Home

Creative 1212M CD Player User Manual

Contents

1. n 55 Importing and Exporting Core FX Presets and FX Insert Chains n 56 A AL RE 57 User Preset Section i ani aaa 58 Core Effects and Effects Presets corno ron ron non ran narrar ranas 59 PRA A iaia 60 DSP Resource Us our idad 60 Gore Effects DescriptiOns A a 61 Band Para R O EUSE a dl rd E be na e Na cl a o 61 Band Shelf EQ lele Lala i Ual can cori 61 ER 62 4 Band LEO 0 SA ee 63 AO A Aaa 64 Chonis rain a e oie 65 GOMPLESSOL indiana dae di OA did ata 65 Basic Control iii eta dE di So A caus 66 Distortion ina eae ig eo ean Mae 67 ES ERRE RR CR O O RIDE Beane 68 Tred o Miera a a a NTAN AE A 69 beveling AMP elle a a ital ata 70 Lite REVELD NEAT AA AA N EE EE 71 Mono Delays 100 250 500 750 1500 3000 72 Pliage Shiite n RAIL SR 73 Rotary A rari 73 Speaker Simular tdo iii ina 74 Stereo Delays 100 250 500 750 1500 non ncnncnnnos 75 Vocal Morph ets iena o oi n a 77 E MU PowerEt i ara bivani 78 Automating E MU PowerFX caia 80 E MU PowerFX Resource Availability i 80 Rendering Audio with E MU PowerFX ii 82 General Tips for Rendering using PowerFX 82 Tips for using Freeze Mode on Cubase LE 82 Using E MU PowerFX with WaveLab and SoundForge i 82 E MULE Wire VSTi rici nino ai a EG 83 E Delay Compensator i marciana dina daaradaga aiar 84
2. LFO Rate Parameter Description LFO Center Sets the initial offset of the LFO and changes the position of the peaks and notches Range 0 to 100 Feedback Increases the depth of the notches and height of the peaks Range 0 to 100 LFO Rate Controls the sweep rate of the Low Frequency Oscillator Range 01Hz to 10Hz LFO Depth Controls how much the Center Frequency is swept by the LFO Range 0 to 100 Waveform Selects a Sine or Triangle wave for the LFO LFO L R Phase Controls the stereo width by adjusting the phase difference between the left and right sweeps Range 180 to 180 Rotary This is a simulation of a rotating speaker used on organs The rotating speaker was invented to give static organ tones a pipe organ type of animation but this distinctive sound became a legend in its own right Spinning a sound around the room creates a doppler pitch shift along with many other complex and musically pleasing sonic effects The Rotary incorporates acceleration and deceleration as you switch between the two speeds Parameter Description Speed Switches between slow or fast rotor speeds with acceleration and deceleration as the speed changes E MU Digital Audio System 73 5 Effects Core Effects Descriptions Speaker Simulator The Speaker Simulator provides realistic guitar speaker responses and is designed for use with guitar bass or synthesizer Twelve popular guitar amp s
3. http www driverheaven net search php s MIDI Addict Forum http forum midiaddict com search php Home Recording Forum http homerecording com bbs search php s d866b60193933eb726660e7bd 90dfb27 Sound On Sound Forum http sound on sound2 infopop net 2 OpenTopic a srchf amp s 215094572 Studio Central Cafe Forum http studio central com phpbb search php Sound Card Benchmarking http audio rightmark org Note concerning the Microsoft GS Wavetable Software Synth Use of the Microsoft GS Wavetable Software Synth will allow only 30 of the 32 ASIO playback channels to work properly Ifyour PatchMix session uses all 32 ASIO playback channels you should disable the Microsoft SW Synth before using Cubase LE 1 Go to Start Menu Programs Steinberg Setup MME 2 Select Microsoft GS Wavetable SW Synth from the MME Outputs 3 Click the Set Inactive button E MU Digital Audio System 111 7 Appendix Internet References Declaration of Conformity Trade Name E MU Systems Model No EM8810 amp EM8820 EM8810 EM8830 amp EM8840 EM8810 EM8830 amp EM8841 Responsible Party E MU Systems Address 1500 Green Hills Road Scotts Valley CA 95066 U S A This device complies with Part 15 of the FCC rules Operation is subject to the following two conditions 1 This device
4. Adding or deleting a strip defragments the effect DSP resources If you have used all your effects and need another try deleting an unused strip CDs amp MP3s The WAVE 1 2 strip is used to playback CDs Windows Media Player and Direct Sound 34 Creative Professional 4 The PatchMix DSP Mixer Mixer Strip Creation 4 Select Pre Fader Aux Sends or leave the box unchecked for Post Fader Aux Sends See Pre or Post Fader ni o 5 Click OK to create a new strip or Cancel to cancel the operation Aux sends on page ts To Delete a Mixer Strip 1 Clickthe top of the mixer strip you wish to delete A red border appears around the strip indicating that it is selected 2 Click on the Delete Mixer Strip button or right click and choose Delete or use the Delete key on the PC keyboard See Overview of the Mixer Multichannel WAVE Files 2 channels of WAVE recording and 8 channels of multichannel WAVE playback are supported The WAVE channels are available for the following types of WDM devices e Classic MME e DirectSound e Direct WDM Kernel Streaming KS DirectSound and the WDM KS interfaces allow up to Eight channels of Wave Out while the classic MME interface only exposes 2 channels The WAVE channels operate at all sample rates For additional information about WDM behavior at high sample rates see WDM Recording and Playback Behavior 192kHz 96kHz DVD Audio disks are prot
5. 58 Creative Professional 5 Effects FX Edit Screen gt To Delete a User Preset 1 Select the user preset you wish to delete from the user preset menu Click on the Edit button A pop up menu appears Select Delete A pop up dialog box appears asking you to confirm your action BR WN Click OK to delete the preset or No or Cancel to cancel the operation To Rename a User Preset v 1 Select the user preset you wish to rename from the user preset menu Click on the Edit button A pop up menu appears Select Rename A pop up dialog box appears asking you to rename the preset A WN Type in the new preset name then click OK to rename the preset or Cancel to cancel the operation gt To Overwrite or Save a User Preset This operation allows you to overwrite an existing preset with a newer version 1 Select the user preset you wish to modify from the user preset menu and make any changes you wish 2 Click on the Fdit button A pop up menu appears 3 Select Overwrite Save The current preset will be overwritten with the new settings Core Effects and Effects Presets The Core Effects cannot be removed or copied Effect presets stored in C Program Files Creative Professional Digital Audio System E MU PatchMix DSP Effect Presets can be copied e mailed or shared like any other computer file Hint You can open the effects presets with NotePad or other word processor to view and edit the name an
6. 44k548k 88k 96k 176k5192k Select a Template or new Session at the desired sample rate 44 48 44 48 44 48 44 48 44 1 Digital Product RMAA Default Default Default Multitrack 44 48 44 48 44 48 44 48 Percussion Guitar Emulator X E Wire i A ae EQ Tuner Studio Example i Session Description This session is for standard MultiTracking Add your own comment or note about the Session Summarize session purpose here Edit Settings for New Session Check this if you want to Y OK edit the New Session 28 Creative Professional 4 The PatchMix DSP Mixer The Session You can now select one of the factory template sessions The factory templates are pre programmed with specific setups such as audio recording or mixing The selector tabs categorize Template Sessions into three groups based on sample rate 44 1kHz 48kHz 88 2kHz 96kHz and 176 4kHz 192kHz You can create your own templates by simply copying or saving sessions into the Session Templates folder Program Files Creative Professional E MU PatchMix DSP Session Templates The system model number in parenthesis 1820 or 1212 must precede the template name in order to be recognized as a template The Session Path allows you to choose the destination for your Session The default location is in the My Sessions folder within the My Documents folder There is also a Comment area that you can use to give yourself some clue
