI Setup is a utility included with Mac OS X that allows you to configure your 828mk3 interface for use with all CoreMIDI compatible applications Audio MIDI Setup provides a A virtual studio on your Mac that graphically represents your MIDI hardware setup and that is shared by all CoreMIDI compatible programs m A simple intuitive list of your MIDI devices whenever you need it in an
59. 8mk3 system includes a standard Mac OS X CoreAudio driver for multichannel I O with any audio application that supports CoreAudio 14 ABOUT THE 828MK3 CHAPTER 2 Packing List and Mac System Requirements PACKING LIST The 828mk3 ships with the items listed below If any of these items are not present in your 828mk3 box when you first open it please immediately contact your dealer or MOTU m One 828mk3 I O rack unit m One 6 pin to 6 pin IEEE 1394 FireWire cable m Power cord m One 828mk3 Mac Windows manual m One AudioDesk Manual m One cross platform installer CD m Product registration card MAC SYSTEM REQUIREMENTS The 828mk3 system requires the following Mac system a A G4 500Mhz Power Mac or faster equipped with at least one FireWire port m At least 256 MB megabytes of RAM 512 MB or more is recommended mg Mac OS X version 10 4 9 or later a A large hard drive preferably at least 100 GB PLEASE REGISTER TODAY Please register your 828mk3 today There are two ways to register m Visit www motu com to register online 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 regist
60. A 6 sync 27 trim 79 Sample rate 7 36 192kHz operation 36 AudioDesk 56 Samplers connecting 22 Save Hardware Preset 98 Setup menu LCD 44 Share surfaces with other applications 99 Shelf Filter 95 Shortcuts 97 Show meter in dock icon 98 Signal flow CueMix FX mixer 78 SMPTE overview 101 Setup application 101 source setting 102 sync 24 101 Soft Clip 12 42 83 Solo light 77 96 Sound module connecting 21 Soundtrack Pro 61 clock source 59 Main Outs Assign 60 optical I O 60 phones 60 Return Assign 60 reverb return 60 sample rate 59 Split Point 94 Stand alone operation 41 49 74 Stereo button 79 Stereo settings Channel tab 82 Stop Freewheeling 102 Stripe button 103 Studio setup example 22 Swap L R 83 Synchronization 24 AudioDesk 57 Digital Performer 54 Mac OS X software 64 multiple interfaces 29 Synths connecting 22 System preferences sound input output 7 38 System requirements minimum 15 recommended computer 15 T TACH light SMPTE Setup Console 102 Talkback button Channel tab 83 button Outputs tab 81 explained 96 menu 97 99 settings 97 Tascam Sync 25 26 Technical support 105 106 Threshold dynamics 91 Time code sync 101 109 index TOSLink 6 11 clock source setting 38 connecting 20 trim 79 Trim 18 79 Troubleshooting EQ knobs don t work 80 feedback loop 53 57 60 TRS connectors 19 Type I II optical mode 44 U UltraLite connecting to 828mk3 30 Unbalanced analo
61. CTS 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 54 DIGITAL PERFORMER cHAPTER8 AudioDesk OVERVIEW This chapter provides a brief overview of AudioDesk s basic I O and synchronization operation with the 828mk3 hardware For complete information about all of AudioDesk s powerful workstation features see the AudioDesk manual included with your 828mk3 system Setting UP your system 55 The 828mk3 settings 55 Working with 828mk3 inputs and outputs 57 24 bit operation 57 Processing live inputs through AudioDesk plug ins 57 Working with CueMix FX mixing and effects 57 SYNCNFONIZAUON socevscsssccasecivsetsrseesorsesneaes 57 Using a foot switch a s sssessassasas 58 Exchanging projects with Digital performer 58 AudioDesk and MIDI sequencing 58 SETTING UP YOUR SYSTEM As described in chapter 4 Installing the 828mk3 Mac Software page 31 the AudioDesk and MOTU 828mk3 software installers will properly install and update everything for you If you are using a MIDI Timepiece AV or Digital Timepiece for synchronization be sure they are present i
62. IDI THRUs If you need to connect several pieces of MIDI gear run a MIDI cable from the MIDI THRU of a device already connected to the 828mk3 to the MIDI IN on the additional device as shown below in Figure 3 10 The two devices then share the 828mk3 s MIDI OUT port This means that they share the same set of 16 MIDI channels too so try to do this with devices that receive on only one MIDI channel such as effects modules so their receive channels don t conflict with one another 828mk3 rear panel MIDI MIDI Device IN MIDI MIDI THRU cable MIDI IN Figure 3 10 Connecting additional devices with MIDI THRU ports CONNECT A FOOT SWITCH If you would like to use a foot switch with your 828mk3 connect it to the PUNCH IN OUT jack See Quick Reference MOTU Audio Setup on page 7 for information about how to program the foot switch to trigger any computer keystroke you wish 21 INSTALLING THE 828MK3 HARDWARE A TYPICAL 828MK3 SETUP Here is a typical 828mk3 studio setup This rig can be operated without an external mixer All mixing and processing can be done in the computer with audio software During recording you can use the 828mk3 s CueMix FX no latency monitoring to headphone outs or any other output pair You can control monitoring either from the front panel or from the included CueMix FX software The two front panel guitar mic inputs can be routed to outboard effects processors such as a com
63. ION s35 300ncsnseceerctoesearsesnaveanecteses 39 Word OUR 5 istcscaniesecnsaqetanneraeseaeatenereanns 40 General Tab settings 40 Launch MOTU Audio Setup when hardware becomes availlaD A E aka 40 Edit Channel Names 40 Enable Pedal u u y a yakus s syesaskoekapasssaskyaq 40 MOTU Audio Setup ACCESSING THE 828MK3 SETTINGS There are several ways to access MOTU Audio Setup settings mg Click the MOTU Audio Setup icon in the dock m Presson the MOTU Audio Setup dock icon to open the menu shown below or control click it to open the menu immediately v MOTU Audio Setup 828mk3 Sample Rate Clock Source Optical Input A Optical Output A Optical Input B Optical Output B Default Input Default Output Phones eo w YY Y YV Y Y Y Y Y Remove from Dock Open at Login Show In Finder Show Quit m 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 ASIO from the ASIO Driver menu Then click the MOTU Audio ASIO item in the list and click the Control Panel button 35 m From the front panel LCD as explained in chapter 6
64. K3 HARDWARE Quarter inch analog The eight quarter inch analog inputs and outputs Figure 3 5 are balanced TRS connectors that can also accept an unbalanced plug The quarter inch outputs are calibrated to produce a 4 dBu line level output signal Quarter inch analog input trims The quarter inch inputs are calibrated to accommodate either 4 or 10 dBu signals and are equipped with digitally controlled analog trims that provide 22 dB of gain and 96 dB of cut You can use either the front panel LCD or the included CueMix FX software to adjust the input trim To adjust these trims using CueMix FX see Input trim on page 79 To adjust the trims using the front panel LCD 1 Push the CHANNEL knob repeatedly until you see I which stands for Input in the CHANNEL section of the LCD Figure 3 6 2 Turn the CHANNEL KNOB until you see the desired analog input or input pair For example analog inputs 1 2 appear as I An 1 2 Figure 3 6 which means Input analog 1 2 3 From the factory analog inputs are grouped in stereo pairs 1 2 3 4 etc If you need to split a pair to deal with it as two individual mono inputs turn the PARAMETER knob until you see PAIR in the parameter section of the LCD Figure 3 6 Turn the VALUE knob to choose MONO Then turn the CHANNEL knob again to select the desired input you are adjusting Figure 3 5 828mk3 back panel Figure 3 6 The settings for analog inputs 1 and 2 as
65. Load Preset Turn VALUE to choose the preset you wish to load 1 16 and push VALUE to load it All Notes Off The All Notes Off setting sends a MIDI All Notes Off message as well as a MIDI note off message for every note on every MIDI channel This stops any stuck notes that are currently playing Push VALUE to send the All Notes Off MIDI data Factory Defaults Push VALUE to restore the 828mk3 hardware to its factory default settings Push VALUE again to confirm or turn PARAM to cancel AUDIO MENU To access the AUDIO menu push the PARAM knob until you see AUDIO displayed in the LCD This menu provides basic settings such as sample rate clock source optical bank format ADAT versus TOSLink and so on These settings have corresponding settings in the MOTU Audio Setup software as shown below Audio menu item Where to find more information Clock Source Clock Source on page 37 Sample rate Sample Rate on page 36 Phones Assign Phones on page 39 Main Out Assign Main Outs Assign on page 39 Return Assign Return Assign on page 39 Optical In Out A B Optical input output on page 39 ADAT SMUX Type See below This menu item is only available when the 828mk3 is operat ing at 88 2 or 96 kHz Word Clock Out Word Out on page 40 If the 828mk3 is currently connected to a computer this setting cannot be changed from the front panel LCD It must be changed in MOTU Audio Setup instead
66. MOTU 828mk3 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 SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS CAUTION READ THIS SAFETY GUIDE BEFORE YOU BEGIN INSTALLATION OR OPERATION FAILURE TO COMPLY WITH SAFETY INSTRUCTIONS COULD RESULT IN BODILY INJURY OR EQUIPMENT DAMAGE AN HAZARDOUS VOLAGES CONTACT MAY CAUSE ELECTRIC SHOCK OR BURN TURN OFF UNIT BEFORE SERVICING WARNING TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK DO NOT EXPOSE THIS APPLIANCE TO RAIN OR OTHER MOISTURE CAUTION TO REDUCE THE RISK OF ELECTRICAL SHOCK DO NOT REMOVE COVER NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED SERVICE PERSONNEL WARNING DO NOT PERMIT FINGERS TO TOUCH THE TERMINALS OF PLUGS WHEN INSTALLING OR REMOVING THE PLUG TO OR FROMTHE OUTLET WARNING IF NOT PROPERLY GROUNDED THE MOTU 828mk3 COULD CAUSE AN ELECTRICAL SHOCK The MOTU 828mk3 is equipped with a three conductor cord and grounding type plug which has a grounding prong approved by Underwriters Laboratories and the Canadian Standards Association This plug requires a mating three conductor grounded type outlet as shown in Figure A below If the outlet you are planning to use for the MOTU 828mk3 is of the two prong type DO NOT REMOVE OR ALTER THE GROUNDING PRONG IN ANY MANNER Use an adapter as shown below and always connect
67. Nodes Core Audio DAE oire TOM V Enabled System Memory Requirement 95 0 MB Device MOTU 828mk3 1 0 Buffer Size 512 Samples 1 LJ y BUI F 1 I I I I 1 I I l uuu a Recording Delay Tt o Ams M Universal Track Mode V 24 Bit Recording M Software Monitoring g Independent Monitoring Level for Record Enabled Channel Strips Process Buffer Range Medium ReWire behavior Playback Mode Less CPU Load Maximum Scrub Speed Normal s Apply Changes Figure 10 5 In Logic Pro or Logic Express go to the Audio Driver preferences to access the Buffer Size option shown above Lower latency versus higher CPU overhead The buffer setting has a large impact on the following things m Patch thru latency m The load on your computers CPU m Possible distortion at the smallest settings How responsive the transport controls are in AudioDesk Digital Performer or other audio software The buffer setting presents you with a trade off between the processing power of your computer and the delay of live audio as it is being patched through your software If you reduce the size you reduce patch thru latency but significantly increase the overall processing load on your computer leaving less CPU bandwidth for things like real time effects processing On the other hand if you increase the buffer size you reduce the load on your computer freeing up bandwidth f
68. P 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 MOTUSMPTESetup 101 Clock Address 0 5 05495 0pneseenncnmagneereaenieees 101 Frame Rate i2csciiavsiccrricieiaestecerieetinreviasss 101 Reader s section 102 Generator section 103 Setting up for SMPTE time codessync 104 Resolving DP or AudioDesk to SMPTE time code 104 Resolving Cubase or Nuendo to SMPTE time code 104 The Reader section provides settings for resolving to SMPTE time code Freewheel Address Guau Freewheel Clock G Stop Freewheel 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 37 but it includes additional information each setting shows both the clock and the address time code or sample location separated by a forward slash To resolve the 828mk3 to SMPTE time code choose the SMPTE SMPTE setting in the Clock Address menu This means that the system will use SMPTE as the clock time base and SMPTE
69. TH FREQ GAIN HF MF ENABLE WIDTH Mid TYPE FREQ ENABLE GAIN High w shelf TYPE WIDTH FREQ GAIN HMF ENABLE vow High mid TYPE FREQ LPF ENABLE GAIN Low pass SLOPE WIDTH FREQ HF ENABLE rA Q High w shelf TYPE Dynamics aes FRE ae RESET WIDTH COMP ENABLE LPF ENABLE Compressor MODE THRESH Low pass SLOPE S FREQ RATIO ATTACK DYN ENABLE RELEASE Dynamics COPY TRIM PASTE RESET LEVELER ENABLE MODE COMP ENABLE REDUCE Compressor MODE MAKEUP THRESH ATTACK SEND PAN RELEASE MASTER MONITOR TRIM TALKBACK LEVELER ENABLE Fo CE MODE REDUCE MAKEUP REVERB SEND SEND PAN mono only HPF ENABLE High pass SLOPE FREQ 828MK3 FRONT PANEL OPERATION MIXES MENU CHANNEL PAGE PARAM MASTER ASSIGN MUTE FADER COPY PASTE RESET REVERB SEND RETURN MIC 1 MUTE MIC 2 SOLO if mono BAL WID n a PAN FADER MIC 1 2 MUTE if stereo SOLO BAL WID WIDTH FADER ANALOG 1 MUTE ANALOG 2 SOLO etc BAL WID n a if mono PAN FADER ANALOG 3 4 MUTE ANALOG 5 6 SOLO etc BAL WID if stereo BAL FADER MUTE SOLO BAL WID BAL FADER ADAT A1 2 MUTE ADAT A3 4 SOLO etc BALD WID BAL FADER ADAT B1 2 MUTE ADAT B3 4 SOLO etc BALD WID BAL FADER REVERB MENU REVERB ENABLE TIME PREDELAY WIDTH CUT Hz CUT dB ROOM REFSIZE REF LEV LO MID HI LO XOVR HI XOVR SPLIT STAND ALONE OPERATION All settings including all mix settings and global set
70. a balanced cable with a quarter inch plug IMi I PAD INSTR j ABW 2009B8 TAS MIC INSTR tes I PAD INSTR Fi ABV 20E TAS JE fl MIC InsTR i L E 2 Figure 3 3 Mic guitar inputs Do not connect a 4 line level XLR cable to the front panel inputs because of the preamps Use a rear panel quarter inch input instead Figure 3 2 828mk3 front panel mern THE XLA Phantom power If you are connecting a condenser microphone or other device that requires phantom power move the 48V phantom power switch just to the right of the jack to the up position enabled Trim Both the low impedance XLR mic input and the high impedance quarter inch guitar input are equipped with 53 dB of digitally controlled analog trim Use the detented trim knobs next to each jack to adjust the input level as needed for each input The LCD provides visual feedback as you turn the trim knob E PAGE VALUE Figure 3 4 The LCD gives you feedback as you turn the TRIM knobs for the two mic guitar inputs The 828mk3 s input trims are digitally controlled so they allow you to make fine tuned adjustments in 1dB increments You can also adjust trim in the MOTU CueMix FX software See Input trim on page 79 20 dB pad If the input signal is still too hot with the trim turned all the way down engage flip up the 20dB pad switch to the right of the input jack wm Ll 18 INSTALLING THE 828M
71. a pair 4 After splitting the stereo pair if necessary turn the PARAM knob until you see the TRIM parameter in the LCD Figure 3 7 Figure 3 7 Setting the input trim for a TRS analog input pair 5 Turn the VALUE knob to adjust the trim Mic guitar instrument sends Each front panel XLR TRS input has a corresponding send on the rear panel Figure 3 5 The output from this send is the pre amplified and calibrated signal from the corresponding mic or guitar input which you can then route to any other device such as compressor guitar amp outboard EQ reverb unit etc Use any 828mk3 input analog or digital as a return back into the 828mk3 From there you will be able to route the signal anywhere in the system such as to the computer and or to any CueMix FX mix bus 09000000000 1M RO We A POT VAT oH O O O O O O O O O O O ULL AAO FRIMA BA ZR bBJRHI JAMAL CHS Bao es nE INSTALLING THE 828MK3 HARDWARE XLR main outs The XLR main outputs serve as independent outputs From the factory the main out volume is controlled by the MASTER VOL knob on the front panel although this knob can be programmed to control any combination of outputs For details see The Monitor Group on page 95 In a standard studio configuration the main outs are intended for a pair of studio monitors but they can also be used as additional outputs for any purpose Optical The 828mk3 rear panel provides two set
72. able Outputs at 1x sample rates List position Comment 1 2 u 3 10 not not avallable avallable 11 12 See Return Assign on page 60 not not avallable avallable not not avallable available not not available available Outputs are always listed in the same order as follows when operating the 828mk3 at 1x sample rates 44 1 or 48 kHz Output 44 1 48kHz Channels Analog 8 Main outs 2 Phones 2 SPDIF 2 Optical A 8 ADAT 2 TOSLink Optical B 8 ADAT 2 TOSLink List position 1 8 9 10 11 12 13 14 15 22 15 16 23 30 17 18 Comment If the main outs are assigned to mirror another output pair such as the analog 1 2 they won t be listed separately If the phones are assigned to mirror another output pair such as the main outs they won t be listed separately If the phones are mirror ing then subtract 2 If the main outs are mirroring subtract another 2 These channel number ranges assume that optical A is operating with the same format OTHER MAC OS X AUDIO SOFTWARE Outputs at 2x sample rates When operating the 828mk3 at a 2x sample rate 88 2 or 96 kHz outputs are listed as follows Output List 88 2 96 kHz Channels position Comment Analog 8 1 8 Mainouts 2 9 10 If the main outs are assigned to mirror another output pair such as the analog 1 2 they won t be listed separately Phones Mirror only SPDIF 2 11 12 If the main outs are mirroring then sub
73. ack and talkback Talkback Listenback Click the Talkback or Listenback buttons Figure 11 6 to toggle whether the output pair is included in the Talkback or Listenback group See Talkback and listenback on page 96 Monitor group assign Click the Monitor buttons Figure 11 6 to toggle whether the output pair is included in the Monitor group See The Monitor Group on page 95 ddddddddd ddddddddd 4444444444 a EQ band selectors Ld oa ee 9 ee 9 9 K Leer soQsosos 81 CUEMIX FX THE CHANNEL SETTINGS SECTION The channel settings section in the CueMix FX window Figure 11 1 displays three tabs for Channel EQ and Dynamics settings for the channel with the current focus There are also two global tabs the Meter Bridge and the Reverb Processor as shown below Tabs for the channel that currently has the focus Tabs for the global meter bridge and reverb processor Figure 11 7 The Channel Settings section The Channel tab The Channel tab Figure 11 8 displays settings for input channels Click any focus button in the Inputs tab to view the Channel tab settings for the channel Figure 11 8 The Channel tab Signal flow Settings in the Channel tab occur just before the EQ dynamics and reverb sends in the Input tab channel strip Figure 11 3 on page 78 Input channel signal flow is as follows trim overload protection phase stereo versus M S decoding widt
74. ain Out 1 2 the headphones will duplicate the main outs Or you can choose any other output pair If you choose Phones 1 2 this setting makes the headphone jack serve as its own independent output pair As a result you ll see Phones 1 2 as an additional audio destination in your host s audio output menus When operating at high sample rates the phones must mirror one of the other output pairs Optical input and output To make a 828mk3 optical input or output available in your host software choose the appropriate format ADAT optical or TOSLink from the optical input and or output menu If you won t be using the optical connectors turn them off Main Outs Assign Use the Main Outs Assign setting to determine what audio you will hear on the XLR main outs of the 828mk3 If you would like to treat them as their own separate output pair choose Main Outs Note that when operating at 176 4 or 192 kHz the main outs must mirror one of the TRS analog output pairs Return Assign In your OS X host audio software audio input menus youll see an 828mk3 input called Return 1 2 This is a stereo feed from the 828mk3 that matches the signal of one of its output pairs Use the Return Assign menu in MOTU Audio Setup to choose which output pair you would like to hear on this return This can be used for example to record back a final stereo mix that includes effects processing from the 828mk3 DSP such as the Leveler for reference and archiv