7. e 0 Togoles tooltips on or off Extra Buffers RenderMode To Setup amp Use E MU PowerFX Setup Cubase LE 1 2 Launch Cubase LE Instantiate E MU PowerFX in an Insert or Aux Send location within Cubase go to the EMU folder in VST plug ins Press the Insert Edit button in Cubase to bring up the E MU PowerFX plug in window shown on the previous page E MU PowerFX 4 Make sure the Insert Enable button UY is illuminated indicating E MU Power FX is on The blue Signal Present indicators will be illuminated if E MU PowerFX is properly patched into a signal path Drag the desired effects from the Effects Palette to the center Insert strip Click on the Effect you wish to edit in the center Insert Strip it will be highlighted in yellow then adjust the effects parameters in the right section of the window You can also select or edit User Presets from the section below the FX parameters See the User Preset Section for more information Delay Compensation Ifyou are using Cubase VST 5 1 or another older sequencer without automatic delay compensataion you will have to insert an E Delay Compensator into any other audio 8 tracks to keep them time aligned Simply insert an E Delay Compensator plug in into the same insert location you used for E MU PowerFX on any other audio tracks That s it Extra Buffers Check this box if excessive stuttering occur
8. stereo pairs of line level outputs 1 stereo pair driving a stereo headphone jack the provided cable allows 2 stereo outputs 1 optical S PDIF output stereo 4 2 stereo 1 8 computer speaker outputs These outputs carry the same signals as the 4 stereo line level outputs and are provided as a convenience for connecting computer speaker systems MIDI output ports 3 PCI Card amp Interfaces The AudioDock The AudioDock is completely hot pluggable Its OK to plug or unplug the AudioDock while the computer is turned on W Its a good idea to mute AudioDock inputs 3 in the PatchMix DSP mixer when nothing is plugged in since the turntable preamp has a very high gain 60dB and could contribute extra noise to your mix monitor bus E MU Digital Audio System 19 3 PCI Card amp Interfaces The AudioDock Front Panel Connections Insert 1 4 Plug for Line Level 10dB to 25dB Gain Signal Clip Phantom S PDIF LED Indicators Power On Off Optical Out Indicators PARIS i i A N 7 x A Line Mic 077 B Li Sie i y 1 cus i E MU 1820 1 1 1 1 1 1 1 12 dB MIDI 1 ae DE i 20 dB w Pi x r 1 Fy Insert XLR Plug for Mic Level 20dB to 55dB Gain MIDI 1 Headphone I O Jacks Output Input Gain Controls Headphone Volume Preamp Section The front panel mono Mic Line inputs A amp B can be used as b
9. THD N 1 kHz max level SNR Dynamic Range Stereo Crosstalk Max Output Power Output Impedance Gain Range TFPro M combination microphone preamp and line input 0 8 0 1 dB 20 Hz 20kHz lt 120 dB 1kHz 12 to 28 dB 17 dbV 19 2 dBu 100 dB 001 1 kHz at 1 dBFS 107 dB A weighted min gain 107 dB A weighted min gain 10K ohm gt 40 dB 60Hz 10 to 50 dB 12 dbV 9 8 dBu 100 dB 001 1 kHz at 1 dBFS 106 dB A weighted min gain 330 ohm gt 80 dB 60Hz 0 0 0 35 dB 20 Hz 20 kHz 33 ohm load 69 dB 0 035 600 ohm load 94 dB 0 002 117 dB A weighted 117 dB A weighted lt 100 dB 1kHz at 1 dBFS 600 ohm load 500 mW 22 ohms 85 dB 104 Creative Professional 7 Appendix Technical Specifications Specifications 1820M System TURNTABLE INPUT Frequency Response THD N SNR Stereo Crosstalk Maximum Level Input Capacitance Input Impedance DIGITAL I O S PDIF ADAT Firewire MIDI SYNCHRONIZATION Internal Crystal Sync RMS JITTER 44 1K Measured via Audio Precision 2 SMPTE Frame Rates Modes Input Level Output Level Input Impedance RIAA equalized phono input 0 5 dB 50 Hz 20 kHz 76 dB 015 1 kHz 10 mV RMS unbalanced input 90 dB 1kHz 10 mV RMS unbalanced input lt 80 dB 1kHz at 1 dBFS Professional 80 mV RMS Consumer 20 mV RMS 220 pF 47K ohm 2 in 2 out c
10. f Un There are four types of SMPTE time code in general use 24 25 30 frame per second and 30 drop frame In general you should choose one rate 30 non drop is common in audio and stick with it for initial recording and later editing Types of SMPTE Type Use Hours Minutes Seconds Frames 25 frame Euro Film Video 00 23 00 59 00 59 00 24 30 drop frame US amp Japan Color Video 00 23 00 59 00 59 00 29 30non drop US amp Japan B W Video 00 23 0059 0059 0029 The four frame rates are all straightforward except 30 drop frame The 30 df rate came about because the US color video frame rate is actually 29 97 frames sec instead of 30 frames sec This adds up to an error of 108 frames each hour relative to wall clock E MU Digital Audio System 95 7 Appendix SMPTE Background time A one hour program would actually be 59 minutes and 56 4 seconds long Drop frame was designed to correct this time difference In 30 Drop Frame every minute except 00 10 20 30 40 50 have the first two frames 00 and 01 dropped hence the name drop frame Why use SMPTE SMPTE sync although well over 30 years old has the advantage of being able to be recorded as an audio track This allows it to be used with virtually any kind of recording equipment from tape recorders to computer based digital audio recorders You can even buy phonograph records with a SMPTE stripe SMPTE wa
11. musical lines one on top of the other with the feedback control turned up Feedback Signal path Stereo A A L Delay R Delay Time Time Parameter Description Left Delay Time Sets the length of the delay for the left channel in milliseconds Right Delay Time Sets the length of the delay for the right channel in milliseconds Delay Time L amp R O1ms minimum increment between settings Stereo Delay 100 Range 1 millisecond to 100 milliseconds Stereo Delay 250 Range 1 millisecond to 250 milliseconds Stereo Delay 500 Range 1 millisecond to 500 milliseconds Stereo Delay 750 Range 1 millisecond to 750 milliseconds Stereo Delay 1500 Range 1 millisecond to 1 5 seconds Feedback Sets the amount of delayed signal that will be recirculated through the delay line Range 0 to 100 High Freq Rolloff Damps high frequencies in the feedback path Range 0 to 100 5 Effects Core Effects Descriptions E MU Digital Audio System 75 5 Effects Core Effects Descriptions Stereo Reverb Reverberation is a simulation of a natural space such as a room or hall The stereo reverb algorithm is designed to simulate various halls rooms and reverberation plates Decay time defines the time it takes for the reflected sound from the room to decay or die away The diagram below shows a generalized reverberation envelope I gt Fri Tassa FS Ti
12. 1 Select the topmost Insert location on a mixer strip and insert a meter see above 2 Left click on the meter insert to see the meter in the TV screen 3 Feed your audio signal to the input of the mixer strip The meter should now show Input too weak the signal level Use 10 Input setting 4 Adjust the output level of the external device synthesizer instrument preamp etc feeding the AudioDock or 0202 Daughter Card The meter should be in the yellow region most of the time with occasional forays into the red Ifthe clip indicator ever comes on reduce the signal level Output too weak Use 4 Output setting 40 Creative Professional 5 Each analog input pair has its own Input Pad 10dBV or 4dBu which controls the input signal range Changing the I O settings can add or subtract 12dB Check these settings if you cannot set the proper input level See I O Settings Making the Best Possible Recording Making a good digital recording is easier than ever thanks to the high resolution 24 bit A D converters on your Digital Audio System These converters are much more forgiving than the 12 bit or 16 bit converters of the past Even so to get the best performance possible you ll need to follow a few basic guidelines First whenever you input an analog signal to the Digital Audio System make sure that you re feeding the A D converters with an optimum signal level The quality of a digital recording is directly related to
13. 1V RMS OdBu 777V RMS An input setting of 10 is compatible with consumer audio gear and works best with low level signals 10dBV is approximately 12dB lower than 4dBu Choose the setting that allows you to send or receive a full scale signal without clipping Setting correct input and output levels is important You can measure the level of an input by inserting a meter into the first effect location in the strip Adjust your external equipment outputs for the optimum signal level See To Set the Input Levels of a Strip for details Input too weak Use 10 Input setting Output too weak Use 4 Output setting Input Level __4 Output Level Settings Settings E MU 1010 E MU 1010 Optical Input Optical Select Output Select S PDIF Output Format Select E MU Digital Audio System 31 4 The PatchMix DSP Mixer The Session Inputs 4 or 10 Selects between Consumer level 10dBV or Professional level 4dBu inputs Use the 10dBV setting if your input is too weak Outputs 4 or 10 Selects between Consumer level 10dBV or Professional level 4dBu outputs The 4 dBu setting outputs a hotter level PCI Card Optical Input Selects between ADAT or optical S PDIF for the 1010 PCI card ADAT Input The coaxial S PDIF input is disabled when S PDIF optical is selected PCI Card Optical Output Selects between ADAT or optical S PDIF for the 1010 PCI card ADAT Output The coaxi
14. Creative Professional E Delay Compensator Use ii 85 E Delay Units Parameter storia 85 Groupino Tracks nausea la cd dad bac EN ANAS 86 6 Using High Sample Rates ccccccesseeeeseeeeeeeeeeeeseceeseees OF OVEIVIEW ci rt 87 E MU 1820 System at 88 2k 96k 1010 PCI Card AudioDock 87 E MU 1212M System at 88 2k or 96k 1010 PCI Card amp I O Card 88 E MU 1820 System at 176 4kHz or 192kHz 1010 PCI Card AudioDock 89 E MU 1212 System at 176 4k 192k 1010 PCI Card amp I O Card 89 WDM Recording and Playback Behavior ona nncncncons 91 7 Appendix cccccccccoonononnnonnonnnnnnnnonnnnnnnnonancnnnncnancnanncnannnana DD Sync Daughter Card Supplement cnn nonnonncnn nono E EE rara rain 93 SMPTE GOnNVersioni adi taa buon 93 SMPTE Features Dia unici alal 93 SMPTE Options ia Rana ea asi ak eG ROR REL 93 SMPTE Modes O Operaio iii a acai 94 Host MOCE rra ri dada a dci 94 External Mode ducto aer 94 Flywh el M6d vicio atest iene a RES 94 Flywheel Modes erariali rapiti 94 Stripe Mode ber urrara e aio ee iaia ee lata 95 SMPTE Background i AIR ALE AI REGIONE 95 Types OF SMPTE td ti 95 Why use SMPTE tucan N A R 96 Striping SMPTE scale e ll ini a NO 96 Avoiding SMPTE problems i 96 Duplicating SMPTE time code non con nono nc nn TEE cnn ran rain 97 Other Tip
15. E M EA aurea Digital Audio System E MU Digital Audio System Owners Manual 2003 E MU Systems All Rights Reserved Software Version 1 81 E MU World Headquarters E MU Systems 1500 Green Hills Road Scotts Valley CA USA 95067 0015 Europe Africa Middle East Creative Labs Ballycoolin Business Park Blanchardstown Dublin 15 IRELAND E MU Japan Creative Media K K Kanda Eight Bldg 3F 4 6 7 Soto Kanda Chiyoda ku Tokyo 101 0021 JAPAN www japan creative com E MU Digital Audio System Table of Contents 1 Introduction cccccocccoconononarona ron 7 Welcome tas iero den dilaga iva bando Molde Lai 7 All Systems Include vicario 7 EMU T2F2M System crotone dalia ita 8 E MU1820SysteM cit nd lara 8 E MU 1820M SST A a 8 NIC 8 2 Installation ocococococonccnonononanonronronn a Y Setting Up the Digital Audio System con nonncnn con nonncnnrnn nan nan nn 9 Notes tor Installation is 9 Safety First fi Rasa eee reas NST a alito indici mm alice ai 10 Gonnector I ypes 03 il IAA atei rata aaa lieti 10 Installing the E MU 1010 PCI Card non T A 11 Install the Sync Daughter Card or 0202 Daughter Card 12 E MU 0202 8 AudioDock iii LA ia a ia 13 Rubber Feet ie ia a a era 14 Rack Mounting the AUdIODOCK a ncnn cnn A RE 14 Software Installationi ci cai 15 Installing the E MU 1010 Driv
16. Note Effects have to display the effect parameters If an insert effect is not selected the display will read No be placed into an insert Insert location before you can z att Sas rogram them Most effects have a wet dry mix parameter to control the ratio of effect to plain signal prog The wet dry setting is stored with the effect preset The parameter set varies with the type of effect See List of Core Effects for detailed information about the individual effects Effect Display Effect Location View Button Vocal Morpher IS Effect Bypass amp Solo Buttons Wet Dry Mix Control Effect Parameters User Preset Section When a Send or a Send Return insert is selected with the effects display enabled the TV screen shows you where the Send is going and where the Return is coming from The bypass or solo buttons at the top of the display are available for Send Return type inserts only Send Return Strip 2 Synth Insert 4 Send Destination Ory AO vw Return Source 48 Creative Professional 4 The PatchMix DSP Mixer Main Section Input Selecting the Input display view shows a graphic representation of the PatchMix DSP Mixer inputs This screen is only a display unlike the Effects and Outputs screens which allow you to make routing changes Input routing changes are made by adding mixer strips See Mixer Strip Creation The input routings are divided into two categories Phys
17. Phoneme A List of Available Phonemes A E I o U AA AE AH AO EH ER IH IY UH UW B D F G J K L M N P R S T v Parameter Description Phoneme A Select any of the available Phonemes for Phoneme A Phoneme A Adjusts the frequency of Phoneme A up or down 2 octaves in Tuning semitone intervals Range 24 semitones to 24 semitones Phoneme B Select any of the available Phonemes for Phoneme B Phoneme B Adjusts the frequency of Phoneme B up or down 2 octaves in Tuning semitone intervals Range 24 semitones to 24 semitones LFO Rate Controls how fast the phonemes morph back and forth Range 01Hz to 10Hz LFO Waveform Selects the waveform for the morph Sinusoid Triangle Sawtooth 5 Effects Core Effects Descriptions E MU Digital Audio System 77 5 Effects E MU PowerFX E MU PowerFX The hardware accelerated effects of the E MU Digital Audio System can also be used as VST inserts in Cubase LE E MU PowerFX allow you to use PatchMix DSP effects from within Cubase LE with minimal load on your CPU E MU PowerFX incorporate smart time alignment technology which automatically compensates for system latencies and ensures proper synchronization of audio throughout the VST chain if the host application supports this feature E MU PowerFX On Off Input Signal Present FX Parameters Preferences Core Effects 1 Band Para EQ 1 Band Shelf EQ 3 Band EQ 4 Band EQ Auto Wah Cho
18. You can also add delete or modify Effects Chains and the folders that contain them For more information on Effects Chains see FX Insert Chains on page 54 New Folder Icon Import Export FX Effect Categories Core Effects a 1 Band Para EQ 1 Band Shelf EQ Multi Effects 3 Band EQ 4 Band EQ Distortion Lo fi Auto Wah Drums amp Percussion Chorus Compressor Environment Distortion Equalization Flanger Freq Shifter Guitar Leveling Amp M rpher Lite Reverb DARA Mono Delay 100 Multi Effects Mono Delay 250 Mono Delay 500 Reverb Mono Delay 750 Synths amp Keys Mono Delay 1500 Vocal Core Effect 5 Effects Overview lt Saving a session defragments the effect DSP resources If you have used all your effects and need another try saving the session E MU Digital Audio System 53 5 Effects The Effects Palette gt To Select an Effect 1 Click the FX button to bring up the Effects Palette The effect palette contains numerous folders containing effects presets Click on any folder to open it 2 Select the effect you wish to use by clicking on it with the left mouse button and while continuing to hold the mouse button drag the effect into the desired location on the PatchMix DSP mixer screen and release the mouse button Multi effects contain several effects along with their parameter settings 3 If you want to change the order of effects simply Left c