75. all audio and talk to musicians in the live room Conversely Listenback allows musicians to talk to the control room Hardware setup Figure 11 25 below shows a typical hardware setup for Talkback and Listenback For Talkback set up a dedicated mic in your control room and connect it to a mic input on your MOTU audio interface For Listenback set up a dedicated listenback mic in the live room for the musicians and connect it to another mic input or just use one of the mics you are recording from For talkback output set up a headphone distribution amp or set of speakers in the live room and connect it to any 828mk3 output as demonstrated below in Figure 11 25 Control room Talkback Live room Headphone distribution amp Figure 11 25 Typical hardware setup for Talkback and Listenback 96 CUEMIX FX Talkback Listenback Mic Input To configure the talkback mic in CueMix FX go to the Inputs tab Figure 11 3 on page 78 and click the Focus button for the input that the talkback mic is connected to Click the Channel tab Figure 11 8 on page 82 and enable the Talk button Repeat this procedure for the Listenback mic except click the Listen button in the Channel tab Talk Listen output To configure the talkback and listen back outputs go to the Outputs tab Figure 11 6 on page 81 and enable the Talk button for any output pair on which youd like to hear the talkback mic Similarly enable the Listen button for
76. and with Digital Performer s complete mixing environment For example the 828mk3 can serve as a monitor mixer routing channels to musicians or it can serve as an integrated extension of your Digital Performer mixing environment If you program an 828mk3 mixing and processing configuration that goes hand in hand with your DP project be sure to use the file save features in CueMix FX to save the 53 DIGITAL PERFORMER 828mk3 settings as a file in your DP project folder for instant recall of all settings See chapter 11 CueMix FX page 73 for complete details You can even set up your 828mk3 configuration file as a DP startup clipping so that it automatically loads when you open the project See your DP manual for details SYNCHRONIZATION As you read through the following sections to decide what form of synchronization you might need with other devices in your studio be sure to consult Making sync connections on page 24 for the proper hardware connections Use the synchronization diagrams to be clear about how you will be synchronizing Digital Performer and the 828mk3 to the other components of your system Synchronizing digital audio connections If you have devices connected to the 828mk3 digital inputs optical or RCA S PDIF you need to be concerned with the synchronization of the 828mk3 s digital audio clock with other devices connected to it digitally if any For example if you have a digital mixer
77. any output pair on which youd like to hear the listenback mic Talkback Listenback Monitor Dim Use the knobs next to the Talk and Listen buttons Figure 11 26 to determine the amount of attenuation you would like to apply to all other audio signals besides the talkback listenback signal when Talkback and or Listenback is 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 es lt lt Talk dim I 7 Q Listen dim k usss Figure 11 26 The Talkback Listenback controls Engaging disengaging Talkback and Listenback To engage Talk back or Listenback press on the Talk or Listen buttons Figure 11 26 and then release to disengage Talkback and or Listenback is engaged for as long as you hold down the mouse button Option click to make the buttons sticky stay engaged until you click them again so you dont 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 26 Controlling Talkback and Listenback volume To control the volume of the Talkback and or Listenback mics adjust their input trim in CueMix PAs SHORTCUTS Hold down the following general modifier keys as sho
78. as the address FRAME RATE This setting should be made to match the SMPTE time code frame rate of the time code that the system will be receiving The 828mk3 can auto The Generator section provides settings for striping SMPTE time code Destination Stripe Regenerate O Generate from sequencer Figure 12 1 SMPTE Setup gives you access to your 828mk3 s on board SMPTE time code synchronization features 101 detect and switch to the incoming frame rate except that it cannot distinguish between 30 fps and 29 97 fps time code or 23 976 and 24 fps time code So if you are working with either of these rates make sure you choose the correct rate from this menu The 828mk3 driver updates the frame rate setting in Digital Performer and AudioDesk for you READER SECTION The Reader section on the left hand side of the window in Figure 12 1 provides settings for synchronizing the 828mk3 to SMPTE time code Status lights The four status lights Tach Clock Address and Freewheel give you feedback as follows Tach The Tach light blinks once per second when the 828mk3 has successfully achieved lockup to SMPTE time code and SMPTE frame locations are being read Clock The Clock light glows continuously when the 828mk3 has successfully achieved lockup to an external time base such as SMPTE time code or the optical input Address The Address light glows continuously when the 828mk3 has successfully achieved lo
79. bled FE BW Enable Pedal Opu Output Bank B ADAT Optical a Lusana Main Duta Ag Main Oot F i m Retui Arigna Anaq 1 2 F Pedal Lig Wied Che Sytem ich Ey Set mo dimi La Fimea LO bocntloaries LO 2 Figure 9 1 MOTU Audio Setup For complete details about the 828mk3 settings see chapter 5 MOTU Audio Setup page 35 The following sections provide a brief explanation of each 828mk3 setting for use with Logic and other Mac OS X audio software Sample rate Choose the desired overall sample rate for the 828mk3 system and your host audio software Newly recorded audio will have this sample rate Clock Source This setting is very important because it determines which audio clock the 828mk3 will follow If you do not have any digital audio connections to your 828mk3 you are using the analog inputs and outputs only and you will not be slaving your host software to external SMPTE time code choose Internal 59 If you have digital audio devices connected to the 828mk3 or if you are not sure about the clock source of your setup be sure to read Making sync connections on page 24 and Clock Source on page 37 If you are slaving the 828mk3 and your host software to SMPTE time code follow the directions in Syncing to video and or SMPTE time code using a synchronizer on page 26 Phones This 828mk3 setting lets you choose what you ll hear from the headphone jack For example if you choose M
80. bo XLR TRS mic guitar inputs with preamps individual sends 48V phantom power 20 dB pad and Precision Digital Trim m Two XLR main outputs m Operation on all analog I O at standard sample rates up to 192 kHz a Digitally controlled analog trim for all analog inputs About the 828mk3 a Two banks of optical digital I O that provide 16 channels of ADAT optical at 48 kHz 8 channels of S MUX optical I O at 96 kHz or two banks of stereo TOSLink at rates up to 96 kHz mg RCA S PDIF at sample rates up to 96 kHz a Word clock I O a MIDII O m On board SMPTE synchronization with dedicated SMPTE I O jacks m Foot switch for hands free punch in out m Two headphone jacks with independent volume control a Programmable master volume knob m CueMix FX no latency mixing monitoring and effects processing m Front panel LCD programming for the mixer and all other settings m Extensive front panel metering and status LEDs m Auto switching international power supply 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 a AudioDesk full featured audio workstation software for Mac OS that supports both 16 bit and 24 bit recording With a variety of I O formats mic preamps no latency mixing and processing of live input and synchronization capabilities the 828mk3 is a complete portable studio in a bo
81. bo jacks which are both equipped with preamps Both inputs also include a switch that toggles between the low impedance XLR mic input and the true high impedance quarter inch guitar input jack As explained in Mic guitar sends on page 11 the pre amplified signal can be routed to external outboard gear before being routed back into the 828mk3 Mic guitar input overload protection Both mic guitar inputs are equipped with V Limit a hardware limiter that helps prevent digital clipping from overloaded input signals With V Limit enabled signals can go above zero dB with limiting applied to as high as 12 dB above zero with no distortion due to digital clipping Additional or alternative protection can be applied to the mic guitar inputs by enabling the 828mk3 s Soft Clip feature which engages just before clipping occurs and helps reduce perceptible distortion Headphone output and main volume control The 828mk3 front panel provides two independent headphone jacks with independent volume knobs one of which also controls the XLR main outs on the rear panel Alternately this MASTER VOL knob can be programmed to control any combination of outputs analog and or digital For example it can control monitor output for an entire 5 1 or 7 1 surround mix 12 ABOUT THE 828MK3 Programmable backlit LCD display Any 828mk3 setting including the powerful CueMix FX on board 16 bus mixer with effects can be accessed direc
82. bojeue 10 ey 61p ed yndjno 19430 Aue JOUIW ued 1 nq ZH 8b L b 12 1ndino 919DSIp e sI ef SINOHd y A10 92 Y W074 u1n1 1 e se ndul jaued 1ea1 Aue asp eap pieoq1no II0ABJ ANOA 0 s ndul asay n01 0 spuas jaued 1231 Y asf UleD Jo gp s piA01d qouy w WH e1I5I U01ISI291d JY D DpIA01d s uD1IAS BIA pal dde aq ued ped gp oz pue Jamod wojueud A9r i q82 YTY J A9 dUI p e p uuo UOP OS dweaid e YIM paddinba ae Y Sy eduepadwi ybly ay pue Jef YTX aUepadWi Mo a4 YIOg YTX DIW 0 UMOP 1 diy Suu e 104 Hulgas SYLHISNI 242 0 dn yyims 65o1 ay diy 1e1inB e u 6n d no J qe2 seyNb Yyoul sayenb e 10 3 qeD DIW e JaYza dade sydef oquo SY 1 YTX S L pabebua 1lulI A UNA U A Ip IIA 11 gp Z aAoge s o B u u euBis ay J Huddy jey61p OU U1IA 013Z BAOge gp Z Se uBiu se Ob ued sjeuBis uo p un11luur A UNA IA M0H d P1I5Ip prey e dip 1M aAoge 10 019Z lu JEU SjeUBIS yo pauanz ayu y yY MUN PADIPU 2 wi HIWIT YM paddinba ae syndul u og dijp Hulpnpul gp Z 0 013z Wo uwnjo puodas e ul abuel puonippe ue sn d sq31Jo uuun 02 SAY 34 Ul L 0 Zy WOI SJ A ndur Moys s1342 y SyNdul 1241n tu jaued UOL oM Y 104 s19 uu JUaLUHas U9 OM SApIAOd u0l 2 s SIY L Sj1e p 104 Zy abed uo JOSSAJGWWOD y WUIT A YIM saaat syndur 1eynb IN aS UO 10 S1p Je 161p 40 Buiddi 2 ou yim 019z BAOGe tu001pe u Jo gp Z peuonippe ue s piA01d YDIYM AWU
83. c Express Soundtrack Pro In Soundtrack Pro access the preferences window click the Recording tab and choose MOTU 828mk3 from the Input and Monitor menu as shown below in Figure 9 3 Figure 9 3 Enabling the 828mk3 in Soundtrack Pro Garage Band In Garage Band go to the Audio MIDI preferences and choose MOTU 828mk3 from the Audio Output and Audio Input menus as shown below in Figure 9 4 For information about the Optimize for setting see Adjusting the audio I O buffer on page 69 eoo Audio MIDI Q OB General Audio MIDI Loops Export Advanced Audio Output MOTU 828mk3 Audio Input MOTU 828mk3 Optimize for Maximum number of simultaneous tracks Large buffer size Minimum delay when playing instruments live Small buffer size MIDI Status 3 MIDI Input s detected Keyboard Sensitivity I I I I I I Less Neutral More Drag the slider to adjust the velocity level of notes you play Figure 9 4 Enabling the 828mk3 in Garage Band Live In Ableton Live access the preferences window and click the Audio tab Choose CoreAudio from the Driver Type menu Choose the MOTU 828mk3 from the Input Audio Device and Output Audio Device menus as shown below in Figure 9 5 For information about the Buffer Size setting see Adjusting the audio I O buffer on page 69 eeo Preferences Figure 9 5 Enabling the 828mk3 in Live OTHER MAC 0S X AUDIO SOFTWARE Reason In Propellerh
84. ck to the computer where you can record matches the global sample rate process monitor or otherwise use it This is a P e g 96kHz or reduces it to the great way to bounce full mixes complete a corresponding 1x rate e g 48kHz with live audio routed through the 828mk3 instead of 192 kHz only back into the computer aan MOTU Audio Setup Click the General tab to access these settings er 828mk3 Check this option if you would like the MOTU Audio Setup icon to appear in the application dock as soon as a MOTU FireWire interface is Launch MOTU Audio Setup when hardware detected switched on plugged in etc becomes available In the standard Mac 0S X v L MOTU Audio Setup fashion the console This button opens another dialog that lets r you assign th own e sus to Channel Names O rear 828mk3 I you launch it If the Launch Sample Rate gt each 828mk3 input and output For exampls Edit option is checked as i 2 if you have a lead vocal mic plugged into shown above the icon sae lt input 1 you could name it Lead Vox Your appears as soon as you BS RR customized names then appear in your host switch on your 828mk3 eikai l fone R M Enable Pedal interface If you click and Optical Output B P inpu ing Pedal Down hold on the dock perth Default Input b EENS instead of clicking it or Default Output gt If you have a foot switch connected to the Set 3 co
85. ckup to SMPTE time code Freewheel The Freewheel light illuminates when the 828mk3 is freewheeling address time code clock or both For details about Freewheeling see Freewheel Address and Freewheel clock below SMPTE source If your SMPTE time code source is connected to the 828mk3 Time Code input choose SMPTE from the menu Otherwise choose the analog input that is connected to the time code source This is the input that the 828mk3 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 828mk3 can freewheel past the drop out and then resume lockup again as soon as it receives readable time code Choose the amount of time you would like the 828mk3 to freewheel before it gives up and stops altogether The 828mk3 cannot freewheel address without clock Therefore the Freewheel Address setting will always be lower than or equal to the Freewheel Clock setting and both menus will update as needed depending on what you choose 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
86. clock source 59 Main Outs Assign 60 optical I O 60 phones 60 Return Assign 60 reverb return 60 sample rate 59 M M S 82 Mac OS X 59 3rd party software sync 64 input and output names 62 sound input output 7 38 Mackie Control 100 Main outs jacks 6 making connections to 20 volume 5 41 Main Outs Assign 39 AudioDesk 56 Digital Performer 52 Mac OS X audio software 60 Makeup gain 93 Master fader mix busses 76 Master volume 5 41 95 Meters monitor group 96 Meters tab 93 Mic guitar inputs 18 41 connecting 22 phantom power 5 trim 79 V Limit 42 MIDI driver 31 Mid side micing 82 Mix bus activity LEDs 83 93 level meter 77 master fader 76 mute 77 Mix return includes computer 98 Mixes tab 76 Monitor group 95 assigning outputs 95 assigning outputs to 81 level 95 meters 96 presets menu 96 Monitoring 68 thru main outs 20 Mono button 79 MOTU Audio System bit resolution 36 MIDI driver 31 MOTU Audio Setup 31 35 Edit Channel Names 40 MOTU SMPTE Setup 101 N Naming inputs 78 outputs 80 Normal 82 Nuendo 35 clock source 59 Mac OS X 62 Main Outs Assign 60 INDEX optical I O 60 phones 60 Return Assign 60 reverb return 60 sample rate 59 syncing to time code 104 O Optical 2x mode 44 choosing format ADAT or TOSlink 39 connectors 6 20 LEDs 5 13 overview 11 trim 79 Optical converter mode 44 setup example 23 Optimization 70 OS X audio software clock source 59 Main Outs Assign 60 optica
87. connected to the 828mk3 s MIDI IN and a sound module is connected to the 828mk3 MIDI OUT 3 Double click the device to make settings such as input and output channels that further describe the device Device Name naw external devine Manufacturer T HHPHHHH Model More Properties Transmits _ CRarwnels la fefa fafs e fafafa fofa ffas fe Clezk C MIDI Tene Code Recentes Channels TPT inongan Glock C MEIN Time Code Features D General MIDE O Mi Maching Centre Sis if Figure 4 4 Device settings 4 Repeat the above steps for each MIDI device connected to the interface 5 When you are finished quit Audio MIDI Setup Your configuration is automatically saved as the default configuration and it is shared with all CoreMIDI compatible software CUEMIX FX This program provides a mixing console that gives you control over the 828mk3 s on board mixing and effects processing For details see chapter 11 CueMix FX page 73 MOTU SMPTE CONSOLE The MOTU SMPTE Console software provides a complete set of tools to resolve the 828mk3 to SMPTE time code and to generate SMPTE for striping regenerating or slaving other devices to the computer For details see chapter 12 MOTU SMPTE Console page 101 AUDIODESK WORKSTATION SOFTWARE AudioDesk is an advanced workstation software package for the 828mk3 that lets you record edit mix process bounce and master multi track
88. control the PHONES volume Analog input meters ANALOG _ HERI gt METERS AND STATUS LEDS The meters and LEDs Figure 6 2 provide complete status and metering information for all 828mk3 inputs and outputs Mic guitar inputs meters with V Limit compressor The two ten segment meters for the mic guitar inputs show input levels from 42 to 1 in the first column of LEDs plus an additional range in a second column from zero to 12 dB plus clip Both inputs are equipped with V Limit a hardware limiter With the limiter turned off signals that hit zero or above will clip a hard digital clip However with V Limit turned on signals can go as high as 12 dB above zero with no digital clipping If the signal then goes above 12 dB it will clip even with V Limit engaged In either case the clip LED above 12 will illuminate For further information about V Limit as well as another feature called Soft Clip see Overload protection mic guitar inputs only on page 83 S PDIF Mic guitar Main digital preamp out input inputs with meters meters V Limit MIC MAIN B 1 1 dp gt b 8 5 3 2 3 3 I t alial 6 Y ee PD eae 24 7 Woe 8 20 EA EK i ft S428 0 42 1 2 W Sample rate CLOCK en 44 1 48 88 2 96 176 4 192 LOCK TACH ADAT A ADAT B MIDI Analog output activity LEDs S PDIF Time code Optical bank and output L
89. d Internal output pair when the 828mk3 is Word Clock In Default Stereo Output Analog 1 2 HH chosen for Mac 0S X audio 1 0 ar Main Qut1 2 _ Main Out 1 ADAT Optical A oe a SMPTE Optical Input Bank A ADAT Optical Built in Audio Optical Output Bank A TOSLink HH This menu lets you choose what you will Optical Input Bank B Disabled FH hear from the PHONES jack To mirror the main outs choose Main Out 1 2 0r you can Optical Output Bank B f ADAT Optical H mirror any other output pair To hear the Mai choose Main Outs to operate them ain Outs phones as their own independent output Main Outs Assign as their own independent pair at choose Phones 1 2 at 44 1 or 48 kHz At Return Assign Analog 1 2 H sample rates up to 96 kHz higher sample rates the phones must gt mirror any other available output pair Word Out _ System Clock P If you are running an 828mk3 interface at a high sample rate 88 2 96 176 4 or 192 kHz this Each optical bank can be config ured independently ADAT or TOSLink Disable them when not in use to conserve DSP and bus bandwidth Choose the output pair you would like the main outs to mirror or The 828mk3 driver provides a stereo return firmware 1 0 bootloader 1 0 option appears in the interface back to the computer This return feeds the tab It lets you choose a word signal on any 828mk3 output pair directly clock output rate that either ba