19. the distortion Range 80Hz to 24kHz Edge Sets the amount of distortion and new harmonics generated Range 0 100 Gain Sets the output volume of the effect Range 60dB to 0dB Post EO Center Freq Sets the frequency of the output bandpass filter Range 80Hz to 24kHz Post EO Bandwidth Sets the width of the output bandpass filter Range 80Hz to 24kHz 5 Effects Core Effects Descriptions E MU Digital Audio System 67 5 Effects Core Effects Descriptions Flanger A flanger is a very short delay line whose output is mixed back together with the original sound Mixing the original and delayed signals results in multiple frequency cancella tions known as a comb filter Since the flanger is a type of filter it works best with harmonically rich sounds N AMPLITUDE dB FREQUENCY log A low frequency oscillator is included to slowly change the delay time This creates a rich sweeping effect as the notches move up and down across the frequency range The amount of feedback deepens the notches intensifying the effect You can invert the feedback signal by choosing a negative feedback value Inverting the feedback signal creates peaks in the notch filter and deepens the effect Feedback Signal path Stereo A LFO lt Phase Delay VAN Waveform Parameter Description Delay Sets the initial delay of the flanger in 01 mi
20. turntable 22 Pre Delay compressor 66 Pre Fader Aux Sends 47 Preset create new 58 delete 59 overwrite effects 59 rename effects 59 select user 58 Q Quarter Frame Messages 98 R Rack Mounting Audio Dock 14 Ratio compressor 66 Red Strip 33 Reducing Noise 102 Release compressor 66 Render Mode 79 Reverb envelope 71 76 Reverberation 76 RJ45 Connector 13 Robot Voice Effects creating 75 Rotary effect 73 Rubber Feet installing on Audio Dock 14 S S MUX 87 S PDIF cables 102 inputs and outputs 17 optical 20 S PDIF to AES EBU Adapter 101 Sample Rate 96kHz amp 192kHz 87 indicator LEDs 21 setting 28 Save FX Insert Chains 54 session 29 user effect preset 58 Scribble Strip 46 Send return insert 37 38 39 bypass or solo 48 auxiliary 44 insert 37 Send Return Levels 47 Session 28 creating new 28 path 29 templates 29 Setting Up the E MU Digital Audio System 9 Settings I O 31 input level 20 MIDI 30 system 29 Sidechain Effects 50 routing 44 Signal generator insert 42 118 Creative Professional Signal Level Indicators LEDs 20 meters 51 Signal Level increasing 18 22 SMPTE 93 background 95 example connection 97 Software Installation 15 Solo button 46 insert 57 58 send return insert 48 Specifications 1820 System 106 109 1820M amp 1212 Systems 103 Start Time SMPTE 94 Stereo Delays 75 Stereo Reverb 76 Strip add new 34 input type 33 mixer 33 Striping SMPTE 95 96 Surround So
21. Card amp Interfaces The AudioDock The AudioDock Front Panel Indicators MIDI CLOCK SMPTE The MIDI Input Indicators These two indicators labelled 1 amp 2 show MIDI activity on the MIDI input jacks The Clock Source and Sample Rate Indicators These LED indicators on the front panel of the AudioDock show the current timing synchronization and sample rate These indicators reflect the current settings in the Session Settings Window See System Settings e Ifthe sample rate is 88 2 kHz the 44 1k and 96k LEDs both illuminate If the sample rate is 176 4 kHz the 48k and 192k LEDs both illuminate The Clock Source LEDs The Clock Source LEDs indicate the source of the master clock that is currently driving the E MU 1010 LED Clock Source LCK Lock Indicates that the internal or external clock is locked and valid EXT External Indicates that an external clock source is selected When the system is running from an external or digital clock source the AudioDock continually checks that the incoming clock source is valid If the clock source changes or becomes invalid in any way the LCK LED will flicker or will not be lit If sync has been lost the audio outputs will also be muted The AudioDock will switch to internal clock at 48kHz if sync is lost and switch back to external clock if sync is re established Typical causes of loss of digital or external sync include Removing the S PDIF or external clock
22. D D A converters which deliver an unbelievable 120dB dynamic range The Sync Daughter Card comes standard with the 1820M system and can be purchased as an optional upgrade to the 1820 and 1212M systems The Sync Card adds Word Clock in and out for sample synchronizing outboard digital equipment and SMPTE longitudinal time code in out for syncing other recording equipment A separate MIDI Time Code output port on the Sync Card eliminates timing problems caused by combining MTC with MIDI performance data You ll want to keep up with the latest software and options for your E MU digital audio system You can find all of this plus other helpful information at the E MU Website http www emu com Notes Tips and Warnings Items of special interest are presented in this document as notes tips and warnings Notes provide additional information related to the topic being discussed Often notes describe the interaction between the topic and some other aspect of the system E Tips describe applications for the topic under discussion V Warnings are especially important since they help you avoid activities that can cause damage to your files your computer or yourself 8 Creative Professional 2 Installation Setting Up the Digital Audio System 2 Installation Setting Up the Digital Audio System There are six basic steps to installing your E MU system 1 Da uO A WU N Remove any other sound cards you have in your co
23. DC coupled low noise input circuitry Professional 4 dBu nominal 20 dBu maximum balanced Consumer 10 dBV nominal 6 dBV maximum unbalanced 05dB 20 Hz 20 kHz 110 dB 0003 1kHz at 1 dBFS 120 dB A weighted 120 dB A weighted lt 115 dB 1 kHz signal at 1 dBFS gt 40 dB at 60Hz 10K ohm Balancea low noise 2 pole low pass differential filter Professional 4dBu nominal 20dBu balanced Consumer 10dBV nominal 6dBV maximum unbalanced 0 0 0 35 dB 20 Hz 20 kHz 105 dB 0006 1kHz signal at 1 dBFS 120 dB A weighted 120 dB A weighted lt 120 dB 1kHz 560 ohms E MU Digital Audio System 109 7 Appendix Technical Specifications Specifications 1212 System DIGITAL I O S PDIF ADAT Firewire MIDI SYNCHRONIZATION Internal Crystal Sync RMS JITTER 44 1K Measured via Audio Precision 2 Dimensions amp Weight AUDIODOCK Complete Product Weight AudioDock Weight Alone Dimensions 1010 PCI Card Weight Dimensions 0202 Daughter Card Weight Dimensions 2 in 2 out coaxial transformer coupled 2 in 3 out optical software switchable with ADAT AES EBU or S PDIF switchable under software control 8 channels 24 bit 44 1 48 kHz 4 channels 24 bit 96 kHz 2 channels 24 bit 192 kHz 400 IEEE 1394a port 6 pin Compatible with DV cameras or HDs 1 MIDI in 1 MIDI out 16 channels 44 1kHz 48 kHz 88 kHz 96 kHz
24. Line Inputs 8 24 bit Bal Line Outputs 2 Mic Line Preamp Inputs 2 Turntable Preamp Inputs 1 Stereo Headphone Out 4 Computer Speaker Outs 1 Word Clock In amp Out 1 SMPTE LTC In amp Out All Systems Include The E MU 1010 PCI Card is the heart of all three systems Its powerful hardware DSP processor allows you to use over 16 simultaneous hardware based effects which place minimal load on your computer s CPU The Firewire port provides high speed connec tivity to the Creative NOMAD portable digital audio player external CD RW drives and other Firewire compatible devices such as DV camcorders printers scanners and digital still cameras The E MU 1010 PCI Card also provides eight channels of ADAT optical digital input and output as well as a S PDIF stereo digital input and output The PatchMix DSP mixer application is included in all the systems PatchMix DSP delivers unmatched flexibility in routing your audio between physical inputs and E MU Digital Audio System 1 Introduction Welcome outputs virtual ASIO WAVE inputs and outputs and internal hardware effects and buses no external mixer needed You can add digital effects EQs meters level controls and ASIO WAVE sends anywhere you like in the signal chain Because the effects and mixing are hardware based there is no latency when you record You can even record a dry signal while monitoring yourself with effects Mixer setups can be sav
25. S PDIF Digital Audio Input amp Output RCA phono jacks are standard connectors used for S PDIF Sony Philips Digital InterFace connections Each jack carries two channels of digital audio The E MU 1010 receives digital audio data with word lengths of up to 24 bits Data is always transmitted at 24 bits S PDIF digital I O can be used for the reception and or transmission of digital data from external digital devices such as a DAT external analog to digital converter or an external signal processor equipped with digital inputs and outputs The S PDIF out can be configured in either Profes sional or Consumer mode in the Session Settings menu The 1010 PCI card can also send and receive AES EBU digital audio through the use of a cable adapter See AES EBU to S PDIF Cable Adapter for details The S PDIF input and outputs are usable at the 44 1kHz 48kHz 88 2kHz and 96kHz sample rates but are disabled for 176 4kHz and 192kHz The word clock contained in the input data stream can be used as a word clock source See System Settings ADAT Optical Digital Input amp Output The ADAT optical connectors transmit and receive 8 channels of 24 bit audio using the ADAT type 1 amp 2 formats The word clock contained in the input data stream can be used as a word clock source See System Settings Optical connections have certain advantages such as immunity to electrical interference and ground loops Make sure to use high quality glass fiber l
26. Since the compressor turns down the gain of the signal you might wonder how can it make the signal level stronger A Post Gain control allows you to boost the output gain of the compressor in order to make up for the gain reduction The overall level is higher and only turned down when the signal level gets too loud This level is called the Threshold which just happens to be the most important control on the compressor Signal path Stereo Out Threshold a a Post Gain Ratio Attack Release 5 Effects Core Effects Descriptions E MU Digital Audio System 65 5 Effects Core Effects Descriptions Basic Controls The three main controls of a compressor are the Ratio control the Threshold control and the Gain control If the signal falls below the Threshold no processing will take place Signals exceeding the Threshold will have gain reduction applied as set by the ratio control This important control allows you to dial in the range of amplitudes you want to tame For example if you re trying to trim off just the loudest peaks set the threshold so the gain reduction meter only shows compression during these peaks One of the biggest mistakes in using a compressor is having the threshold set too low This adds noise as the compressor will always be reducing the volume The Ratio control determines how strongly the compressor will affect the signal The higher the ratio the more reduction will be applied If the ratio i
27. assigned to the two aux buses Send and return levels can be individually controlled for each of the two Aux Buses The Aux 1 and Aux 2 buses are fed by the two Aux Sends on each mixer strip The Master Send Level control on Aux bus 1 and 2 can be used to attenuate or boost the signal going into the Auxiliary Inserts There is also a Master Return Level to control the amount of the effected signal that will be returned into the main mix The Main Bus can also have a chain of effects inserted You might put an EQ here to equalize your entire mix or add an ASIO or WAVE send to record the mix Note that the Main Output level control comes before the Monitor Level so that you can control the monitor level without affecting the level of your recording mix or main mix There is a stereo peak meter that indicates the signal strength for the main mix The Monitor section has a volume balance and a mute control to cut off the monitor output 4 The PatchMix DSP Mixer Main Section E MU Digital Audio System 47 4 The PatchMix DSP Mixer Main Section TV Screen amp Selectors The TV screen at the top of the main section is a multi function display and control center for the input and output routings and effect controls The three buttons at the top of the display select the current function of the display Effect Inputs or Outputs Effect Select the Effect display view in the main section then click on an Effect Insert to
28. channels 24 bit 44 1 48 kHz 4 channels 24 bit 96 kHz 2 channels 24 bit 192 kHz 400 IEEE 1394a port 6 pin Compatible with DV cameras or HDs 2 MIDI in 2 MIDI out 44 1kHz 48 kHz 88 2 kHz 96 kHz 176 4 kHz 192 kHz ADAT S PDIF optical or coaxial SRSync SourceRMS jitter in picoseconds 44 1kHz Internal Crystal 596ps 44 1 kHz Optical Input 795ps 108 Creative Professional 7 Appendix Technical Specifications Specifications 1212 System GENERAL Sample Rates Bit Depth Hardware DSP Converters amp OpAmps WDM Drivers AudioDockM Power Use ANALOG LINE INPUTS Type Level software selectable Frequency Response THD N SNR Dynamic Range Channel Crosstalk Common mode Rejection Input Impedance ANALOG LINE OUTPUTS Type Level software selectable Frequency Response THD N SNR Dynamic Range Stereo Crosstalk Output Impedance 44 1 KHz 48 kHz 88 2 kHz 96 kHz 176 4kHz 192 kHz from internal crystal Externally supplied clock from S PDIF ADAT or word clock with optional Sync Card 16 or 24 bits 100MIPs custom audio DSP PCI Bus Mastering DMA subsystem reduces CPU usage Zero latency direct hardware monitoring with effects 1394 Firewire Core Texas Instruments ADC AK5394 AKM DAC CS4398 Cirrus Logic OpAmp NJM2068M URC 8 channels operational at 44 1 kHz 48kHz 88 2kHz 96kHz 176 4kHz 192kHz 1 2540 12V 15W Servo balanced
29. click and add Sends Sends Returns etc Refer to the Mixer Block Diagram Main Output Fader The main output fader controls the level ofthe main output and the Monitor output as well since it is downstream from this control The normal setting for this control is at unity or 0dB but the control allows you to add up to 12dB of gain High output levels may cause clipping on outboard amplifiers or other equipment Output Level Meters This stereo bar graph meter reflects the digital level at the output of the mixer The topmost red bar represents 0 dB or a full scale digital signal The peaks hold for a moment so that short transients can be monitored Each bar 1dB lt gt Z ez x 0dB 12dB Monitor Output Level This control adjusts the monitor output level Keep in mind that since the monitor level control comes after the Main Output Fader nothing will be heard from your monitors if the main level is turned down Monitor Balance Control This control sets the relative volume of the stereo monitor outputs and works just like the balance control on your home music system This control is primarily used to make the volume from each speaker sound equal if you are not sitting exactly in the center of the two speakers E Eo aale LD OLUDE DDT LTTE OL Monitor Output Mute This button completely cuts off the monitor output and provides a convenient way to instantly kill all sound without having to re adjust the monito
30. does not pose a problem such as mastering a mix or compressing prerecorded stereo material Post Gain is the only control on the leveling amp This control is used to make up the volume lost by the compression The Compression Ratio is fixed at about 2 5 1 Ifa large peak is detected the effect will automatically increase the compression ratio to keep the audio output controlled The gain reduction meter shows you how much gain reduction is being applied Since the gain reduction meter displays how much the gain is being turned down the meter moves from right to left instead of left to right like most meters Post Gain Amplifies the signal after it has been compressed to bring up the volume Range OdB to 36dB 70 Creative Professional Lite Reverb Reverberation is a simulation of a natural space such as a room or hall The Lite Reverb algorithm is designed to simulate various rooms and reverberation plates while using fewer DSP resources than the Stereo Reverb Up to five Lite Reverbs can be used at once Decay time defines the time it takes for the reflected sound from the room to decay or die away The diagram below shows a generalized reverberation envelope gt ae Reverberation i Early Reflections Time After a short pre delay period the echoes from the closest walls or ceiling are heard These first echoes or Early Reflections vary greatly depending on the