90. d to the 828mk3 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 ean MOTU 828mk3 Generator SMPTE Source Freewheel Address Freewheel Clock lt Sa Fram oe Stop Freewheel Launch the MOTU SMPTE Console to specify the time code frame rate and amount of freewheel Also confirm that the Clock Source Address is SMPTE SMPTE For details about the other settings see chapter 12 MOTU SMPTE Console page 101 Figure 3 16 Connections for synchronizing the 828mk3 directly to SMPTE time code INSTALLING THE 828MK3 HARDWARE SYNCING TO VIDEO AND OR SMPTE TIME CODE USING A SYNCHRONIZER If your host audio software does not support the 828mk3 s on board SMPTE sync features because your software does not support sample accurate sync you need a universal synchronizer such as a MOTU MIDI Timepiece AV or Digital Timepiece These dedicated sync boxes can read video and SMPTE time code and then convert it into word clock and MIDI Time Code MTC The word clock goes to the 828mk3 to resolve the audio hardware and MIDI Time Code is fed to your host audio software which locks to it as shown below in Figure 3 17 MOTU MIDI Timepiece AV or Digital Timepiece g slaving to video and or SMPTE time code Word OUT word clock Word IN 828m3 me MI U
91. disappears or begins to drop To disable peak hold indicators altogether choose Off from this sub menu Mix1 Return Includes Computer The Mix1 return includes computer File menu item applies to other MOTU interfaces products and has no effect on the 828mk3 Hardware follows CueMix Stereo Settings This File menu item applies to other MOTU interfaces products and has no effect on the 828mk3 Show meter in dock icon This CueMix FX File menu item applies to other MOT IU interfaces and has no effect on the 828mk3 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 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 CONFIGURATIONS MENU A configuration is a snapshot of all settings in CueMix FX and therefore the 828mk3 hardware itself The commands in the Config
92. ds with the OS X installation Drivers are installed along with the MOTU Audio Setup CueMix FX and several other applications summarized in the following table Software component Location System Library Once the 828mk3 s CoreAudio driver has been successfully installed by the installer and you have chosen it for use in your host audio software the 828mk3 will appear as a choice for audio inputs and outputs in your software All MOTU audio hardware including our PCI audio software Purpose systems and other FireWire and USB interfaces ships with CoreAudio drivers that allow them to operate successfully with virtually all Mac OS X For more information The 828mk3 CoreAudio Provides 828mk3 multi channel audio input MOTU FireWire Audio driver kext Extensions and output with all Mac OS X audio software driver on page 31 CoreMIDI and Audio Provides 828mk3 MIDI input and output for MOTU MIDI driver kext System Library Extensions all Mac OS X MIDI software MIDI Setup on page 32 CoreMIDI and Audio Provides 828mk3 MIDI input and output for MOTU MIDI driver plugin System Library Audio MIDI Drivers Applications folder all Mac OS X MIDI software MIDI Setup on page 32 Provides access to all of the settings in the MOTU Audio Setup CueMix FX Applications folder 828mk3 and other MOTU interfaces Required for 828mk3 operation chapter
93. e and here in MOTU Audio Setup Operation at 4x sample rates 176 4 or 192kHz At the 4x sample rates 176 4 or 192kHz operation of the 828mk3 is restricted due to the higher audio bandwidth demands as follows a All digital I O is disabled there is no ADAT optical TOSLink or S PDIF input output aan MOTU Audio Setup feral 828mk3 __ a Launch MOTU Audio Setup when hardware becomes available Channel Names Edit Mi Enable Pedal Pedal Down Set E Pedal Up Set none driver 1 4 7 Figure 5 1 MOTU Audio Setup gives you access to all of the settings in the 828mk3 hardware 36 MOTU AUDIO SETUP a The 828mk3 provides 8 channels of analog input and 8 channels of analog output simultaneously m The stereo return bus as described in Return Assign on page 39 can only be assigned to one of the four available analog output pairs a The headphone output can only be assigned to one of the four available analog output pairs a The Main Outs can only be assigned to one of the four available analog output pairs Clock Source The Clock Source determines the digital audio clock that the 828mk3 will use as its time base For a complete explanation of synchronization issues see Making sync connections on page 24 The following sections briefly discuss each clock source setting Internal Use the Internal setting when you want the 828mk3 to operate under its own
94. e one as the master and set its Clock Source to Internal Then click the tab of the other 828mk3s and set their Clock Source to the first 828mk3 Resolving to word clock To resolve two 828mk3 FireWire interfaces with each other via word clock choose one as the word clock master and then slave the second interface to the first as shown in Figure 3 21 on page 29 For three interfaces you can probably get away with daisy chaining them via their word clock connectors but this may not always produce the most reliable results For three or more devices a word clock distribution device is highly recommended In this case the distribution box is the master and all FireWire interfaces slave directly to it instead of to each other Connecting other MOTU FireWire interfaces You can add an original MOTU 828 to the end of a FireWire daisy chain because the 828 has only one FireWire port or you can mix and match multiple 828 s with other MOTU FireWire interfaces using a standard FireWire hub You can also add 828mklls 896HDs Travelers and UltraLites which have two FireWire ports convenient for daisy chaining Operating multiple FireWire interfaces at high sample rates Four MOTU FireWire interfaces can operate at 44 1 or 48kHz on a single FireWire bus although you may have to disable optical banks to conserve FireWire bus bandwidth At the 2x samples rates 88 2 or 96kHz and 4x sample rates 176 4 and 192kHz you can operate no
95. e only one built in FireWire bus even if it supplies multiple FireWire sockets Connect them as follows 28 INSTALLING THE 828MK3 HARDWARE FireWire FireWire Word Clock Out For two interfaces slave one to the other FireWire Word Clock In NAT You can probably FireWire Word Clock Out get away with daisy chaining lt _ _ _ _ three interfaces although a word or clock distribu FireWire Word Clock In fiovidoviesis ried a i wale recommended FireWire Word Clock Out This is risky A word clock distri lt o p bution device is highly recom FireWire Word Clock In mended Figure 3 21 Connecting multiple 828mk3 interfaces or other MOTU FireWire audio interfaces to a computer Multiple interfaces cannot be bus powered Do not run the Traveler UltraLite or other bus powered interfaces under bus power when connecting them with other devices on the same FireWire bus Multiple interfaces in MOTU Audio Setup MOTU Audio Setup displays the settings for one interface at a time To view the settings for an interface click its tab as shown below in Figure 3 22 680 General 28mk3 Traveler UltraLite Sample Rate 44100 MOTU Audio Setup Clock Source internal Figure 3 22 To view the settings for an interface click its tab Synchronizing multiple interfaces Mac OS X provides an advanced flexible driver model that allows multiple Core Audio drivers
96. e the input level RMS mode will let peaks through because the detector sidechain is only looking at the average signal level Peak mode will react to brief peaks Peak mode is generally used for drums percussion and other source material with strong transients while RMS mode is mostly used for everything else The input meters show either the peak level or the RMS level depending on the mode Leveler The Leveler Figure 11 21 provides an accurate model of the legendary Teletronix LA 2A optical compressor known for its unique and highly sought after Automatic Gain Control AGC characteristics The 828mk3 Leveler faithfully models the LA 2A using the on board DSP with 32 bit floating point precision A model of an optical compressor The simplest description of an optical leveling amplifier device is a light shining on a photore sistor The intensity of the light source is proportional to the audio signal and the resistance of the photoresistor is in turn inversely proportional to the intensity of the light Photore sistors respond quite quickly to increases in light intensity yet return to their dark resistance very slowly Thus incorporation of the photoresistor into an attenuator followed by an amplifier which provides make up gain produces a signal which maintains a constant overall loudness Automatic gain control using light The the Automatic Gain Control AGC circuit of the LA 2A uses a vintage opto coupler
97. ead Reason go to the Preferences window choose Audio preferences from the menu and choose MOTU 828mk3 from the Audio Output menu as shown below in Figure 9 6 For information about the Buffer Size setting see Adjusting the audio I O buffer on page 69 een Preferences l Audio BH Master Tune fa am 440 Hz 0 Cent Audio Output MOTU 828mk3 9 Y Sample Rate 44 100 Buffer Size sI L 512 samples z Output Latency 11 ms Latency Compensation 11 ms 30 out of Clock Source Internal ie lt gt Active Channels v Play in Background Figure 9 6 Enabling the 828mk3 in Reason 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 828mk3 from the Master ASIO Driver menu as shown below in Figure 9 7 Activate the inputs and outputs within Cubase or Nuendo as usual For information about the Audio Buffer Size setting see Adjusting the audio I O buffer on page 69 Device Setup VST Audig AS Driver J MH 3 MIDI Port See O Release Driver whan AJppliraran it in Rarkqeauna J ri Sete Lal Ffraeagpasat Input Latent 11 562 m Time Deploy L Widen TE Vidao Player ETENN HOTU 828mk3 Val Ygstecm Lini Gutout Latency 11 434 mi HE iin atier Size fabranced Options serio Melawi C i dio Priority ERE Dok Preioad fl Lower Latency N Mulli Processing
98. en MOTU Audio Setup For complete details about the 828mk3 settings see chapter 5 MOTU Audio Setup page 35 The following sections provide a brief explanation of each 828mk3 setting for use with AudioDesk 55 Sample rate Choose the desired overall sample rate for the 828mk3 system and AudioDesk Newly recorded audio in AudioDesk will have this sample rate Imported audio or soundbites in existing files that do not match this sample rate will be displayed in the Soundbites window with a red X on their move handles to indicate that they cannot be played Clock Source This setting is very important because it determines which audio clock the 828mk3 will follow If you do not have any digital audio connections to your 828mk3 you are using the analog inputs and outputs only and you will not be slaving AudioDesk to external SMPTE time code choose Internal If you have digital audio devices connected to the MOTU 828 or if you are not sure about the clock source of your setup be sure to read Making sync connections on page 24 and Clock Source on page 37 If you are slaving the 828mk3 and AudioDesk to SMPTE time code via the 828mk3 itself choose SMPTE and follow the directions in Syncing to SMPTE time code directly on page 25 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 828mk3 hard
99. ered separately You can do so online or by filling out and mailing the included software registration card found at the beginning of your AudioDesk manual Please be sure to register AudioDesk as well so that you will be eligible to receive technical support and announcements about AudioDesk software enhancements as soon as they become available Thank you for taking the time to register your new MOTU products 15 16 PACKING LIST AND MAC SYSTEM REQUIREMENTS CHAPTER 3 OVERVIEW Here s an overview for installing the 828mk3 Connect the 828mkd3interface 17 Connect the 828mk3 to the computer Connect audio inputs and outputs 18 Make optical and analog connections as desired Connect MIDI gear 21 Connect a controller synth or control surface Connect a foot switch 21 Connect a footswitch to trigger any keystroke A typical 828mk3 setup 22 An example setup for computer based mixing FX Operating the 828mk3 as a converter 23 An example of using the 828mk3 as an expander Making sync connections 24 If you need to resolve the 828mk3 with other devices make the necessary sync connections Syncing to SMPTE time code directly 25 Syncing to video and or SMPTE time code using a SVNCMNONIZEN oeseri aE 26 Syncing S PDIF dev
100. erve computer bandwidth Phones 1 2 If you ve chosen to treat the 828mk3 headphones as an independent output you ll see Phones 1 2 in Digital Performer s output menus Audio tracks assigned to this output pair will be heard on the headphone jack only For further explanation see Phones on page 39 24 BIT OPERATION Your 828mk3 hardware fully supports Digital Performer s 24 bit recording capabilities including both analog and digital 24 bit recording If you would like to record and play back 24 bit audio files go to the Audio Options in the Digital Performer Preferences Digital Performer menu and choose 24 bit recording as the sample format This setting is saved with the Digital Performer project MIDI I O VIA THE 828MK3 MIDI PORTS Once you ve followed the procedure for enabling the 828mk3 s MIDI features as explained in Software installation on page 31 the 828mk3 MIDI ports will appear as an input source and output destination in Digital Performer s MIDI I O menus PROCESSING LIVE INPUTS WITH DP 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 67 WORKING WITH CUEMIX FX MIXING AND EFFECTS The 828mk3 provides powerful external mixing EQ compression and reverb which you can operate hand in h
101. f the optical device you are connecting to the 828mk3 has word clock connectors on it you can use them to resolve the device to the 828mk3 similar to the diagram shown in Figure 3 18 on page 27 for S PDIF devices with word clock Also see Syncing word clock devices on page 28 S PDIF If you make a S PDIF digital audio connection to another device be sure to review the digital audio clocking issues as explained in Syncing S PDIF devices on page 27 The 828mk3 supplies 12dB of digital trim boost for the S PDIF input pair which can be adjusted from CueMix FX Input trim on page 79 or the front panel The IN inputs menu on page 45 CONNECT MIDI GEAR Connect your MIDI device s MIDI IN jack to the 828mk3 s MIDI OUT jack Connection A below Conversely connect the MIDI device s MIDI OUT jack to the 8238mkII s MIDI IN jack Connection B 828mk3 rear panel MIDI MIDI OUT MIDI IN cables Connection A MIDI MIDI Connection B MIDI Device IN OUT Figure 3 9 Connecting a MIDI device to the 828mk3 One way MIDI connections MIDI devices that do not receive MIDI data such as a dedicated keyboard controller guitar controller or drum pad only need Connection B shown in Figure 3 9 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 M
102. fl Adjusi for Record Lagency ENN oo Figure 9 7 Enabling the 828mk3 audio driver in Cubase Other audio software For other audio applications the procedure is similar to that shown above Consult your owners manual for further information WORKING WITH 828MK3 INPUTS AND OUTPUTS Once youve enabled the 828mk3 s Core Audio driver 828mk3 audio inputs and outputs will appear in your host software wherever audio inputs and outputs are listed If you don t see the optical inputs and or outputs check MOTU Audio Setup to make sure they are turned on If you dont plan to use either optical bank turn it off to conserve computer bandwidth AUDIO INPUT AND OUTPUT NAMES The 828mk3 Core Audio driver supplies text string labels for its inputs and outputs to clearly identify each one but some applications do not display these labels For example in Cubase the 828mk3 outputs are numbered like this Derg bebop m TO amp TR 1 Runa Contre Pare mpat Luteo LE mi L an 3 Gutpet Laney 12 449 mi Mata Fart karu ED Ca tourer EEEEEEEEEKEEREEEEE Riper eer pe te ir de ite ire ity lee ek l aylu aed i HT aes n s bret FTU fimt ll CETE 1 W kim i Jl Hais atest fattest dtl Tame Eth Figure 9 8 Some applications number the 828mk3 inputs and outputs but don t display which outputs they refer to The following sections show how you can identify each input and output in a numbered list like
103. g 19 Undo Redo 98 USB installing drivers 31 User def monitor group menu 96 V Video sync 24 101 V Limit 42 83 Volume headphone 12 W Width 77 reverb 95 Width knob 83 Word clock 6 12 24 27 In setting 37 sync setting 37 Synchronization word clock 30 Word Out 40 110 INDEX
104. h L R swap EQ dynamics and reverb send Stereo settings Inputs that have been grouped as stereo pairs in the Inputs tab Figure 11 3 provide two stereo modes Figure 11 8 Normal and M S M S mode provides decoding for a mid side microphone configuration 82 CUEMIX FX The Width knob Figure 11 8 provides control over the stereo imaging going from a full stereo image to mono both channels panned equally See Width on page 77 The Swap L R button Figure 11 8 lets you switch the left and right channels Overload protection mic guitar inputs only The Overload Protection section Figure 11 8 provides two features that help prevent digital clipping on the two front panel mic guitar inputs These options are only available on these two preamp equipped inputs V Limit Figure 11 8 is a hardware limiter that helps prevent digital clipping from overloaded input signals With V Limit engaged signals can go above zero dB with limiting applied to as high as 12 dB above zero with no distortion due to digital clipping Click the Lookahead option for even better protection against sharp transients Additional or alternative protection can be applied to the mic guitar inputs by enabling Soft Clip Figure 11 8 When enabled Soft Clip engages just before clipping occurs and helps further reduce perceptible distortion Talkback section Click the Talkback or Listenback button Figure 11 8 to toggle whether the i
105. h pass filters are also supplied with slopes that range from 6 to 36 dB The EQ employs extremely high precision 64 bit floating point processing The 838mk3 s flexible effects architecture allows you to apply EQ and compression on every input and output a total of 58 channels with enough DSP resources for at least one band of parametric EQ and compression on every channel at 48 kHz However DSP resources are allocated dynamically and a DSP meter in the CueMix FX software 13 ABOUT THE 828MK3 included allows you to keep tabs on the 828mk3 s processing resources Each input output and mix bus provides a send to the Classic Reverb processor which then feeds reverb returns to mix busses and outputs with a selectable split point between them to prevent send return feedback loops AUDIODESK AudioDesk is a full featured 24 bit audio workstation software package included with the 828mk3 system for Mac 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 828mk3 system is fully integrated with MOTU s award winning Digital Performer audio sequencer software package OTHER HOST AUDIO SOFTWARE The 82
106. hase lock does not apply to you Resolving directly to time code with no synchronizer If you need to slave AudioDesk and the 828mk3 to SMPTE time code you can do so with or without a dedicated synchronizer To resolve your 828mk3 directly to SMPTE time code with no additional synchronization devices use the setup shown in Syncing to SMPTE time code directly on page 25 Resolving to video and or time code with a dedicated synchronizer To resolve your 828mk3 to video and or SMPTE time code using an additional synchronization device use the setup shown in Syncing to video and or SMPTE time code using a synchronizer on page 26 USING A FOOT SWITCH Use a foot switch connected to the 828mk3 to trigger recording punch in and punch out or any other feature in AudioDesk that is assigned to a computer keystroke By default the foot switch triggers the 3 key on the computer keypad which toggles AudioDesk s record button To trigger a different set of keystrokes with the foot switch visit the MOTU Audio Setup See Enable Pedal on page 40 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
107. he Gain Q dependency was dictated by the actual circuit design and electrical components used The following sections describe the character of each type of EQ filter and their suggested applications In the illustrations for each filter style Figure 11 13 through Figure 11 16 the settings for the three example curves are the same for the purpose of comparison m Frequency 1 00 kHz m Q 1 a Gain 3 10 and 20 dB 86 CUEMIX FX Type I Figure 11 13 Type I EQ filter style The Type I EQ filter has the least amount of Gain Q interaction providing the most precision and control of all the EQ filter types Even small adjustments in gain or reduction produce relatively high Q This EQ style is best for situations that call for precise EQ adjustments requiring the maximum amount of individual parameter control For more general shaping e g full mixes or subtle control e g vocals the other styles discussed in the following sections might be more appropriate This filter type is the most similar to a standard parametric EQ Type I Figure 11 14 Type II EQ filter style The Type IT EQ filter produces constant Q response during boost or cut The Type II style emulates several classic legacy EQs and produces good results for resonance control on drums and percussion because it provides relatively high Q values with more extreme gain or cut settings CUEMIX FX
108. he Return Assign menu in MOTU Audio Setup to choose which output pair you would like to hear on this return This can be used for example to record back a final stereo mix that includes effects processing from the 828mk3 DSP such as the Leveler for reference and archiving purposes 52 DIGITAL PERFORMER i Instruments MIDI Devices MOTU amp 28mk3 Fender Strat 2 Analog 1 Analog 2 MODEL Mano 4444 var 2 l hono Stereo Stereo m n i EA a s k L Delete F Delete Unused F Edit Figure 7 2 The stereo return and reverb return busses from the 828mk3 in Digital Performer s Bundles window Warning the Return inputs can cause feedback loops DO NOT assign this input to a track that shares the same 828mk3 output pair as the returns Reverb return The 828mk3 also supplies a return to Digital Performer that carries the output of its reverb processor Figure 7 2 This return can be used for any purpose you wish WORKING WITH 828MK3 INPUTS AND OUTPUTS Once youve enabled the MOTU FireWire Audio driver as explained earlier in The 828mk3 settings on page 51 828mk3 audio inputs and outputs will appear in Digital Performer s audio input and output menus as well as the Bundles window Figure 7 2 If you don t see the optical inputs and or outputs check MOTU Audio Setup to make sure they are turned on If you don t plan to use either optical bank turn them off to cons
109. hoose Word Clock In Don t chain word clock If you have three or more digital audio devices that you need to synchronize avoid chaining their word clock connections OUT to IN OUT to IN etc as this causes problems Instead use a dedicated synchronizer like the Digital Timepiece or a word clock distribution device of some kind Slaving to 2x and 1 2x word clock All MOTU FireWire audio interfaces that support 96 kHz operation have the ability to slave to a word clock signal running at either one half or one quarter of their current clock rate For example the 828mk3 could be running at 96 kHz while slaving to a 48 kHz word clock signal Similarly the 828mk3 could run at 88 2 kHz and slave to 44 1 kHz word clock Remember the word clock signal must be one of the following m the same as the 828mk3 clock a half of the 828mk3 clock Forcing a 1x word out rate The 828mk3 can generate a word clock output signal that either matches the current system clock rate any rate between 44 1 and 192kHz or the corresponding 1x rate For example if the 828mk3 is operating at 192kHz you can choose to generate a word out rate of 48kHz For details on how to make this word clock output setting see Word Out on page 40 CONNECTING MULTIPLE MOTU FIREWIRE INTERFACES You can daisy chain multiple MOTU FireWire interfaces on a single FireWire bus with the restrictions described in the following sections Most computers hav
110. ices 27 Syncing word clock devices 28 Connecting multiple MOTU FireWire interfaces 28 Installing the 828mk3 Hardware CONNECT THE 828MK3 INTERFACE 1 Plug one end of the 828mk3 FireWire cable included into the FireWire socket on the computer as shown below in Figure 3 1 You can connect the 828mk3 to an 800Mbit FireWire B port using a 9 pin to 6 pin FireWire B cable not shown However the 828mk3 will still operate at its specified 400Mbit FireWire A data rate 2 Plug the other end of the FireWire cable into the 828mk3 I O as shown below in Figure 3 1 aw oe Figure 3 1 Connecting the 828mk3 to the computer 17 CONNECT AUDIO INPUTS AND OUTPUTS The 828mk3 audio interface has the following audio input and output connectors m 8 balanced 4 dB quarter inch analog outputs m 8 balanced 4 dB quarter inch analog inputs m 2 mic guitar combo jack inputs with preamps m 2 quarter inch sends for the mic guitar inputs m 2 XLR main outs m 2 pair of optical in out switchable between ADAT Lightpipe or optical S PDIF TOSLink a l pair of RCA S PDIF in and out Here are a few things you should keep in mind as you are making these connections to other devices Mic guitar inputs with preamps Connect a microphone guitar instrument or other analog input to the front panel XLR quarter inch combo jack with either a standard mic cable or
111. icker placed on the bottom of the 828mk3 rack unit You must be able to supply this number to receive technical support m 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 m The pages in the manual which refer to the parts of the 828mk3 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 828mk3 Development Team MOTU Inc 1280 Massachusetts Avenue Cambridge MA 02138 106 TROUBLESHOOTING kext 31 1394 connector 6 12 17 192kHz multiple interfaces 30 operation 36 24 bit AudioDesk 57 Digital Performer 53 optical 6 11 recording 13 828 828mkII connecting to 828mk3 30 828mk3 connecting multiple interfaces 30 expansion 28 installing 17 rear panel overview 10 SMPTE setting 38 summary of features 9 tab MOTU Audio Setup 36 Word Clock In setting 37 896HD connecting to 828mk3 30 Ableton Live 61 Activity LEDs 5 13 ADAT optical 6 11 clock source setting 37 38 connecting 20 SMUX Type 44 sync 25 26 trim 79 All Notes Off LCD 44 Analog activity lights 5 13 Analog inputs outputs 6
112. ime before you hear the very first reflections If you are in a large room it takes a while before the first reflections return PreDelay is useful for clarifying the original sound For example with vocals the reflections won t start until after the initial sound of a word has been sung Shelf Filter The Shelf Filter is a low pass filter that controls the high frequency characteristics of the overall effect Frequency sets the cutoff frequency for the filter and Cut sets the amount of signal attenuation applied by the filter Early reflections Initial reflections give a space its unique sound The shape of the room the angles of the walls even furniture in the room will produce a series of Initial Reflections Think of the early reflections and room type as the flavor of the reverb You can choose between several types of rooms These are acoustic models for simulating these different types of spaces The Size and Level parameters let you control the size of the room and the strength of the initial reflections Here s a tip try using initial reflections without any subsequent reverb turn the reverb time down as far as it will go You ll hear interesting and unusual effects Reverb design The Reverb Design section allows you to independently control the reverb time for three separate frequency bands Low Mid and High with adjustable cross over points between them Low and High The reverb time for each band is
113. individual input 45 828MK3 FRONT PANEL OPERATION channel strip in CueMix FX Figure 11 3 on page 78 as well as the settings in the Channel tab Figure 11 8 on page 82 Turn the PARAMETER knob to scroll through individual parameters such as the frequency for the current band of EQ This is roughly equivalent to the parameters in the EQ tab Figure 11 10 on page 84 Dynamics tab Figure 11 21 on page 91 and Reverb tab Figure 11 23 on page 94 in the CueMix FX software Adjusting the value of a parameter Turn the VALUE knob to adjust the value of the current PARAMETER Some parameters have default values If so push the VALUE knob to cycle through them Inactive items If a menu item is inactive for some reason perhaps it doesn t currently apply or it is disabled it is displayed in parentheses Copying and pasting EQ dynamics and Mix Assign settings allow you to copy and paste settings between EQ bands and or channels Push the VALUE knob to copy scroll to the other item and then push again to paste Summary of Inputs menu settings For a summary of Inputs menu settings see Inputs menu on page 48 The OUT Outputs menu Push the CHANNEL button repeatedly until you see O in the channel section of the LCD Figure 6 7 This is similar to accessing the Outputs tab in CueMix FX console The Outputs tab on page 80 0 Indicates The current the OUT channel outputs menu Acce
114. ing 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 that is not currently being displayed CueMix FX will jump to the appropriate tab to display the control you are adjusting Share surfaces with other applications When the Share surfaces with other applications menu command is checked CueMix FX releases the control surface when you switch to another application This allows you to control your other software with the control surface Here s a simple way to understand this mode the control surface will always control the front most application Just bring the desired application to the front make it the active application and your control surface will control it When 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
115. ing purposes Warning the Return inputs can cause feedback loops DO NOT assign this input to a track that shares the same 828mk3 output pair as the returns Reverb return The 828mk3 also supplies a return to your host software that carries the output of its reverb processor This return can be used for any purpose you wish CHOOSING THE MOTU FIREWIRE 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 828mk3 Core Audio driver Check the audio system or audio hardware configuration window in your software There will be a menu there that lets you choose among various drivers that may be in your system Choose the MOTU 828mk3 from this menu Logic Pro and Logic Express In Logic Pro and Logic Express go to the Preferences window click the Audio tab click the Drivers tab and click the Core Audio tab as shown in Figure 9 2 Choose the MOTU 828mk3 from the Driver menu For information about the I O Buffer Size setting see Adjusting the audio I O buffer on page 69 60 OTHER MAC OS X AUDIO SOFTWARE 1 0 bufer size S12 Samples J 1 0 Safety Buffer Recording Delay m V Universal Track Mode V 24 Bit Recording V software Monitoring for Record Enabled Channel Strips Reire behavior Playback Mode Less CPU Load 2 Maximum Scrub Speed Normal Figure 9 2 Enabling the 828mk3 in Logic Pro or Logi
116. ir audio clocks are phase locked For details see Choosing a clock source for optical connections on page 20 and Making sync connections on page 24 If you dont have any digital audio devices connected to the 828mk3 digital audio phase lock does not apply to you Resolving directly to time code with no synchronizer If your host audio software supports Core Audios sample accurate positioning protocol then it can resolve to the 828mk3 s built in time code synchronization feature To resolve your 828mk3 directly to SMPTE time code with no additional synchronization devices use the setup shown in Syncing to SMPTE time code directly on page 25 Resolving to video and or time code with a dedicated synchronizer If your host software has the ability to synchronize to SMPTE time code but does not support Core Audio s sample accurate positioning protocol you can slave your host software and the 828mk3 to video and or SMPTE time code using a dedicated synchronization device To do so use the setup shown in Syncing to video and or SMPTE time code using a synchronizer on page 26 USING A FOOT SWITCH Use a foot switch connected to the 828mk3 to trigger recording punch in and punch out or any other feature in your host audio software that is assigned to a computer keystroke By default the foot switch triggers the 3 key on the computer keypad To trigger a different set of keystrokes with the foot switch visi
117. it CueMix dovetails with the direct monitoring features of your host audio software allowing you to seemlessly mix in both environments For information about programming the 828mk3 s on board mixing and effects using the front panel LCD see chapter 6 828mk3 Front Panel Operation page 41 A 16 bus mixer with EQ compression and reverb 73 Advantages over host based mixing and processing 74 CueMix FX iinstallation 74 CueMix FX basic operation 75 THE MikestaD u v a ssasaecsssqasqaququesankaqqa 76 Tne INDUUS Gbx y 2 yo su sscasaesyussssssssuzasssq 78 The Outputs taD uy u u y au ssssctakaskteyanaqqa 80 The channel settings section 82 The Monitor Group 95 DSP WB8tef s sua esas sus akaskasqakakuqkuqkaxqaqayieq 96 Solo light u a u asssasakuesakasawwankayauaqpuqahyw 96 Talkback and listenback 96 SHOMCUNS u u assaka askapaptusykysaququwcpuycuxi 97 File men s essing stres iaronn Ennen 98 Edit MENU uu u s luyapakauskuskunyaasakusuyashuykaws 98 Devicesmenu 98 Configurations menu 98 Talkback menu 99 Phonesmenu 99 Control Surfaces menu 99 A 16 BUS MIXER WITH EQ COMPRESSION AND REVERB
118. ividual input channels Figure 6 8 The MIX Mixes menu Change the value of the current parameter here Choosing a mix bus Once you see the MIX menu Figure 6 8 in the LCD turn the CHANNEL knob to select the desired mix that you wish to edit This is roughly equivalent to choosing a mix in the Mixes tab in CueMix FX software Figure 11 2 on page 76 Working with mix busses in the LCD Once you ve selected a mix you can access the various settings for that mix using the PAGE knob and PARAMETER knobs The knobs function the same as described for inputs in Choosing a setting to modify on page 45 and Adjusting the value of a parameter on page 46 The PAGE knob scrolls through the following mix bus settings m MASTER these are master fader settings such as the master fader output assignment master mute on off and the master fader volume Access them with the PARAMETER knob REVERB these are the reverb send and return controls for the bus master fader Access them with the PARAMETER knob m Individual channels once you scroll past MASTER and REVERB the PAGE knob then scrolls through all available inputs for the mix bus Once you choose an input access its channel settings using the PARAM knob and VALUE knob Summary of Mix menu settings For asummary of Mix menu settings see Mixes gt menu on page 49 The REVERB menu Push the CHANNEL button repeatedly until you see REVERB in
119. known by its model number T4 The T4 contains an electroluminescent panel ELP and photoresistor mounted so that the emission of the panel modulates the resistance An ELP consists of a thin layer of phosphorescent material sandwiched between two insulated electrodes to form a capacitor Making one of the electrodes transparent allows the light to escape These devices are essentially glow in the dark paint on a piece of foil covered by metalized glass or plastic and are the same devices used in low power night lights Unfortunately these devices need high voltages to operate and are best driven by tube circuits which can supply voltage swings of several hundred volts Response characteristics Once the light has faded away the photoresistor then decays back to its dark state The shape of the decay curve varies depending on how bright the light was and how long the light lasted A general rule of thumb is that the louder the program the slower the release Typically the release can take up to and over one minute One thing to keep in mind when using these types of devices is that the typical concepts of compression ratio attack release and threshold do not apply The light intensity is determined by the highly non linear interactions of the input signal AGC circuit and ELP and thus exhibit a strong program dependence that is impossible to describe without the mind numbing mathematics of statistical mechanics The actual resul
120. l I O 60 phones 60 Return Assign 60 reverb return 60 sample rate 59 Output level meter in Dynamics plug in 92 Outputs analog 6 dynamics 81 EQ 81 naming 60 optical 6 reverb send return 81 S PDIF TOSLink 6 signal flow 80 tab 80 Overload Protection 83 P Packing list 15 Pad 18 Paste 98 Patch thru latency 70 Peak mode 92 Peak Hold Time 98 Pedal 12 40 3rd party OS X software 65 AudioDesk 58 configuring 7 Digital Performer 54 jack 6 Pedal A 21 Pedal B LRC 21 Performance 70 Phantom power 5 18 Phase 79 Phase lock 24 Phones 5 39 41 42 63 64 AudioDesk 56 Digital Performer 52 menu 99 Phones 1 2 output 3rd party software 60 AudioDesk 57 Digital Performer 53 Pre post FX buttons 83 93 PreDelay 95 Presets naming saving in LCD 44 Propellerhead Reason 62 Punch in out 12 Q 86 Ratio compressor 91 Reason 62 Regenerate 103 Registration 15 Release Dynamics 91 Return Assign 39 AudioDesk 56 Digital Performer 52 Mac OS X audio software 60 Reverb 75 design section 95 early reflections 95 enabling disabling 94 input sends 80 mix bus send return 76 77 outputs send return 81 predelay 95 returns 94 routing to from 94 send channel tab 83 sends 94 shelf filter 95 tab 94 time 95 trim channel tab 83 width 95 Reverb return 94 AudioDesk 57 Digital Performer 53 OS X audio software 60 RMS mode 92 S S MUX 44 S PDIF 11 clock source setting 37 connection 21 lights 5 13 optical 6 11 RC
121. l directly to the main outs or other output completely bypassing the computer This signal could be dry or with 828mk3 effects processing such as EQ compression or Classic Reverb 3 Mic signal is mixed with the main outs and you can control the volume relative to the rest of the mix with the mic s fader in CueMix FX Figure 10 2 This diagram shows the signal flow when using CueMix FX no latency monitoring Notice that this method does not process the live input with plug ins in your audio software Instead you can apply 828mk3 effects such as the reverb EQ and or compression REDUCING MONITORING LATENCY Device Setup h VST Audio System Da O ES i ver ia Aaa ae kelate Driver whan Applicatiqg is in Barirgrnumndi i we LA Franagssat Input Larendy 11562 ma Time apiy Castput Latency 11438 ms Li idoa vidro Pay EEEE iio Butter sive fag WaT Adio Syrien MOTU 828mk3 YET SwqEBna Lisi Advanced Options Set ip Deijijlii C sadio Priority s a EJ Lower Latency al Muhi Procesiing J Adjon for Record Larency maro cor sit Hmp Rewer Cancel F OK Figure 10 4 In Cubase or Nuendo choose Devices menu gt Device Setup and click VST Audio System to access the window above and the Audio Buffer Size setting AA Preferences Rl E an Es sil Global Audio MIDI Display Score Video Automation Control Surfaces Sharing Devices Genera Sample Edor Surround mP3 Reset
122. l inputs when either one is connected to another optical device These two settings only appear in the Clock Source menu with their corresponding optical bank input is enabled and set to the TOSLink format as explained in Optical input output on page 39 The TOSLink clock source setting refers to the clock provided an optical S PDIF device connected to the 828mk3 s optical input This setting can be used to slave the 828mk3 directly to the optical input connection Most of the time you can set up a better operating scenario that uses one of the other synchronization options However there may be occasions when you have an TOSLink compatible device that has no way of synchronizing digitally to the 828mk3 or an external synchronizer such as the Digital Timepiece In this case the TOSLink clock source setting lets you slave the 828mk3 to the other device via the 828mk3 s optical input This setting is also useful if you just need to make a simple click free digital transfer between the 828mk3 and another device where a time code reference and shared transport control are not needed without having to set up an elaborate synchronization scenario For further details see Choosing a clock source for optical connections on page 20 SMPTE Choose this setting to resolve the 828mk3 directly to SMPTE time code LTC being received via the 828mk3 s quarter inch SMPTE input jack For details see Syncing to SMPTE