31. double click Setup exe 4 The installation splash screen appears Follow the instructions on the screen to complete the installation 5 Choose Continue Anyway when you encounter the Windows Logo Testing warning screen See the note below for more information 6 When prompted restart your computer Uninstalling all Audio Drivers and Applications At times you may need to uninstall or reinstall some or all of the audio card s applica tions and device drivers to correct problems change configurations or upgrade outdated drivers or applications Before you begin close all audio card applications Applications still running during the uninstallation will not be removed 1 Click Start gt Settings gt Control Panel Double click the Add Remove Programs icon Click the Install Uninstall tab or Change or Remove Programs button A WN Select the E MU driver application entries and then click the Add Remove or Change Remove button ul In the InstallShield Wizard dialog box select the Remove option 6 Click the Yes button Restart your computer when prompted 7 You may now re install existing or updated E MU 1010 PCI card device drivers or applications Note About Windows Logo Testing When you install the Digital Audio System drivers you will see a dialog box that informs you that the driver has not passed Windows Logo testing The Digital Audio System drivers are not signed because the driver does
32. each band Low Shelf Mid Band High Shelf Corner l Corner 24dB Freq FICA s i i I E Width 1 2 d y 3 H I I g I i I Center 24dB lt Frequency gt gt Setting up a Parametric EQ 1 Turn up the gain on the band you are working with This allows you to easily hear the effect of the filter 2 Reduce the bandwidth if you are working with a mid band 3 Adjust the Center Frequency to zero in on the frequencies you wish to boost cut 4 Set the Gain to a positive value to boost frequencies or to a negative value to cut out frequencies 5 Widen the Bandwidth to create a more natural sound 6 Adjust and tweak as needed Parameter Description High Shelf Gain Sets the amount of cut or boost of the high frequency shelf Range 24dB to 24dB High Corner Freq Sets the frequency where the signal begins getting cut or boosted with the High Gain control Range 4KHz to 16kHz Mid Gain Sets the amount of cut or boost of the mid frequency band Range 24dB to 24dB Mid Freq 1 Sets the range of frequencies to be cut or boosted with the Mid Gain control Range 200Hz to 3kHz Mid Bandwidth Sets the width of the frequency range for the Mid Center Frequency band that will be cut or boosted by the Mid Gain control Range 1 semitone to 1 octave Low Shelf Gain Sets the amount of cut or boost of the low frequency shel
33. in the Insert section and select Effect in the TV display 2 Click the Solo button Method 2 1 Right Click over the Effect you want to Solo in the Insert section A pop up dialog box appears 2 Select Solo Insert from the list of options E MU Digital Audio System 43 4 The PatchMix DSP Mixer Mixer Strip Creation Aux Section The Auxiliary Sends tap the signal from the channel strips and sum them together before sending the mix to the Auxiliary Effects section In a traditional mixing console aux sends are used to send part of the signal to outboard effect devices then return the effected signal back into the mix using the effect returns This is called a sidechain routing because the aux signal takes a detour through the effects before being summed back into the main mix Sidechain effects are usually effects that you might want applied to several channels such as reverb Incidentally the wet dry mix of effects in the Aux Sends should normally be set to 100 wet This is because you will be adjusting the effect amount using the Aux Return control If you have more than one effect in an Aux Bus ignore the preceding advice as the wet dry controls can be used to mix the amounts of your multiple effects The Aux 1 amp 2 buses can also be used as additional submix output buses just like the main output Simply drop an ASIO or External Send Insert into the chain and the stereo bus is sent Turn down the Return Amount if
34. in the TV display Method 2 1 Right click over the Insert you want to bypass in the Insert section A pop up menu appears 2 Select Bypass Insert from the list of options The insert effect name will gray out to indicate that the insert effect is bypassed gt To Solo an Insert Inserts can also be soloed Solo bypasses all the other inserts in the strip and allows you to hear only the soloed effect This feature is very useful when adjusting the effect parameters Method 1 1 Click on the Insert Effect in the Insert section 2 Click the Solo button in the TV display E MU Digital Audio System 57 5 Effects FX Edit Screen Method 2 1 Right click over the Insert Effect you want to Solo in the Insert section A pop up menu appears 2 Select Solo Insert from the list of options The other Insert Effect names in the strip will gray out to indicate that they are bypassed gt To Bypass ALL All the inserts in a strip can be bypassed with a single command 1 Right click over any Effect in the Insert section A pop up menu appears 2 Select Bypass All Inserts from the list of options All the insert names will be grayed out to indicate that they are bypassed gt To Un Bypass ALL All the inserts in a strip can also be un bypassed with a single command This command works even if only some of the effects are bypassed 1 Right click over any Effect in the Insert
35. located here C Program Files Creative Professional E MU PatchMix DSP Effect Presets If the name of an imported FX preset exactly matches a preset you already have a number will be appended to end of the imported preset name 1 Click the Import Export FX Library button from the FX Palette Select Import FX Category The Browse for Folder window appears Choose the folder where the FX Chains you wish to import are located The selected folder of FX Chains will be copied into the Effect Presets folder of PatchMix DSP A WN gt To Export your Core FX Presets This option exports your Core FX presets to a folder of your choice 1 Click the Import Export FX Library button from the FX Palette Select Export FX Library The Browse for Folder window appears Choose a destination location for the Core FX presets then press OK B WN The Core FX presets will be copied to the selected destination gt To Export your FX Category Folders This option exports a single category of FX chains to a folder of your choice 1 Click the Import Export FX Library button gt from the FX Palette 2 Select Export FX Category A pop up dialog box appears asking you to Choose the FX Category to be exported 3 Choose the desired FX Category to export Press OK to continue or Cancel to cancel the operation 4 The Browse for Folder window appears Choose a destination location for the Core FX p