123. l inputs and outputs 24 bit audio files can be recorded with any compatible host application that supports 24 bit recording CUEMIX FX 32 BIT FLOATING POINT MIXING AND EFFECTS All 828mk3 inputs and outputs can be routed to the on board CueMix FX 16 bus 8 stereo digital mixer driven by hardware based DSP with 32 bit floating point precision The mixer allows you to apply no latency effects processing to inputs outputs or busses directly in the 828mk3 hardware independent of the computer Effects can even be applied when the 828mk3 is operating stand alone without a computer as a complete rack mounted mixer Input signals to the computer can be recorded wet dry or dry with a wet monitor mix for musicians during recording for example Effects include reverb parametric EQ and compression limiting The 828mk3 s Classic Reverb provides five different room types three frequency bands with adjustable crossover points shelf filtering and reverb lengths up to 60 seconds Two forms of compression are supplied a standard compressor with conventional threshold ratio attack release gain controls and the Leveler an accurate model of the legendary LA 2A optical compressor which provides vintage musical automatic gain control CueMix FX also provides 7 band parametric EQ modeled after British analog console EQs featuring 4 filter styles gain Q profiles to effectively cover a wide range of audio material Low pass and hig
124. lication 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 Adjusting the audio I O buffer Lower latency versus higher CPU overhead Transport responsiveness Effects processing and automated mixing CueMix FX hardware monitoring Two methods for controlling CueMix FX Using CueMix FX Controlling CueMix FX from your audio software 67 MONITORING LIVE INPUT There are two ways to monitor live audio input with an 828mk3 1 through the computer or 2 via the 82mk3 CueMix FX hardware mixer Figure 10 1 shows method 1 which allows you to apply host based effects processing via plug ins in your audio software See the next section Adjusting the audio I O buffer for details about how to reduce and possibly eliminate the audible monitoring delay that the computer introduces Figure 10 2 shows how to use CueMix FX hardware based monitoring which lets you hear what you are recording with no monitoring delay and no computer based effects processing Instead input is routed directly to an output either 1 Live input from mic guitar etc enters the
125. llows you to fine tune trim settings for synths effects modules and a wide variety of analog inputs for optimum levels Different trim configurations can then be saved as files on disk for instant recall Mic guitar sends Before A D conversion the pre amplified signal from each front panel mic guitar input is routed to one of the two rear panel quarter inch analog sends so that you can insert a favorite outboard EQ compressor amp or effects processor to the mic guitar input signal before it is converted to digital form The resulting output from the outboard gear can be fed back into the 828mk3 via one of the eight TRS analog inputs on the rear panel for routing to the computer and or inclusion in the 828mk3 s built in monitor mixes Main Outs The main outs are equipped with 24 bit 192 kHz D A converters and serve as independent outputs for the computer or for the 828mk3 s on board CueMix FX mixes Optical The two optical banks provide 16 channels of ADAT optical at 44 1 or 48 kHz 8 channels of S MUX optical I O at 96 kHz or two banks of stereo TOSLink at rates up to 96 kHz The banks operate independently including input and output allowing you to mix and match any optical formats For example you could receive 4 channels of 96 kHz S MUX input on Bank A while at the same time sending 96 kHz stereo optical S PDIF TOSLink from the Bank A output S PDIF The 828mk3 rear panel provides S PDIF input and output i
126. luggish 68 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 828mk3 buffers are used for the process of transferring audio data in and out of the computer The size of the buffers determines how much delay you hear when monitoring live inputs through your audio software larger buffers produce more delay smaller buffers produce less Under Mac OS X audio I O buffer size is handled by the host audio application not the 828mk3 Core Audio driver Most audio software applications provide an adjustable audio buffer setting that lets you control the amount of delay youll hear when monitoring live inputs or processing them with software plug ins Below are a few examples 1 Live input from mic guitar etc enters the MOTU interface Configure Hardware Driver i Co re udio ica Master Device MOTU 82Bmk3 il Sample Rate 44100 E Clock Modes MOTU 828mk3 le SMPTE E Buffer Size 5120 _ Host Buffer Multiplier 1 E Work Priority High _ _ jJ 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 2 CueMix FX immediately patches the live mic signa
127. ment to settle before you begin processing signals with it The Meters tab The Meters tab Figure 11 22 serves as a comprehensive meter bridge for all inputs outputs and mix busses in the 828mk3 This tab gives you a bird s eye view of all signal activity in the 828mk3 it is ideal for confirming your signal routing programming and for troubleshooting Bus activity LEDs inputs only Channel meter display Meters tab CHANNEL J DAN meten nm INPUTS Pre post processing switch MIC ANALOG SPMF OPTICALA OPTICAL B MIKES MIX MIX2 MIXS MIG MXS MIG MIX7 MIX8 PUTs MAN ANALOG S PDIF PHONES OPTICALA OPTICAL B Figure 11 22 The Meters tab Channel meter display The channel meter display Figure 11 22 provides a long throw meter for the input or output that currently has the focus in the Input Output tabs Bus activity LEDs inputs only The Bus activity LEDs Figure 11 22 are present only for inputs See Input meter and bus activity LEDs on page 83 Pre post processing switch The pre post processing switch Figure 11 22 affects all input meters and the meter in the channel meter display above the tab if this area is displaying an input meter Click Pre to view levels before any input channel processing besides trim click Post to view levels after all channel processing EQ compression M S decoding L R swap etc 93 CUEMIX FX The Reverb tab The
128. n Audio MIDI setup THE 828MK3 SETTINGS Choose the 828mk3 as your audio input output device by choosing MOTU Audio System options gt Configure Hardware Driver from the Setup menu This window shows some of the 828mk3 settings such as sample rate and clock source but to access all of the 828mk3 settings open MOTU Audio Setup as shown in Figure 5 1 on page 36 Configure Hardware Driver i CoreAudio i Master Device MOTU 828mk3 Sample Rate 44100 E MOTU 828mk3 JE supTE E Buffer Size 512 El Host Buffer Multiplier 1 fa Work Priority High is Ban OTU Asia Selup aan MOTU kau Setup Ceneu 1 BS B mk3 Cimen aama Sample Pate 96000 T Cigek Geuice ohernal EE Launch AITU Adiy Serup when hardware 2 ppm aw laita Delh Sheen Input Me l 2 op Daae See Our Anke E lt P Praeeg Masin Oe lea Optical inpe Dank A ADAT Optical Opel Output Bank A TOS EE Chanpa hamer L Eda Optical Inpet Bark E Disabled S Enable Fedal Optical ipul Bank E ADAT Optical Pedal Dawe Main Dun Aaign Main Outs EF Se N Fequin Assign Analogy 1 7 F Asdal Le Vied st Fiten Chek Heme pee Firmware 1 0 bootloader 1 0 die La kawana Figure 8 1 Choose Setup menu gt Configure Audio System gt Configure Hardware Driver to open the dialog shown above and access the 828mk3 CoreAudio driver To access the rest of the 828mk3 settings op
129. n in the audio or perhaps no audio at all Not phase locked Phase locked Device A HULL HULL Device B HLL HU Figure 3 14 When transferring audio two devices must have phase locked audio clocks to prevent clicks pops or other artifacts There are two ways to achieve phase lock slave one device to the other or slave both devices to a third master clock If you have three or more digital audio devices you need to slave them all to a single Master CQ Master Y Slave Y Slave Y Slave e Figure 3 15 To keep the 828mk3 phased locked with other digital audio devices connected to it choose a clock master master audio clock Also remember that audio phase lock can be achieved independently of time code location For example one device can be the time code master while another is the audio clock master But only one device can be the audio clock master If you set things up with this rule in mind you ll have trouble free audio transfers with the 828mk3 24 INSTALLING THE 828MK3 HARDWARE SYNCING TO SMPTE TIME CODE DIRECTLY The 828mk3 system can resolve directly to SMPTE time code It can also generate time code and word clock under its own clock or while slaving to time code Therefore the 828mk3 can act both as an audio interface and as a digital audio synchronizer to which you can slave other digital audio devices You can use the 828mk3 to slave your audio software to SMPTE as well as long as your software supports
130. n two different formats RCA coax and optical TOSLink The RCA jacks are dedicated to the S PDIF format The TOSLink jacks can be used either for either TOSLink or ADAT optical as discussed earlier MIDI I O The 828mk3 s standard MIDI IN and MIDI OUT jacks supply 16 channels of MIDI I O to and from the computer via the 828mk3 s FireWire connection Timing accuracy can be sample accurate with host software that supports it On board SMPTE synchronization The 828mk3 can resolve directly to SMPTE time code via the quarter inch SMPTE input without a separate synchronizer A SMPTE out jack is also provided for time code generation The 828mk3 provides a DSP driven phase lock engine with sophisticated filtering that provides fast lockup times and sub frame accuracy The included MOTU SMPTE Console software provides a complete set of tools for generating and regenerating 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 all audio sequencer software that supports the ASIO2 sample accurate sync protocol ABOUT THE 828MK3 Word clock The 828mk3 provides standard word clock that can slave to any supported sample rate In addition word clock can resolve to and generate high and low sample rates For example if the 828mk3 global sample rate is set to 96 kHz the word clock input can resolve to a
131. nabled CueMix activates hardware patch thru in the 828mk3 itself CueMix FX has two important benefits a First it completely eliminates the patch thru delay reducing it to a small number of samples about the same amount as one of today s digital mixers 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 828mk3 itself and are mixed with disk tracks playing back from your audio software This means that you cannot apply host based plug ins mix automation or other real time effects that your audio software provides But for inputs that don t need these types of features CueMix FX is the way to go On the other hand if you really need to use the mixing and processing provided by your audio software you should not use CueMix FX Instead reduce latency with the buffer setting as explained earlier in this chapter TWO METHODS FOR CONTROLLING CUEMIX FX There are two ways to control CueMix FX a With CueMix FX m From within your host audio software if it supports direct hardware monitoring You can even use both methods simultaneously Using CueMix FX If your host audio software does not support direct hardware monitoring you run the CueMix FX software side by side with your audio software and manage your monitor mix in CueMix FX CueMix FX allows yo
132. ngs section of the CueMix FX window Figure 11 7 on page 82 Output EQ and Dynamics The EQ Dynamics section in the Outputs tab Figure 11 6 works identically to the EQ Dynamics section for the Inputs tab Figure 11 3 See Input EQ and dynamics on page 79 Output reverb send return The output reverb send Figure 11 6 feeds the signal for the output to the 828mk3 s global reverb processor where it is merged with any other signals being fed to the reverb The reverb s output can then be fed back into the mixer at various return points including the same output from which it was sent discussed below The output reverb send is disabled grayed out when the reverb Split Outputs tab r mms Main Out 1 2 Analog 1 2 Analog 3 4 Output name Channel focus ddddddddd 4111414411 ddddddddd r k EQ Dynamics graph EQ Dynamics controls EQ Dynamics enable disable VERB SND Output reverb G E send return Talkback listenback enable disable Monitor group assign Figure 11 6 The Outputs tab Point is set to Mix to eliminate the possibility for feedback loops created by reverb send return loops See Split point on page 94 The output reverb return Figure 11 6 feeds the output of the 828mk3 s global reverb processor directly to the output This includes any other signals currently being fed to the reverb Both the send and return occur after EQ and dynamics processing but before listenb
133. no effect equal amounts of left and right are combined and sent to both outputs In between the left out is a mixture of the left input and some of the right input and vice versa with the effect of narrowing the field Input fader and mute solo To add an input to a mix or remove it click its Mute button To solo it use its Solo button Use the input fader Figure 11 2 to adjust the level for the input in the mix Note that an input can have different level pan mute and solo settings for different mixes Input channel level meters are post fader If any solo button on the current active bus is enabled the Solo Light Figure 11 1 will illuminate 77 CUEMIX FX THE INPUTS TAB The 828mk3 provides many features for managing analog and digital input signals Some of these features such as the 828mk3 s digitally controlled analog trims are implemented in the analog domain others are implemented in the digital domain as DSP applied to the digital signal after the A D converter on analog inputs Click the Inputs tab Figure 11 3 to access and control all of these input channel settings for each 828mk3 input or input pair Input tab settings are global Except for the reverb send all settings you make in the Input tab are applied to the input signal before it goes anywhere else to a mix bus or the computer For example if you apply EQ and compression to the input signal you will record the processed versi
134. nput is the Talkback or Listenback input Only one input can be the talkback input and only one input can be the listenback input See Talkback and listenback on page 96 Reverb section The Send in the reverb section Figure 11 8 is the same control as the reverb send in the Input tab channel strip Figure 11 3 See Reverb send on page 80 If the input is currently not grouped as a stereo pair in the Input tab it is operating as a mono input use the reverb Pan knob Figure 11 8 to pan the mono signal for the stereo reverb processor Input meter and bus activity LEDs When the Channel tab is active Figure 11 8 the display above the tab provides a horizontal level meter and eight bus activity LEDs Figure 11 9 i Bus activity LEDs Figure 11 9 Input meter and bus activity LEDs The input level meter Figure 11 9 is the same as the input meters in the Meters tab Figure 11 22 on page 93 with the Pre FX button engaged which shows the input level on the physical input itself before any processing of any kind occurs within the 828mk3 This meter gives you the most accurate reading of the actual signal level hitting the input regardless of any other settings such as V Limit Soft Clip and so on The clip indicator however happens after V Limit and or Soft Clip This allows you to see when clipping occurs even with these overload protection features engaged The Bus Activity LEDs Figure 11 9 show
135. ntrol click a menu of Phones gt 828mk3 these settings let you map the foot hardware settings appears vith an conte Ee oth the up and down position For details Set j none about how to set this up see Enable Pedal C Set iade sss In Finder on page 40 u Withou ow dier a console window Quit CHAPTER 1 OVGIVICW Secascssnsaier iene cindseas Hanan q puyu uapa 9 The 828mk3 Rear PPaanel 10 The 828mk3 Front Panel 12 16 bit and 24 bit recording 13 CueMix FX 32 bit floating point mixing and effects 13 Audio lesk uu tiles sskasasucayiqakapusakuqpasquas 14 Digital Performer 14 Other Host Audio Software 14 OVERVIEW The 828mk3 is a FireWire audio interface for Mac and Windows with on board effects and mixing that offers 28 inputs and 30 outputs at 44 1 or 48 kHz Both analog and digital I O are offered at sample rates up to 96 kHz and analog recording and playback is offered at rates up to 192 kHz All inputs and outputs can be accessed simultaneously The 828mk3 consists of a standard 19 inch single space rack mountable I O unit that connects directly to a computer via a standard IEEE 1394 FireWire cable The 828mk3 offers the following main features a Eight 24 bit analog quarter inch TRS inputs a Eight 24 bit analog quarter inch TRS outputs m Two com
136. o 19 JY suu Hoyeue p llonuo e1i6ip 1n e yy Wu jeybig UOISIDAg S EHWYZB 24 YIM p ddinb osje ae syndur asa GP Y 10 gp QL 194419 S JPUBIS A ul YIM s u uunu su 19470 pue S 0SS 201d Saja SAUIYEW WUD S19ZIS d4JUAS 10J pasn s q ae u os sduue 1d u0udoDiuu aaey JOU Op ul 5n d paue Jequn ue 1d 228 osje ue zey 10 9UU0D youl JayJenb anaa s bull diy sy p 2uejeq pajejd pjob ase syndui Hojeue g s u1 SJ9JAUOD ZHY Z6L 1 q pZ YUM paddinby DOWNY THE LAPS OSDNV VEN 039A TES O O O O O O O O O O O S 3IA D 19470 0 9p02 Y yuusueay pue BPO wy 0 1391Ip EAUgZZ I4 9A 0S91 0 WAY sn sppe 1ndino pue yndul J LAWS Hoyeue youl sayenb ave s ul S19119AU02 97 abed uo SarefJa U MIMI ALLOW ldi nui Bulp uuo aas sjieyap J04 SNQ dM aJI Buls e uo urey sIep Ue NOA SadIAap Jo JAqUINU y WIJ JIM suoneanpyuos Huljesado s ul s 1e1 duues Jaybiy ye sayesado 41 U UA 10 Pajqeua ae syueg e3I do uloq 10 U0 U UA U DIApueq sng M OW s sn EYU8ZZ ay JY puru u d y S J3IA D MII 19470 JBUUOD OS e Ue no snq dM Buls e 0 S924 1 1Uul OIpNe IMH NLOW 104 0 dn uleyd Asiep 0 140d 311M4 puodas au SN EAUZZZ Ino YIM p piA01d ajqed M H pOE piepue s y Huisn aay JayNdWO ay 0 4WY7g ay 9UU0 HOUIMe LOO O O e OAS diol ZH Z6L WG 77 YIM paddinba ae u bnjd peduejequn ue 3da02e osje ued ey S10 D
137. o inputs Figure 11 3 on page 78 Mix bus output Figure 11 2 on page 76 m Outputs Figure 11 6 on page 81 Reverb returns The stereo output from the reverb processor can be sent to the following destinations via their corresponding returns discussed earlier in this chapter a Mix bus outputs m Outputs m The computer via the Reverb Return bus Split point The Split Point Figure 11 23 prevents feedback loops that would be caused by a signal being sent to the reverb processor and then returned to the same signal path Mix When the Split Point is set to Mix the returns in the Mix bus tab become active and the sends in the Output tab gray out This allows you to send from inputs and mixes and return to mixes and outputs Output When the Split Point is set to Output the sends in Output tab become active and the returns in the Mix bus tab gray out This allows you to send from inputs mixes and outputs and return to outputs 94 CUEMIX FX Primary controls The Primary Controls section Figure 11 23 in the Reverb tab provides the following basic parameters for programming the reverb Reverb Time Reverb time determines the length of decay or tail of the reverb This is a global setting for the reverb processor You can further refine the tails by independently setting the reverb time of three separate frequency bands as discussed below in the Reverb Design section PreDelay PreDelay is the amount of t
138. ock Tach MIDI 1 0 activity activity LEDs Figure 6 2 The 828mk3 front panel meters and LEDs 42 828MK3 FRONT PANEL OPERATION PUSH BUTTON ROTARY ENCODERS All of the knobs shown in Figure 6 3 are push button digital rotary encoders In many cases you can either push the knob or turn it to make a setting or toggle the LCD display depending on the encoder and setting MULTI FUNCTION LCD DISPLAY The LCD provides access to the many 828mk3 settings as well as visual feedback of the current parameter being modified Parameter zooming For many settings the LCD temporarily zooms in to display a long throw meter and alpha numeric display to give you precise real time feedback as you adjust the setting For example if you change the headphone volume the LCD will display a level meter and gain reduction reading that updates as you turn the volume knob After a brief time out the display returns to its previous state before you turned the volume knob When viewing CueMix settings Push the PARAM knob to cycle in the LCD push the CHANNEL among three global menus knob to cycle among four main CueMix mixer AUDIO mixer menus MIX IN inputs settings and 828MK3 SETUP OUT outputs and REVERB Turn it to choose a channel a PAGE VALUE Figure 6 4 The LCD provides feedback as you adjust volume Three global menus Push the PARAM knob to cycle the LCD among three global menus described in the rest