36. not support some of the consumer audio features that the Microsoft driver signing program requires most notably Digital Rights Management However the Digital Audio System drivers have been rigorously tested using the same test procedures that a signed driver requires and it passes in all important categories including those that measure the relative stability of the driver So it is perfectly safe to install these drivers on your computer 2 Installation Software Installation Serial Number During the registration process you will be asked to enter your 18 digit serial number The serial number is located on the back of the box and on the 1010 PCI Card E MU Digital Audio System 2 Installation Software Installation 16 Creative Professional 3 PCI Card amp Interfaces The E MU 1010 PCI Card The E MU 1010 PCI card is the heart of the system and contains E MU s powerful E DSP chip The powerful hardware DSP on this card leaves more power free on your CPU for additional software plug ins and other tasks Connections Connects to EXTERNAL Audio Dock r Al via EDI Cable la S PDIF _ In Out O ADAT A or S PDIF 7 Optical i In Out A Firewire l EDI Connector Connects to the AudioDock using the supplied EDI cable This cable provides a a two way data link between the E MU 1010 and the AudioDock as well as supplying power to the AudioDock
37. possibility of causing electrostatic damage power cable to make sure that the computer is not in sleep mode Avoid any unnecessary movement such as scuffing your feet when handling electronic devices since most movement can generate additional charges of static electricity Minimize the handling of the PCI card Keep it in its static free package until needed Transport or store the board only in its protective package When handling a PCI card avoid touching its connector pins Try to handle the board by its edges only Before installing a PCI card into your computer you should be grounded Use a ground strap to discharge any static electric charge built up on your body The ground strap attaches to your wrist and any unpainted metal surface within your computer If you dont have a ground strap you can ground yourself by touching the metal case of another piece of grounded equipment Before connecting a cable to your interface or between PCI cards touch the connector sleeve of the cable to the sleeve of the jack to which you ll be connecting the cable in order to discharge any static build up Connector Types These connector types are used to connect the E MU 1010 hardware components They will be referred to by the name shown in the first column of the following chart Name Description Connects Card External CAT5 Connector 1010 PCI card and AudioDock S PDIF In RCA Connector S PDIF d
38. supplied clock from S PDIF ADAT or word clock with optional Sync Card 16 or 24 bits 100MIPs custom audio DSP PCI Bus Mastering DMA subsystem reduces CPU usage Zero latency direct hardware monitoring with effects 1394 Firewire Core Texas Instruments ADC PCM1 804 TI Burr Brown DAC CS4392 Cirrus Logic OpAmp NJIM2068M URC 11IA 12V 13W Servo balanced DC coupled low noise input circuitry Professional 4 dBu nominal 20 dBu maximum balanced Consumer 10 dBV nominal 6 dBV maximum unbalanced 0 0 0 2 dB 20 Hz 20 kHz 102 dB 0008 1kHz at 1 dBFS 111 dB Aweighted 111 dB Aweighted lt 115 dB 1 kHz signal at 1 dBFS gt 40 dB at 60Hz 10K ohm Balanced low noise 2 pole low pass differential filter Professional 4dBu nominal 20dBu balanced Consumer 10dBV nominal 6dBV maximum unbalanced 0 0 0 8 dB 20 Hz 20 kHz 98 dB 0006 1kHz signal at 1 dBFS 112 dB Aweighted 112 dB A weighted lt 120 dB 1kHz 560 ohms 106 Creative Professional Specifications 1820 System MIC PREAMP LINE INPUT Type Frequency Response Stereo Crosstalk LINE INPUT Gain Range Max Level THD N Dynamic Range SNR Input Impedance CMRR MICROPHONE PREAMP Gain Range Max Level THD N SNR Input Impedance CMRR HEADPHONES Frequency Response THD N 1 kHz max level SNR Dynamic Range Stereo Crosstalk Max Output Power Output Imped
39. the reverberation cloud Range 0 to 100 5 Effects Core Effects Descriptions E MU Digital Audio System 71 5 Effects Core Effects Descriptions Mono Delays 100 250 500 750 1500 3000 A delay line makes a copy of the incoming audio holds it in memory then plays it back after a predetermined time The delay number refers to the maximum delay time that can be produced by the delay line The six lengths from 100 ms to 3 seconds allow you to make the most efficient use of the effect memory resource Long delays produce echoes short delays can be used for doubling or slapback effects Very short delays can be used to produce resonant flanging and comb filter effects or create monotone robotic sounding effects Hint use feedback Stereo signals are summed together before entering the Mono Delay There is also a feedback path to send the delayed audio back through the delay line When creating echo effects the feedback controls how many echoes will be produced With short delays the feedback control acts as a resonance control increasing the amount of comb filtering produced by the delay line Comb filtering See page 68 A High Frequency Rolloff filter in the feedback path cuts some of the high frequency energy each time the audio goes through the delay line This simulates the natural absorption of high frequencies in a room and can also be used to simulate tape based echo units The Wet Dry mix cont
40. 176 4 kHz 192 kHz ADAT S PDIF optical or coaxial Word Clock sync card only 75 ohm termination switchable SRSync SourceRMS jitter in picoseconds 44 1 kHz Internal Crystal 596ps 44 1 kHz Optical Input 795ps 5 65lb 2 56kg 2 95lb 1 34kg W 8 6 H 1 7 L 9 6 W 218 5mm H 43 2mm L 244mm 0 30Ib 0 14kg L 6 7 170 2mm 0 25Ib 0 10kg L 5 04 128mm 110 Creative Professional 7 Appendix Internet References Internet References The internet contains vast resources for the computer musician A few useful sites are listed here but there are plenty more Check it out Software Updates Tips Tutorials http www emu com Setting up a PC for Digital Audio http www musicxp net MIDI Basics Search for MIDI Basics many sites MIDI amp Audio Recording http www midiworld com MIDI amp Audio Recording http www synthzone com ASIO Cubase amp Digital Audio http www steinberg net Cubase Users Group http www groups yahoo com group cubase messages Forums Unofficial E MU Forum http www productionforums com emu E MU Newsgroup Yahoo http groups yahoo com group e mu_1820 III iii http www kvr vst com forum search php Driver Heaven Forum
41. 192kHz W Steinberg Cubasis does not have the control automation feature W Once you have recorded or drawn automation do not delete or move effects from the Insert Strip Doing so will result in unpredictable behavior 80 Creative Professional E MU PowerFX Compatibility Chart et nee Extra gt Application Name Compatible Note Render Buffers Steinberg Cubase VST 5 1 Yes Off Off Steinberg Cubase SX 1 Yes Off Off Steinberg Cubase SX 2 Yes Instrument Off Off Freeze triggers error if not in render mode Steinberg Cubase LE Yes Off Off Steinberg Cubase SL Yes Off Off Steinberg WaveLab 4 Yes On Off Steinberg WaveLab Lite ver 4 Yes On Off Steinberg WaveLab 5 No Pops amp clicks On Either may occur Try 8 buffers at 1024 Sony Acid 4 Yes On Off Sony Vegas 5 Yes On Off Sony SoundForge 7 No Power FX On Off crashes when launched Adobe Audition 1 5 No Audio Any Any distortion amp immediate lockup FruityLoops Studio 4 5 Yes Off On Ableton Live 3 5 No Distortion On Off when FX parameters are changed Cakewalk Sonar 3 Yes Off Off 5 Effects E MU PowerFX E MU Digital Audio System 81 5 Effects Rendering Audio with E MU PowerFX Rendering Audio with E MU PowerFX Rendering sometimes called Export is a mixdown process performed by the host application which creates a new digital audio file from a multitrack s