139. of this chapter mg 828mk3 SETUP mg AUDIO settings a CUEMIX mixer The LCD is divided into four sections that correspond to the four knobs to the left CHANNEL Turn the PAGE knob to view settings for Turn and or push the each channel Push it to jump to the VALUE knob to adjust next section or back to the beginning the current setting Figure 6 3 The 828mk3 front panel controls 828MK3 FRONT PANEL OPERATION 828MK3 SETUP MENU To access the 828mk3 SETUP menu push the PARAM knob until you see 828mk3 SETUP displayed in the LCD This menu provides basic features for managing the 828mk3 hardware Turn the PARAM knob to access each setting explained briefly below LCD Contrast Turn the VALUE knob to adjust the LCD contrast CHANNEL PARAMETER Lorntreasti Figure 6 5 In setup mode the LCD displays a setup parameter in the top row of the LCD and the current setting in the bottom row Save Name Preset An 828mk3 preset holds all current CueMix FX mix settings everything in the CUEMIX menu SETUP menu and AUDIO menu parameters are not included Turn the VALUE knob to move from character to character in the preset name Turn PAGE to change the currently flashing letter Once you ve named the preset push VALUE to save it turn it again to choose the desired preset slot you wish to save it to 1 16 and the push again to confirm the save To cancel the save operation at any time by turning the PARAM knob
140. on of the signal in your host audio software running on the computer If you need to Inputs tab Input name Channel focus jil STERED MON Mono stereo paring Invert phase Input trim EQ dynamics graph EQ dynamics controls EQ dynamics enable disable Reverb send Input scroll bar Figure 11 3 The Inputs tab Q record a completely unprocessed input signal do not apply any changes to it in the Input tab The only exception to this is the reverb send which simply splits the input signal and feeds a copy of it to the 828mk3 s reverb processor Signal flows from top to bottom Settings in each Input tab channel strip are generally applied to the signal in order from top to bottom Input channel signal flow is as follows trim overload protection phase stereo versus M S decoding width L R swap EQ dynamics and reverb send Naming an input Click the input name at the top of the input channel strip Figure 11 3 to edit the name Input names are global across all mixes This name also appears in host audio software on the computer if the software supports channel names i ro ti fi PHASE R EQ band selectors LP HP filter selector Compressor selector Q gt Or O 78 CUEMIX FX Input channel focus Click the channel focus button Figure 11 3 to view and edit parameters in the channel settings section of the CueMix FX window Figure 11 7 on page 82 Mono stereo pairing Click the Mono
141. onfigure Audio System gt Configure Hardware Driver from the Setup menu This window shows some of the 828mk3 settings such as sample rate and clock source but to access all of the 828mk3 settings open MOTU Audio Setup as shown in Figure 5 1 on page 36 Digital Performer Configure Hardware Driver CoreAudio T Built in Audio Master Device MOTU B2Bmk3 r Sample Rato Clock Modes Butter Sze Work prorty Acn MOTU Aao Setup an MOTU Aao Setup Genera Sagal Generis arama Samele Fate 6000 oe ck S Launch MOTU Audio Setup when harcore isch Suig iterna easy gt Cefautt faren input Mir l ee Defauh Stereo Durgut Analog 1 2 E pa Channel Hames Phones Maiti M E Optical input Bank A ADAT Osal FE Pasa Ophea Dutgut Bank A TOL H Optical Input Bank E Disabled E Enable Fedal Optics Gutgut Bank 8 ADAT Optra EE Pijal Carer Mais Cur Aaiya Main Dut l Ser jM Renen Amga Analog 1 2 W Pedal Lip Word Gar Stes Chach Te ben rats Pesman 9 0 poooaden 1 Q Figure 7 1 Choose Setup menu gt Configure Audio System gt Configure Hardware Driver to open the dialog shown above and access the 828mk3 CoreAudio driver To access the rest of the 828mk3 settings open MOTU Audio Setup For complete details about the 828mk3 settings see chapter 5 MOTU Audio Setup page 35 The following sections provide a brief explanation of each 828mk3 setting for use with Digital Performer 51
142. ontally scrolling area in the Mix tab to the left of the master fader Figure 11 2 displays channel strips for all currently enabled 828mk3 inputs Naming an input Click the input name at the top of the input channel strip Figure 11 2 to edit the name Input names are global across all mixes This name also appears in host audio software on the computer if the software supports channel names Input channel focus Click the channel focus button Figure 11 3 to view and edit parameters in the channel settings section of the CueMix FX window Figure 11 7 on page 82 Clicking the mix bus master fader focus button brings the assigned output into focus if there is one Input pan section The input pan knob Figure 11 2 pans the input across the bus stereo outputs If the input itself is grouped as a stereo pair in the Inputs tab two forms of panning control are provided 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 mo
143. ontrols in the EQ Compression section of the Inputs tab Figure 11 3 let you edit EQ and compression settings within the context of the channel strip This is ideal when you are comparing settings among neighboring channels or perhaps even applying the same setting across all inputs However for more detailed editing of EQ and compression settings for an input channel you can click its Focus button and view the settings in the Channel Section of the CueMix FX window Figure 11 1 This section even provides graphical editing of EQ curves and the compressor graph allowing you to click and drag directly on the graphic For details see The channel settings section on page 82 The EQ Dynamics graph The EQ Dynamics graph for each input channel strip Figure 11 3 provides a thumbnail view of the EQ curves or Compressor graph for the channel This graphic is for display purposes only it cannot be edited directly To change the EQ settings in this graph use the two or three knobs below as explained in the following sections If however you would like to edit the EQ curves graphically you can do so in the EQ tab Figure 11 10 on page 84 EQ Dynamics selectors The EQ Dynamics selector buttons along the right hand edge of the EQ Dynamics section Figure 11 3 allow you to choose what you are viewing and editing in the EQ Dynamics section 79 CUEMIX FX Blue EQ band selectors Yellow White lt LP HP filte
144. or effects mixing and other real time operations Audio Performance CPU E Playback Record 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 make your software respond faster raising the buffer size will make it a little bit slower but barely enough to notice 70 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 FX HARDWARE MONITORING The 828mk3 has a more direct method of patching audio through the system This method employs the 828mk3 s CueMix FX digital mixer When e
145. ord clock output either to match the current sample rate System Clock or force it to the corresponding 1x rate either 44 1 or 48kHz For example if the 828mk3 were operating at 176 4kHz choosing the Force 44 1 48kHz option would produce word clock output at 44 1kHz GENERAL TAB SETTINGS Launch MOTU Audio Setup when hardware becomes available Check this option if you would like the MOTU Audio Setup icon to appear in the application dock as soon as a MOTU interface is detected switched on plugged in etc Edit Channel Names Click the Edit Channel Names button to open the Channel Names window Figure 5 3 This window lets you edit the names of the 828mk3 inputs and outputs as they appear in your host audio software For example when you click on a menu that displays the 828mk3 inputs or outputs you will see the names you specify in this window e g vocal mic lead guitar etc instead of the default generic names Analog 1 Analog 2 etc Not all Mac OS X audio software supports channel names If not you ll see generic port names in your host audio software eoe MOTU Channel Names Device Channel Name wy MOTU 828mk3 w Input Names Mic 1 U87 Mic 2 Fender Strat Analog 1 Analog 1 Analog 2 Analog 2 Analog 3 Analog 3 Analog 4 Analog 4 Analog 5 Analog 5 Analog 6 Analog 6 Analog 7 Analog 7 Analog 8 Analog 8 Reverb 1 Reverb 1 Reverb 2 Reverb 2 L Return
146. ovides powerful external mixing EQ compression and reverb which you can operate hand in hand with your host s mixing environment For example the 828mk3 can serve as a monitor mixer routing channels to musicians or it can serve as an integrated extension of your host s mixing environment If you program an 828mk3 mixing and processing configuration that goes hand in hand with your host project be sure to use the file save features in CueMix FX to save the 828mk3 settings as a file in your host project folder for instant recall of all settings See chapter 11 CueMix FX page 73 for complete details SYNCHRONIZATION As you read through the following sections to decide what form of synchronization you might need with other devices in your studio be sure to consult Making sync connections on page 24 for the proper hardware connections Use the synchronization diagrams to be clear about how you will be synchronizing your audio software and the 828mk3 to the other components of your system 64 OTHER MAC OS X AUDIO SOFTWARE Synchronizing digital audio connections If you have devices connected to the 828mk3 digital inputs optical or RCA S PDIF you need to be concerned with the synchronization of the 828mk3 s digital audio clock with other devices connected to it digitally if any For example if you have a digital mixer connected to the 828mk3 via an ADAT optical light pipe cable you need to make sure that the
147. pressor EQ or reverb via the rear panel sends listen to what you are recording via the main outs headphones headphones guitar 828mk3 front panel monitors foot switch MOTU 8pre and or 8 channel sends to other outputs stage other optical devices ADAT optical FX unit monitors surround in rack monitors etc Et below ant a ara 828mk3 back panel to send returns send returns S PDIF quarter inch MIDIIN OUT analogouts other outboard gear DAT deck synthesizer quarter inch analog outs synths samplers effects units etc Figure 3 11 A typical 828mk3 studio setup 22 INSTALLING THE 828MK3 HARDWARE OPERATING THE 828mk3 AS A CONVERTER As explained earlier in Using optical I O to operate the 828mk3 as a 16 channel expander on page 20 the 828mk3 can serve as a multi channel analog to digital converter when disconnected from the computer and instead connected to another device equipped with an ADAT optical input For example you could connect the 828mk3 optical output to the optical input on another MOTU audio interface such as a Traveler 896 HD or even another 828mk3 The 828mk3 then serves as a multi channel expander that adds additional mic analog TRS and digital inputs to the interface The benefit of connecting the 828mk3 in this manner instead of as another FireWire interface is that you can seamlessly integrate the 828mk3 s inputs into the on board no latenc
148. puts tab Figure 11 3 on page 78 gives you access to settings for individual 828mk3 inputs or input pairs such as phase trim EQ and dynamics processing Each input also includes a send to the 828mk3 s global reverb processor These settings are applied to the signal before it goes anywhere else to a mix bus or the computer Output channels The Outputs tab Figure 11 6 on page 81 gives you access to settings for each 828mk3 output pair including EQ dynamics processing and send return controls for feeding and returning the output signal to from the 828mk3 s global reverb processor These settings are applied to the signal just before it is sent to the output Channel focus and settings Click the focus button for a channel Figure 11 1 to view channel specific parameters in the Channel Settings section of the CueMix FX window Figure 11 1 Separate tabs are provided for channel specific settings channel strip EQ and dynamics plus the global meter bridge and reverb processor Global reverb processor The 828mk3 has a global reverb module Figure 11 23 on page 94 Once it has been activated you can feed signals to the reverb processor from various points in the 828mk3 mix matrix via input sends bus sends and output sends Stereo output from the reverb processor can then be fed back to mix busses or output pairs using reverb returns Other features CueMix offers many additional features discussed in this chapte
149. r such as talkback listenback extensive metering graphic editing of certain effects parameters monitor grouping and more Widening the CueMix FX window To view more input faders at once drag the grow box Figure 11 1 to the right 75 CUEMIX FX THE MIXES TAB Click the Mixes tab Figure 11 2 to gain access to the 828mk3 s eight stereo mix busses The Mixes tab displays one mix bus at a time Viewing a mix Choose the mix you wish to view from the mix bus menu in the Mixes tab itself as shown in Figure 11 2 The menu shows all mixes by name followed by the 828mk3 output pair to which each bus master fader is currently assigned if any Naming a mix Click the mix name at the top of the mix bus master fader Figure 11 2 to edit the name Mixes Mix bus tab menu Input name Channel focus Input pan section joa 202 Oaa CEI a lela em Ow Input fader Input mute solo Input level meter Scroll bar for input channels Mic inputs Figure 11 2 The Mixes tab Assigning a mix bus output Choose the desired output pair for the mix bus from the bus output menu Figure 11 2 The bus output menu displays all current available enabled 828mk3 output pairs If a bus is already assigned to an output pair the bus name appears next to the output pair name to indicate that the output pair is already taken by a bus Only one bus can be assigned to any given output pair If you choose an output
150. r selector Black Compressor selector olored knobs Figure 11 4 The EQ Dynamics selectors Click the selector Figure 11 4 for the desired EQ band low pass LP filter high pass HP filter or compressor to view it across all channels Compressor Compressor Compressor graph meter selector Figure 11 5 The Compressor controls Shortcut hold down the option key while clicking an EQ selector button to show just that band of EQ in the graphs Click any selector again to return to viewing all bands Using the EQ Dynamics knobs Once you have chosen the desired EQ band or the compressor you can modify its settings using the two or three knobs below the graph The knobs match the color of the currently selected effect to help remind you of which effect you are currently editing Important before you can modify the settings of an EQ band using the three knobs below the graph the EQ band must be enabled This is done in the EQ tab Figure 11 10 as explained in Enabling EQ on page 84 EQ Dynamics enable disable buttons Click the EQ or Dynamics button at the bottom of the input channel Figure 11 3 to toggle the effect on or off Note that you can program EQ and compressor settings even when the effect is currently disabled You just won t hear the result until you enable it Reverb send The input
151. ram 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 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
152. returned unit and print the Return Merchandise Authorization Number on the outside of the box below the shipping address This warranty does not apply if the equipment has been damaged by accident abuse misuse or misapplication has been modified without the written permission of MOTU or if the product serial number has been removed or defaced ALL IMPLIED WARRANTIES INCLUDING IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE LIMITED IN DURATION TO TWO 2 YEARS FROM THE DATE OF THE ORIGINAL RETAIL PURCHASE OF THIS PRODUCT THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE AND IN LIEU OF ALL OTHERS ORAL OR WRITTEN EXPRESS OR IMPLIED No MOTU S 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
153. reverb send Figure 11 3 feeds the input signal to the 828mk3 s global reverb processor where it is merged with any other signals being fed to the reverb The reverb s output can then be fed back into a mix or output pair The send occurs after all other settings in the input channel strip phase invert EQ compression etc THE OUTPUTS TAB The Outputs tab Figure 11 6 lets you apply EQ dynamics and reverb to any output pair just before the signal leaves the 828mk3 This is processing that occurs at the very end of the signal flow after everything else host based effects 828mk3 input or bus processing mixing and so on Processing is done in the digital domain just before the signal goes analog through the D A converter Output tab processing is applied to the entire output mix all signals being mixed to the output from various sources Signal flows from top to bottom Settings in each Output tab channel strip are applied to the signal in order from top to bottom For example EQ occurs before Dynamics which is applied before the reverb send and return Naming an output Click the output name at the top of the output channel strip Figure 11 6 to edit the name Output names are global and will also appear in host audio software on the computer if the software supports channel names 80 CUEMIX FX Output channel focus Click the channel focus button Figure 11 6 to view and edit parameters in the channel setti
154. ri Built in Audio Dorka digia our part Firewire Firewire The selected device has no output controls Output volume a E mii _ Mute inf Show wolume in menu bar Figure 5 2 The Mac OS X sound preferences let you use the 828mk3 for general stereo audio input and output for your Mac The Default Stereo Input and Default Stereo Output settings in MOTU Audio Setup Figure 5 1 on page 36 let you specify the stereo input and output on the 828mk3 to be used when it is chosen as the audio I O device in the system preferences Phones The Phones setting lets you choose what you will hear from the headphone jack Choose Main Outs if youd like the headphone output to match the Main Outs Choose Phones if you would like the headphones to serve as their own independent output which you can access as an independent output destination in your host audio software and as an output destination for the eight on board CueMix FX mix busses Optical input output The Optical input and Optical output settings let you choose between ADAT optical lightpipe and S PDIF optical TOSLink as the format for the 828mk3 s two banks of optical input and output Bank A and Bank B Choose the format that matches the device connected If you are not using the optical connections it is recommended that you turn them off by choosing Disabled from the menu to reduce bandwidth and processing overhead Note that you can operate each optical
155. rogrammed Filter type Lets you choose from one of four or five EQ styles for each independent band of EQ Low High Pass filter Both a low pass and high pass filter are supplied with six different slope settings Slope Lets you choose the slope fall off charac teristics of the low pass and high pass filter Q handle Drag the Q handle lines to graphically adjust the Q setting for the currently selected filter To select the filter click its filter handle Filter handle Drag this handle to graphically adjust the filter s boost cut and or frequency Composite curve white line shows the overall response curve of the current settings in the window Individual filter curve Each filter has a color indicated by its knobs When filter curves are being displayed the filter curve option is turned on each individual filter s response curve is displayed in the filter s color Filter curve toggle Shows hides the colored filter curves in the display Filter enable disable Turns the filter on or off How the vintage EQ works The Vintage EQ operates like a standard EQ filter but with much more sophisticated processing algorithms under the hood There are five bands of EQ each with their own unique knob color plus additional low pass and high pass filters Each filter can be set to any center frequency you wish Each filter can be independently turned on or off with the enable disable button Figure 11 10
156. rtcuts Shortcut Shift key Command key Option key Shift Option Double click Result Applies your action to all inputs or all out puts in the mix Applies your action to the stereo input pair even when it is currently configured as mono Applies your action to all busses Applies your action to all inputs and mixes Returns the control to its default value pan center unity gain etc Hold down the following modifier keys as shortcuts for the EQ tab and controls Shortcut Shift click Option click Shift Option click Result Applies EQ button change to all input or out puts Applies EQ enable button changes to all bands in that input or output Applies EQ enable button changes to all bands and all inputs or outputs 97 CUEMIX FX FILE MENU Saving and loading hardware presets The 828mk3 can store up to 16 presets in its on board memory A preset includes of all CueMix FX settings for all for mix busses but it excludes global settings like clock source and sample rate The Load Hardware Preset and Save Hardware Preset commands in the CueMix FX file menu let you name save and load presets in the 828mk3 Peak hold time In CueMix FX a peak indicator is a line representing a virtual LED displayed in a level meter that indicates the maximum signal level registered by the meter The Peak hold time setting File menu determines how long this indicator remains visible before it
157. s set to None Tach light The Tach light blinks once per second when the 828mk3 is generating SMPTE time code Destination In the Destination menu choose either SMPTE to generate time code or None to turn it off Stripe Click this button to start or stop time code To set the start time click directly on the SMPTE time code display in the Generator section and type in the desired start time Or drag vertically on the numbers Click here to edit the start time or drag vertically on the numbers Regenerate Generate from sequencer Figure 12 2 Setting the time code start time Regenerate This option when enabled causes the generator to generate time code whenever the 828mk3 is receiving SMPTE time code Generate from sequencer This option when enabled causes the generator to generate time code whenever you are running AudioDesk or Digital Performer Time code begins at the time specified by the AudioDesk or Digital Performer main transport 103 MOTU SMPTE CONSOLE SETTING UP FOR SMPTE TIME CODE SYNC To set up direct SMPTE time code synchroni zation see Syncing to SMPTE time code directly on page 25 RESOLVING DP OR AUDIODESK TO SMPTE TIME CODE To resolve your Digital Performer 828mk3 system directly to SMPTE time code with no additional synchronization devices use the setup shown in Figure 3 16 on page 25 Choose Receive Sync from the Setup menu and choose the Sample accurate op
158. s added is determined by the Attack parameter Likewise when the input level falls below the Threshold the attenuation is removed gradually The rate at which the attenuation is removed is determined by the Release parameter Long Release times may cause the audio to drop out briefly when a soft passage follows a loud passage Short Release times may cause the attenuation to pump when the average input level quickly fluctuates above and below the Threshold These sorts of issues can be addressed by applying the Leveler instead Graphic adjustment of the Threshold The Threshold can be adjusted by turning the Threshold knob or by dragging the Threshold line directly in the compressor graph Figure 11 21 Input level meter The Input Level meter Figure 11 21 shows the level of the input signal before it enters the compressor It shows either the peak level or the RMS level depending on which mode is currently chosen Gain reduction GR meter The Gain reduction GR level meter Figure 11 21 displays the current amount of attenuation applied by the compressor 91 CUEMIX FX Output level The Output Level meter Figure 11 21 displays the peaks of the output signal Trim is applied before the Output Level meter Peak RMS modes In RMS mode the compressor uses RMS values a computational method for determining overall loudness to measure the input level In Peak mode the compressor uses signal peaks to determin
159. s of ADAT optical lightpipe connectors Bank A and B Figure 3 5 Each bank provides an input and output connector All four connectors can operate independently and offer two different optical formats ADAT optical or TOSLink optical S PDIF For example you could connect 8 channel ADAT optical input from your digital mixer and stereo TOSLink output to an effects processor The 828mk3 supplies 12dB of digital trim boost for each optical input which can be adjusted from CueMix FX Input trim on page 79 or the front panel The IN inputs menu on page 45 Below is a summary of optical formats Format 44 1 or 48 kHz 88 2 or 96 kHz ADAT optical 8 channels 4 channels TOSLink stereo stereo Optical operation at 44 1 or 48 kHz When configured for ADAT lightpipe an optical connector provides 8 channels at 44 1 and 48 kHz ADAT optical operation at 88 2 or 96 kHz When configured for ADAT lightpipe an optical connector provides four channels at 88 2 or 96 kHz 2x sample rates When using the ADAT lightpipe format at a 2x rate be sure to choose either Type I or Type II operation as explained in ADAT SMUX Type on page 44 Using optical I O to operate the 828mk3 as a 16 channel expander When the 828mk3 is not connected directly to a computer via FireWire the sixteen optical output channels can be programmed via the CueMix FX mixer to mirror the incoming signal on any combination of the
160. s of your license This summary is not your license agreement just a reminder of its terms The actual license can be read and printed by running the installation program for the software That license agreement is a contract and clicking Accept binds you and MOTU to all its terms and conditions In the event anything contained in this summary is incomplete or in conflict with the actual click wrap license agreement the terms of the click wrap agreement prevail YOU MAY a use the enclosed program on a single computer b physically transfer the program from one computer to another provided that the program is used on only one computer at a time and that you remove any copies of the program from the computer from which the program is being transferred c make copies of the program solely for backup purposes You must reproduce and include the copyright notice on a label on any backup copy YOU MAY NOT a distribute copies of the program or the documentation to others b rent lease or grant sublicenses or other rights to the program c provide use of the program in a computer service business network time sharing multiple CPU or multiple user arrangement without the prior written consent of MOTU d translate adapt reverse engineer decompile disassemble or otherwise alter the program or related documentation without the prior written consent of MOTU MOTU warrants to the original licensee that the disk s on which the prog
161. s the original part Unauthorized substitutions may result in fire electric shock or other hazards 22 Safety Check Upon completion of any service or repairs to this MOTU 828mk3 ask the service technician to perform safety checks to determine that the product is in safe operating conditions ENVIRONMENT Operating Temperature 10 C to 40 C 50 F to 104 RISK OF ELECTRIC SHOCK TO REDUCE THE RISK OF ELECTRICAL SHOCK OR FIRE N DONO PE A Do not handle the power cord with wet hands Do not pull on the power cord when disconnecting it from an AC wall outlet Grasp it by the plug Do not expose this apparatus to rain or moisture Do not place objects containing liquids on it AC INPUT 100 240VAC 50 60Hz 20 Watts 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 term
162. se this setup if you have V Video and or a SMPTE time code source JA Digital Timepiece MIDI Timepiece AV or other universal synchronizer J Host software that does not support sample accurate sync although you can use this setup even if it does This setup provides V Continuous sync to SMPTE time code V Sub frame timing accuracy J Transport control from the SMPTE time code source Video deck or other source for video and or SMPTE time code Audio cable bearing LIC Longitudinal Time Code Ae n oU at T MIDI time code MIDI IN eoo MOTU Audio Setup General 888mk3 Sample Rate _ 44100 Hee Clock Source Word Clock In He Default Stereo Input Mic 1 2 I Ft aloq 1 2 i Choose Word Clock In as the clock source in the MOTU Audio Setup application If you have multiple interfaces connected be sure to choose the Word Clock In option that corresponds to the interface receiving the clock signal MIDI Time Code Via FireWire Set up your audio software to slave to MIDI Time Code Mac running any audio software Figure 3 17 If your host audio software does not support sample accurate sync and the 828mk3 s built in SMPTE sync features use a universal synchronizer such as the MOTU MIDI Timepiece AV or Digital Timepiece 26 INSTALLING THE 828MK3 HARDWARE SYNCING S PDIF DEVICES S PDIF devices will sync to the 828mk3 in one of two ways mg Via the
163. shown above EQ filters The EQ filters have three parameters Control unit range Gain dB 20 00 to 20 00 Frequency Hertz 20 Hz to 20 kHz Q n a seenotebelow 0 01 to 3 00 Q The Q setting does not have a unit of measurement Rather it is the ratio of the filter s center frequency to the bandwidth of the filter In addition the actual Q value for the EQ curve being applied is dependent on three factors the gain setting the filter style and the Q setting Filter types Each filter can be independently set to one of four different filter types I II I and IV These and the additional shelf filters for the LMF and HMF band are discussed in the section EQ filter styles Returning to zero or nominal frequency To return a knob to zero or it s nominal frequency double click it EQ filter styles EQ is one of the most widely used processing tools and can be applied to many different situations from minor corrective tasks to highly creative applications Over the years many EQs have been engineered for specific applications or to achieve a certain sound The Vintage EQ has been designed to be flexible enough to cover a broad range of applications To that end several different filter types are supplied varying mostly in the way they handle the dynamic interaction between Gain and Q This crucial relationship has been modeled to emulate the smooth and musical character of classic analog EQ circuits in which t
164. specified in percent of the overall reverb time in the Primary Controls section at the top of the tab You can edit these parameters graphically by dragging the handles in the graphic display Figure 11 23 Width does what its name implies if you turn this control all the way up the result is maximum stereo imaging A position of 12 o clock produces essentially a mono image Turning the control all the way down completely swaps the stereo image THE MONITOR GROUP The monitor group is a set of 828mk3 outputs that can be controlled with the master Monitor Level knob in upper right corner of the CueMix FX mixer window Figure 11 24 as well as the MASTER VOL knob on the 828mk3 front panel MASTER VOL EE A Monitor PAD INSTR User Dat x group Tee O presets min MAIN PHONES menu me Sra Figure 11 24 Monitor group volume control from CueMix FX and the front panel MASTER VOL knob Assigning outputs to the monitor group Any combination of outputs can be assigned to the monitor group To include an output pair in the monitor group click its Monitor button in the Outputs tab Figure 11 6 on page 81 95 CUEMIX FX Monitor group presets menu The monitor group presets menu Figure 11 24 provides several presets for commonly used monitor groups Monitor group preset Output assignment Main Outs Main Out 1 2 Stereo Analog Out 1 2 Quad Analog Out 1 4 5 1 Analog Out 1 6 7 1 Analog
165. ss 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 31 35 41 51 55 59 67 73 101 105 107 Quick Reference 828mk3 Front Panel Quick Reference 828mk3 Rear Panel Quick Reference MOTU Audio Setup About the 828mk3 Packing List and Mac System Requirements Installing the 828mk3 Hardware Installing the 828mk3 Mac Software MOTU Audio Setup 828mk3 Front Panel Operation Digital Performer AudioDesk Other Mac OS X Audio Software Reducing Monitoring Latency CueMix FX MOTU SMPTE Console Troubleshooting Index 9N1D9ds 1 KAPE IW 10 olpne jeriido SI 3194 u UA YUNG SQFT IGIW pue IV V 3941 panalyde u q sey dny 0 uaym smo b GF H3V1 0201 y 9P0 SWI J dWS 0 bul N0S 1 SI CFWBZB ay UY s ana nd no d LIGIED 0 SJ9 UI A IPM J0S OlpNe soy anok asn cyugzg y Ul sHuy s Je wesboud pue ssa nod Ja sqouy ay Pef uoud s y JO uIn oA y J01 U0D JoHUO OU IIM GOW JOA HILSWW 24 S NO urew y apnjruT ou 0 pawwWeboud s nosh J0 UOW 9u1J1 0N uun oA snolA 1d BY 0 WN ad 0 BLU PINY e ysnd dnoub J0 U0W u1 1nuu o urePe yi ysnd Aejdsip G71 ay UI buljas UUNJOA JUIN JY M IA 0 IUO GOUY a4 usnd sJ e p 104 6 abed uo dnos JOWUOW BY sindino Jo uoneuiqwo Aue 0
166. ss individual parameters here such as the frequency setting for a band of EQ CHANNEL Ui MHIN reid Pages are groups of channel settings such as one band of EQ Change the value of the current parameter here Figure 6 7 The OUT outputs menu Choosing a channel Once you see the Outputs menu Figure 6 7 in the LCD turn the CHANNEL knob to select the desired output that you wish to edit This is roughly equivalent to specifying an output channel strip to work with in the Outputs tab in CueMix FX software Figure 11 6 on page 81 Working with outputs in the LCD Once you ve selected an output channel you can access the various settings for that channel using the PAGE knob and PARAMETER knobs The knobs function the same as described for inputs in Choosing a setting to modify on page 45 and Adjusting the value of a parameter on page 46 Summary of Output menu settings For a summary of Inputs menu settings see Outputs menu on page 48 46 828MK3 FRONT PANEL OPERATION The MIX Mixes menu Push the CHANNEL button repeatedly until you see MIX 1 or MIX 2 etc in the channel section of the LCD Figure 6 8 This is similar to accessing the Mixes tab in CueMix FX console The Mixes tab on page 76 The current mix bus Access individual parameters here such as input channel settings Meet pe Here choose master fader settings reverb settings and ind
167. t MOTU Audio Setup See Enable Pedal on page 40 65 OTHER MAC OS X AUDIO SOFTWARE 66 OTHER MAC OS X AUDIO 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 guitar input signal through an amp modeling plug in running in your audio sequencer This delay is caused by the amount of time it takes for audio to make the entire round trip through your computer from when it first enters an 828mk3 input passes through the 828mk3 hardware into the computer through your host audio software and then back out to an 828mk3 output If you don t need to process a live input with plug ins the easiest way to avoid monitoring latency is to use the 828mk3 s CueMix FX digital mixer to patch the input directly to your monitor outs via the 828mk3 audio hardware The 828mk3 even provides effects processing EQ compression and reverb which can be applied on input output or even at the bussing stage just like a conventional mixer For details see CueMix FX hardware monitoring on page 71 If you do need to process a live input with host software plug ins or if you are playing virtual instruments live through your 828mk3 audio hardware you can significantly reduce latency and even make it completely inaudible regardless of what host audio app
168. the grounding lug to a known ground It is recommended that you have a qualified electrician replace the TWO prong outlet with a properly grounded THREE prong outlet An adapter as illustrated below in Figure B is available for connecting plugs to two prong receptacles Figure A Figure B Grounding lug Screw ss w Make sure this is connected to 3 prong pl prong png 3 prong plug L a known ground Grounding prong Properly grounded 3 prong outlet Two prong receptacle s ST WARNING THE GREEN GROUNDING LUG EXTENDING FROMTHE ADAPTER MUST BE CONNECTED TO A PERMANENT GROUND SUCH ASTO A PROPERLY GROUNDED OUTLET BOX NOT ALL OUTLET BOXES ARE PROPERLY GROUNDED lf you are not sure that your outlet box is properly grounded have it checked by a qualified electrician NOTE The adapter illustrated is for use only if you already have a properly grounded two prong receptacle Adapter is not allowed in Canada by the Canadian Electrical Code Use only three wire extension cords which have three prong grounding type plugs and three prong receptacles which will accept the MOTU 828mk3 plug IMPORTANT SAFEGUARDS 1 Read these instructions All the safety and operating instructions should be read before operating the 828mk3 2 Keep these instructions These safety instructions and the 828mk3 owners manual should be retained for future reference 3 Heed all warnings All warnings on the 828mk3 and in the owners manual should be adhered to 4 Follow all
169. the main outs must mirror one of the TRS analog output pairs Return Assign In AudioDesk s audio input menus and the Bundles window youll see an 828mk3 input called Return 1 2 Figure 8 2 This is a stereo feed from the 828mk3 that matches the output of one of its output pairs Use the Return Assign menu in MOTU Audio Setup to choose which output pair you would like to hear on this return This can be used for example to record back a final stereo mix that includes effects processing from the 828mk3 DSP such as the Leveler for reference and archiving purposes 56 AUDIODESK MOTU amp 26mk3 Fender Strat 2 MODEL Mana Mono Mono Mana Mana Mono Mona Mana 444444444 Mana A l eins lt f Figure 8 2 The stereo return and reverb return busses from the 828mk3 in AudioDesk s Bundles window Warning the Return inputs can cause feedback loops DO NOT assign this input to a track that shares the same 828mk3 output pair as the returns Reverb return The 828mk3 also supplies a return to AudioDesk that carries the output of its reverb processor Figure 8 2 This return can be used for any purpose you wish WORKING WITH 828MK3 INPUTS AND OUTPUTS Once youve enabled the MOTU FireWire Audio driver as explained earlier in The 828mk3 settings on page 55 828mk3 audio inputs and outputs will appear in AudioDesk s audio input and output menus If you don t see the optical inputs and or outputs
170. this 62 OTHER MAC OS X AUDIO SOFTWARE Inputs at 1x sample rates Inputs are always listed in the same order as follows when operating the 828mk3 at 1x sample rates 44 1 or 48 kHz Input Mic Guitar Analog Reverb return Stereo return SPDIF Optical A Optical B Channels 2 8 ADAT 2 TOSLink 8 ADAT 2 TOSLink List position Comment 1 2 13 14 15 16 17 24 17 18 25 32 19 20 Inputs at 2x sample rates When operating the 828mk3 at a 2x sample rate 88 2 or 96 kHz inputs are listed as follows Input 88 2 96 kHz Mic Guitar Analog Reverb return Stereo return SPDIF Optical A Optical B Channels 2 not available 4 ADAT 2 TOSLink 4 ADAT 2 TOSLink See Reverb return on page 60 See Return Assign on page 60 These starting chan nel numbers assume that optical A is operating with the same format List position Comment 1 2 not available 11 12 13 14 15 18 15 16 19 22 17 18 not available See Return Assign on page 60 These starting chan nel numbers assume that optical A is operating with the same format Inputs at 4x sample rates When operating the 828mk3 at a 4x sample rate 176 4 or 192 kHz inputs are listed as follows Input 176 4 192 kHz Channels Mic Guitar 2 Analog 8 Reverb not return avallable Stereoreturn 2 SPDIF not available Optical A not available Optical B not avail
171. tings are saved in the 828mk3 s memory and they remain in effect even when the 828mk3 is not connected to a computer This allows you to use the 828mk3 as a stand alone 8 bus mixer You can make adjustments to any setting at any time from the front panel 828MK3 FRONT PANEL OPERATION 50 828MK3 FRONT PANEL OPERATION CHAPTER 7 OVERVIEW This chapter provides a brief overview of Digital Performer s basic I O and synchronization operation with the 828mk3 hardware Setting up yoursystem 51 The 828mk3 settings 51 Working with 828mk3 inputs and outputs 53 24 bit operation 53 MIDI I O via the 828mk3 MIDI ports 53 Processing live inputs with DP plug ins 53 Working with CueMix FX mixing and effects 53 Synchronizationi u u s sssssssskascsspuqa 54 Using a foot switch 54 Exchanging projects with AudioDesk 54 SETTING UP YOUR SYSTEM As described in chapter 4 Installing the 828mk3 Mac Software page 31 the Digital Performer and MOTU 828mk3 software installers will properly install and update everything for you If you are using a MIDI Timepiece AV or Digital Timepiece for synchronization be sure they are present in Audio MIDI setup THE 828MK3 SETTINGS Choose the 828mk3 as your audio input output device by choosing C
172. tion 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 828mk3 Time Code input and that you ve specified that input in the SMPTE Setup RESOLVING CUBASE OR NUENDO TO SMPTE TIME CODE To resolve your 828mk3 and Cubase or Nuendo to SMPTE time code use the setup shown in Figure 3 17 on page 26 104 MOTU SMPTE CONSOLE CHAPTER 13 Troubleshooting Slaving directly to time code in AudioDesk or Digital Performer To slave Digital Performer or AudioDesk directly to time code be sure to go to the Receive Sync dialog in Digital Performer or AudioDesk and switch from MTC to Sample accurate 828mk3 inputs and outputs are not visible in Cubase You probably need to enable them in Cubase Can t authenticate AudioDesk When installing software off the CD ROM the OK button does not become active until you have entered in your name and a valid keycode Your name must contain at least 3 characters and you must enter the keycode exactly as it appears in your AudioDesk manual on the inside of the back cover Clicks and pops under word clock sync Many problems result from incorrect word clocking It is essential that all digital devices in the system be word locked Consult Making sync connections on page 24 for detailed information on how
173. tly from the front panel using the four rotary encoders and the 2x16 backlit LCD display Metering section The front panel of the 828mk3 displays several banks of input and output metering The threshold for these lights is approximately 42 dB The four and five segment input meters provide dedicated multi segment metering for their respective inputs as do the five segment main out meters Two ten segment meters for the two front panel mic guitar inputs show input levels from 42 to 1 in the first column of LEDs plus an additional range in a second column from zero to 12 dB including clip Both inputs are equipped with V Limit a hardware limiter With the limiter turned off signals that hit zero or above will clip a hard digital clip However with V Limit turned on signals can go as high as 12 dB above zero with no digital clipping If the signal then goes above 12 dB it will clip even with V Limit engaged The Clock lights indicate the global sample rate as chosen in the MOTU Audio Setup software The LOCK and TACH LEDs provide feedback for the 828mk3 s on board SMPTE synchronization features The ADAT and MIDI LEDs indicate audio and MIDI activity respectively 16 BIT AND 24 BIT RECORDING The 828mk3 system handles all data with a 24 bit signal path regardless of the I O format You can record and play back 16 bit or 24 bit audio files at any supported sample rate via any of the 828mk3 s analog or digita
174. tments especially on sub mixes and complete mixes This EQ style is also ideal for any applications where subtle changes in the overall character of the sound are desired For example it can be used for mastering applications such as the overall adjustments that must often be applied to entire tracks to match other tracks on the album 88 CUEMIX FX FREQ 493Hz 8 GAIN 2L00dR 0 3200 Figure 11 17 Shelf filter Q parameter overshoot When two top most bands in the EQ tab are set to their shelf filter setting Figure 11 10 the Q parameter controls the amount of overshoot applied to the response curve as illustrated in Figure 11 17 When Q 0 01 the lowest setting normal shelving is applied with no overshoot This produces the response provided by a first order shelf When Q 1 0 the default setting the response corresponds to a second order shelf still with no overshoot This is the same response as conventional parametric EQs In some situations this form of accurate clean shelving can sound harsh especially when compared to legacy analog EQs To soften the results the overshoot is increased as Q is increased as shown Figure 11 17 for Q values of 1 00 2 00 and 3 00 This overshoot region produces a boost in frequencies just above the cutoff which compensates in a smooth more pleasing fashion for the perceived drop in low frequencies being cut Conversely when shelving boost is being applied overshoot c
175. ts however can be almost mystical even when you feed the same material a loop perhaps through the Leveler twice you ll often see a new response the second time through a loop complete with unique attack times release times and compression ratios Furthermore two different input signals with the same RMS levels may be leveled in a drastically different manner 92 CUEMIX FX It is precisely this self adjusting behavior that makes optical compressors the tool of choice for smoothing out vocals bass guitar and full program mixes without destroying perceived dynamics Compressor Limit buttons The Comp and Limit buttons Figure 11 21 model the original LA 2A Limit Compress mode switch The effect is very subtle with the Limit option behaving only slightly more like a limiter than a compressor The switch increases the level of the input to the AGC model and runs the attenuator at a slightly lower level The Leveler then responds more strongly to transients but otherwise still behaves like a leveling amplifier Gain Reduction Gain Reduction Figure 11 21 sets the strength of the signal sent to the AGC model Makeup Gain Makeup gain Figure 11 21 amplifies the output signal to make up for gain reduction Enabling or disabling the Leveler The Leveler models the LA 2A so closely it also models the time it takes for an actual LA 2A to warm up after it is turned on Therefore when you enable the Leveler give it a mo
176. turns to mix busses and outputs with a selectable split point between them to prevent send return feedback loops ADVANTAGES OVER HOST BASED MIXING AND PROCESSING CueMix FX provides several major advantages over mixing and processing in your host audio software m CueMix has no buffer latency Thanks to the 828mk3 s DSP chip CueMix provides the same throughput performance as a digital mixer Channel DSP MIx bus Tabs for inputs 828mk3 focus resources menu mix busses and inputs meter outputs Os 02020 050s On Oa Das os Mic inputs Inputs split into mono channels kii MT ee wa g DPI DAD PRESET Ch oa rimata myren own Inputs grouped as stereo pairs a CueMix mixing and effects processing imposes no processor drain on the computer s CPU m CueMix routing can be maintained independently of individual software applications or projects m CueMix routing can operate without the computer allowing the 828mk3 to operate as a portable stand alone mixer with effects CUEMIX FX INSTALLATION CueMix FX is installed with the rest of your 828mk3 software Mix bus Channel Monitoring master settings talkback fader section a IC Ieee ers mee l amp yg lt Grow handle Tabs for channel strip settings Monitor including EQ and dynamics as_ group well as global settings suchas metering the meter bridge and reverb processor Figure 11 1 CueMix FX is a virtual mixer that gives
177. u to create up to eight separate 828mk3 stereo mixes or any other desired routing configurations These routings are independent of your host audio software For complete details see chapter 11 CueMix FX page 73 Controlling CueMix FX from your audio software Some audio applications allow you to control CueMix FX monitoring from within the application without the need to use CueMix FX In most cases this support consists of patching an 828mk3 input directly to an output when you record arm a track Exactly how this is handled depends on the application The following applications are among those that support direct control over CueMix FX a Digital Performer m AudioDesk CueMix FX routings that are made via host applications are made under the hood which means that you won t see them in CueMix FX However CueMix FX connections made inside your host audio software dovetail with any other mixes you ve set up in CueMix FX For example if your host application routes audio to an output pair that is already being used in CueMix FX for an entirely separate mix bus both audio streams will simply be merged to the output 71 REDUCING MONITORING LATENCY Controlling CueMix FX from within AudioDesk or Digital Performer To turn on CueMix FX in AudioDesk and Digital Performer 1 From the Setup menu choose Configure Audio System gt Input Monitoring Mode 2 Choose the Direct hardware playthrough option
178. urations menu let you create save load import export and otherwise manage as many configurations as you wish 98 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 the current settings in CueMix FX Save To Same as Save above except that it lets you first choose the configuration you wish to save to instead of the current one Delete Lets you choose a configuration to 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 TALKBACK MENU Choose the commands in the Talkback menu to engage or disengage Talkback or Listenback PHONES MENU The Phones menu allows you to choose what you will hear on the headphone output just like the Phones setting in MOTU Audio Setup However this menu provides one extra option that is exclusive to CueMix FX Follow Active Mix This menu item when checked causes the headphone output to mirror the output of the current mix being viewed in CueMix FX For example if you are currently view
179. uts frequencies just above the cutoff to again compensate in a smooth and pleasing fashion for the perceived boost in low frequencies FREQ 40 3 Hz GAIN 20 0 dE 300 Figure 11 18 Overshoot when low shelf boost is applied Overshoot is also applied to high shelf boost and cut Figure 11 19 Overshoot when high shelf cut and boost is applied 89 CUEMIX FX Overshoot tends to produce more of what one would expect to hear when applying shelving and is therefore considered to be more musical than shelving without overshoot This effect which has gained tremendous popularity among audio engineers was first made popular in original Neve series EQs and later in the SSL G series At maximum the maximum Q setting of 3 00 the overshoot peaks at half the total boosted or cut gain For example with a maximum gain setting of 20dB the loss in the overshoot region is 10 dB Overshoot curves are symmetrical for both cut and boost Low pass and high pass filters The Vintage EQ lowand high pass filters are similar to those found in most conventional parametric EQs which usually have a fixed slope of 12 dB per octave except that Vintage EQ provides six Figure 11 20 The low pass filter with three example slope settings different slope roll off settings 6 12 18 24 30 and 36 dB per octave This control over the shape of the knee gives you a great deal flexibility and control for a wide variety of
180. via word clock for SPDIF transfers in both directions Figure 3 18 Two setups for synchronizing an S PDIF device with the 828mk3 In the top diagram sync is achieved via the S PDIF connection itself In this case you have to choose S PDIF as the 828mk3 s clock source when recording from the S PDIF device If you don t want to have to worry about switching the Clock Source setting depending on the direction of the S PDIF transfer you can slave the S PDIF device to word clock from the 828mk3 or vice versa not shown The Word Clock connection maintains sync regardless of the direction of the transfer INSTALLING THE 828MK3 HARDWARE SYNCING WORD CLOCK DEVICES The 828mk3 word clock connectors allow you to synchronize it with a wide variety of other word clock equipped devices For standard word clock sync you need to choose an audio clock master as explained in Be sure to choose a digital audio clock master on page 24 In the simplest case you have two devices and one is the word clock master and the other is the slave as shown below in Figure 3 19 and Figure 3 20 Master aie 828mk3 Other device Figure 3 19 Slaving another digital audio device to the 828mk3 via word clock For the 828mk3 clock source choose any source besides word clock as it is not advisable to chain word clock MOTU Digital Timepiece universal synchronizer Figure 3 20 Slaving the 828mk3 to word clock For the 828mk3 clock source c
181. w Active Mix 99 Foot switch 12 40 3rd party OS X software 65 AudioDesk 58 configuring 7 connecting 21 Digital Performer 54 jack 6 Force 1x word out rate 28 Freewheel address 102 clock 103 infinite 102 103 Frequency EQ 86 Front panel 41 metering 42 Gain EQ 86 reduction 91 reduction Leveler 93 GarageBand 61 clock source 59 Main Outs Assign 60 optical I O 60 phones 60 Return Assign 60 reverb return 60 sample rate 59 General tab 36 Generate from sequencer 103 GR gain reduction 91 Guitar mic inputs connecting 22 phantom power 5 H Hardware Follows CueMix Stereo Settings 98 Hardware follows CueMix Stereo Settings 98 Hardware reset 44 Headphone jack 5 12 41 Headphones connecting 22 controlling output 39 HUI 100 I iMovie audio input output 38 In menu LCD 45 Infinite freewheel 102 103 Inputs analog 6 naming 77 78 optical 6 pan 77 reverb send 80 S PDIF RCA 6 tab 78 trim 79 Installation hardware 17 Installer CD replacing 106 Internal sync setting 37 Invert phase 79 iTunes audio input output 38 kext 31 Keyboard controller connecting 21 Latency 67 70 74 Launch MOTU Audio Setup when hard ware becomes available 40 LCD contrast 44 LCD display 43 Level meter bus 77 monitor group 96 Leveler 91 92 Lightpipe 2x mode 44 Limit button 93 Listenback button channel tab 83 button Outputs tab 81 explained 96 Live 61 Load Hardware Preset 98 Logic Pro Express 60
182. ware and AudioDesk For example you might have MIDI instruments samplers microphones and so on connected to the analog inputs of the 828mk3 If so you will often be mixing their live input with audio material recorded in AudioDesk See chapter 10 Reducing Monitoring Latency page 67 for complete details Phones This 828mk3 setting lets you choose what you ll hear from the headphone jack For example if you choose Main Out 1 2 the headphones will duplicate the main outs Or you can choose any other output pair If you choose Phones 1 2 this setting makes the headphone jack serve as its own independent output pair As a result you ll see Phones 1 2 as an additional audio destination in AudioDesk s audio output menus Note that when operating at high sample rates the phones must mirror one of the other output pairs Optical input and output To make an 828mk3 s optical inputs and or outputs available in AudioDesk choose ADAT Optical or TOSLink from the optical input and or output menus If you won t be using the optical connectors turn them off Note these settings can only be accessed in the MOTU Audio Setup application For details see Optical on page 20 Main Outs Assign Use the Main Outs Assign setting to determine what audio you will hear on the XLR main outs of the 828mk3 If you would like to treat them as their own separate output pair choose Main Outs Note that when operating at 176 4 or 192 kHz
183. x when used with a Mac or Windows computer THE 828MK3 REAR PANEL The 828mk3 rear panel has the following connectors a Eight gold plated balanced quarter inch TRS analog outputs with 24 bit 192 kHz converters a Eight gold plated balanced quarter inch TRS analog inputs with 24 bit 192 kHz converters m Two XLR main analog outputs with 24 bit 192 kHz converters m Two gold plated balanced quarter inch TRS analog sends for the front panel mic guitar inputs a Gold plated balanced TRS quarter inch analog in out dedicated for SMPTE time code m Two sets of optical connectors in and out individually switchable among ADAT optical lightpipe 96 kHz S MUX optical or S PDIF TOSLink mg RCA S PDIF in out MIDI IN and MIDI OUT m Word clock in out Foot pedal jack a Two 1394 FireWire jacks 28 inputs and 30 outputs All 828mk3 inputs and outputs can be used simul taneously for a total of 28 inputs and 30 outputs when operating at 44 1 or 48 kHz Connection Input Output Analog 24 bit 192 kHz on bal unbal TRS 8 8 Mic guitar 24 bit 192 kHz on XLR TRS combo 2 Main outputs 24 bit 192 kHz on XLR stereo Headphone output stereo ADAT optical digitalt 16 16 RCA S PDIF 24 bit 96kHz digital stereo stereo Total 28 30 The phone jack below the MASTER VOL knob is hard wired to mirrors the XLR main outs The PHONES output can operate as an independent output pair or it can mirror any other 8
184. y CoreMIDI compatible program Launching Audio MIDI Setup 1 Make sure your 828mk3 interface is connected and turned on 2 Launch the Audio MIDI Setup utility This can usually be found in Applications Utilities If it has been moved just search for Audio MIDI Setup 3 Confirm that the 828mk3 is present in the MIDI Devices tab of Audio MIDI Setup If the 828mk3 does not appear or if it is grayed out check your cable connections and click Rescan MIDI es Audio MIO Setup pss Bic m t3 ara kena Sira Cesta irana Add Desca De mwa A brms PTY Ten irud EA Ta Figure 4 1 The 828mk3 interface as it appears in the MIDI tab of Audio MIDI Setup Connecting MIDI devices to the 828mk3 Once your 828mk3 interface appears in Audio MIDI Setup you are ready to add devices indicate how they are connected and identify properties they may have for particular purposes This information is shared with all CoreMIDI compatible applications To add a device in Audio MIDI Setup 1 Click Add Device 66 6 Audio MIO Setup s Be us lt uth Vea bog Lane C eska rinpa Add Geece fy eee a ERanqrsm Wi Teu ete A T Figure 4 2 Adding a MIDI device 2 Drag on its input and output arrows to draw connections to the 828mk3 that match its physical connection 32 INSTALLING THE 828MK3 MAC SOFTWARE Figure 4 3 Connecting devices to the 828mk3 In this example a controller keyboard is
185. y CueMix monitor mixing in the interface since the 828mk3 s inputs are fed into CueMix via the interface s optical inputs If the device to which you are connecting the 828mk3 supports 2x optical sample rates 88 2 or 96 kHz you can also use both banks of connectors as discussed in ADAT optical operation at 88 2 or 96 kHz on page 20 O O O O O O O O O O Base Pr 828mk3 n w wa a o oc 28 O O 0 0 0 0 0 0 0 0 0 ADAT optical In ADAT optical Out Expander De K O 0 0 0 0 0 0 0 0 aan x 9282 010000000000 s Figure 3 12 Using the 828mk3 as an optical expander In this example it is connected to another 828mk3 23 INSTALLING THE 828MK3 HARDWARE MAKING SYNC CONNECTIONS If you connect devices digitally to the 828mk3 or if you need to synchronize the 828mk3 with an outside time reference such as SMPTE time code you must pay careful attention to the synchroni zation connections and clock source issues discussed in the next few sections Do you need to synchronize the 828mk3 If you will be using only the 828mk3 s analog inputs and outputs and none of its digital I O and you have no plans to synchronize your 828mk3 system to SMPTE time code you don t need to make any sync connections You can skip this section and proceed to chapter 4 Installing the 828mk3 Mac Software page 31 After you install the 828mk3 software you ll open MOTU Audio Setup to confirm that the
186. y operable 14 Accessories Only use attachments accessories specified by the manufacturer 15 Placement Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with the 828mk3 When a cart is used use caution when moving the carvapparatus combination to avoid injury from tip over 16 Surge protection Unplug the 828mk3 during lightning storms or when unused for long periods of time 17 Servicing Refer all servicing to qualified service personnel Servicing is required when the 828mk3 has been damaged in any way such as when a power supply cord or plug is damaged liquid has been spilled or objects have fallen into the 828mk3 the 828mk3 has been exposed to rain or moisture does not operate normally or has been dropped 18 Power Sources Refer to the manufacturer s operating instructions for power requirements Be advised that different operating voltages may require the use of a different line cord and or attachment plug 19 Installation Do not install the 828mk in an unventilated rack or directly above heat producing equipment such as power amplifiers Observe the maximum ambient operating temperature listed below 20 Power amplifiers Never attach audio power amplifier outputs directly to any of the units connectors 21 Replacement Parts When replacement parts are required be sure the service technician has used replacement parts specified by the manufacturer or have the same characteristics a

828mk3 User Guide for Mac OS X

Contents

Download Pdf Manuals

Related Search

Related Contents