42. 3R Gnd WR SUR Ci Sub SIBkLR c 4 Chan CO SAAS Card Monitor era MIDI2 Out 1 l 1 l 1 l I l 1 1 I I 1 l 1 l 1 l I l 1 I H 1 i li In 2 amp 3 enabled Da i i 1 l 1 l 1 1 I I l 1 l f In i 1 i At the 88 2kHz 96kHz sample rates all outputs are available but 4 inputs are lost ADAT optical is also reduced to four channels You have the option to enable either ADAT Inputs Or Line Inputs 2 and 3 E MU 1212M System at 88 2k or 96k 1010 PCI Card amp I O Card When using the E MU 1212 system at 88 2kHz or 96kHz you have two analog inputs and outputs and two S PDIF inputs and outputs The ADAT input output channels are reduced from eight to four using the S MUX standard E MU 1212M Inputs Outputs at 88 2kHz or 96kHz Source Inputs Outputs ADAT 4 4 S PDIF 2 2 Line 2 2 Total 8 8 88 Creative Professional E MU 1820 System at 176 4kHz or 192kHz 1010 PCI Card AudioDock At the highest sample rate you have 4 inputs and 10 output channels There are four possible input configurations when using the E MU 1820 system at 176 4kHz or 192kHz Each of the three options provides four input channels Microphone Input and Line 2 Input enabled Microphone Input and ADAT Input enabled 2 chan ADAT Line 1 Input and ADAT Input enabled 2 chan ADAT Line Inputs 1 amp 3 enabled allows use of turntable inputs at 192KHz S PDIF is not speci
43. Echo creating 72 used as extra mix busses 50 E Delay Compensator 84 Edge distortion 67 EDI Connector 17 23 E MU Digital Audio System 115 Index Effects 1 band para EQ 61 1 band shelf EQ 61 3 band EQ 62 4 band EQ 63 auto wah 64 chorus 65 compressor 65 create new folder 55 creating robot voice 72 descriptions 61 display screen 48 distortion 67 edit 54 flanger 68 frequency shifter 69 leveling amp 70 lite reverb 71 mono delays 72 overview 53 palette 53 phase shifter 73 placing into an insert location 36 preset create new 58 delete 59 overwrite 59 rename 59 rotary 73 selecting 54 stereo delays 75 stereo reverb 76 using in VST host application 78 vocal morpher 77 E MU 0202 Daughter Card description 18 installing 12 E MU 1010 PCI Card description 17 installing 11 E MU Icon 27 Envelope reverberation 71 76 E Wire 83 Exit PatchMix DSP Services 27 Exporting Core FX amp FX Insert Chains 56 External Clock 24 30 98 100 External Mode SMPTE 94 External Sync Source 30 Extra Buffers 79 F Factory Templates 29 Firewire Connector 18 Flanger 68 Flywheel Mode SMPTE 94 Frame Rates SMPTE 95 Frequency Shifter 69 Front Panel Connections Audio Dock 20 Full Frame Messages 98 FX Edit Screen 57 FX Insert Chains 54 FX Insert Chains importing exporting 56 G Gain compressor 66 Ground Loop preventing 102 Ground Lug turntable 22 Grounding 102 GS Wavetable Software Synth 111 H Headphone level amp sp
44. Lo fi Enter new preset name NewPreset 6 Select a folder where your new preset will be placed then type in a new preset name and click OK Your preset is now saved The order of effects in a chain can have a big effect on the sound Y E This icon will appear when you drag an effect to a new location Trim pots peak meters and test tone generators will also be included in the FX chain 54 Creative Professional 5 Effects The Effects Palette Creating Renaming amp Deleting Categories or Presets There are several utilities to help you organize your effects presets gt To Create a New Preset Category You can create your own category folders to help organize your effects presets 1 Left click on the New Folder icon at the top of the Effects Palette A pop up dialog box appears asking you to Enter the Name of the New Category e Alternatively you can Right click over an Effects Folder which calls a pop up dialog box with the option to Create New Category Type in a name for your new folder Click OK to create a new folder or Cancel to cancel the operation To Delete an Effect Category or Preset Right click on the category folder you wish to delete A pop up selection box appears Select Delete Category A popup dialog box appears warning you that this action will delete all presets in the folder Click OK to delete the folder or Cancel t
45. PDIF ADAT or word clock with optional Sync Card 16 or 24 bits 100MIPs custom audio DSP PCI Bus Mastering DMA subsystem reduces CPU usage Zero latency direct hardware monitoring with effects 1394 Firewire Core Texas Instruments ADC AK5394 AKM DAC CS4398 Cirrus Logic OpAmp NJIM2068M JRC 8 channels operational at 44 1 kHz 48kHz 88 2kHz 96kHz 176 4kHz amp 192kHz 1 2540 12V 15W Servo balanced DC coupled low noise input circuitry Professional 4 dBu nominal 20 dBu maximum balanced Consumer 10 dBV nominal 6 dBV maximum unbalanced 05dB 20 Hz 20 kHz 110 dB 0003 1kHz at 1 dBFS 120 dB A weighted 120 dB A weighted lt 115 dB 1 kHz signal at 1 dBFS gt 40 dB at 60Hz 10K ohm Balanced low noise 2 pole low pass differential filter Professional 4dBu nominal 20dBu balanced Consumer 10dBV nominal 6dBV maximum unbalanced 0 0 0 35 dB 20 Hz 20 kHz 105 dB 0006 1 KHz signal at 1 dBFS 120 dB A weighted 120 dB A weighted lt 120 dB 1kHz 560 ohms E MU Digital Audio System 103 7 Appendix Technical Specifications Specifications 1820M System MIC PREAMP LINE INPUT Type Frequency Response Stereo Crosstalk LINE INPUT Gain Range Max Level THD N Dynamic Range SNR Input Impedance CMRR MICROPHONE PREAMP Gain Range Max Level THD N SNR Input Impedance CMRR HEADPHONES Frequency Response
46. Type and Input Source Physical Source PCI Card S PDIF In LIR Host Source o Output Source ASIO OUT 142 Windows Source Direct Sound WDM Windows Media Aux Send Pre Fader 3 Select the desired input to the mixer strip from the following choices Physical Source Analog or digital input Analog ADAT S PDIF Host ASIO Source input Streaming audio from an ASIO software application Host WAVE input Window sound sources WAVE WDM CD Mixer Strip Type Function Physical I O Card In 24 bit monophonic analog input from the 0202 Daughter Card Physical Dock Mic Line 24 bit monophonic analog input from the AudioDock Physical Dock In 24 bit stereo analog input from the AudioDock Physical PCI Card S PDIF 2 channel digital audio from the S PDIF input on the E MU 1010 card Physical PCI Card ADAT HOST SOURCE 2 channel digital audio from the ADAT input on the E MU 1010 card Function Host ASIO Output Source From software application 2 channel digital audio from an ASIO source software app ASIO 1 2 3 4 5 6 7 8 9 10 11 12 13 14 31 32 Host Windows Source From Windows Direct Sound WDM Windows Media Sound generated or handled by Windows WAVE 1 2 Default stereo source such as game sound CD player beep sounds etc WAVE 3 4 WAVE 5 6 WAVE 7 8 Additional WDM channels
47. a good idea to keep digital cabling as short as possible 1 5 meters for plastic light pipes 5 meters for high quality glass fiber light pipes Grounding In order to obtain best results and lowest noise levels make sure that your computer and any external audio devices are grounded to the same reference This usually means that you should be using grounded AC cables on both systems and make sure that both systems are connected to the same grounded outlet Failure to observe this common practice can result in a ground loop 60 cycle hum in the audio signal is almost always caused by a ground loop Phantom Power Phantom power is a dc voltage 48 volts which is normally used to power the pream plifier of a condenser microphone Some direct boxes also use phantom power Pins 2 and 3 of the AudioDock microphone inputs each carry 48 volts dc referenced to pin 1 Pins 2 and 3 also carry the audio signal which rides on top of the constant 48 volts DC Coupling capacitors at the input of the AudioDock block the 48 volt DC component before the signal is converted into digital form The audio mutes for a second when phantom power is turned on After turning phantom power off wait two full minutes before recording to allow the DC bias to drain from the coupling capacitors or this bias could affect the audio headroom Balanced dynamic microphones are not affected by phantom 1 2 power An unbalanced dynamic microphone may not work grd pro
48. a way to mark frame numbers on video tape Using SMPTE a particular location can be precisely located by simply entering the appropriate time code number which is expressed in Hours Minutes Seconds Frames and Subframes This is possible because each frame of SMPTE time code contains absolute location information expressed in digital form There are two types of SMPTE time code Vertical Interval Time Code VITC which is used on video tape and Longitudinal Time Code LTC or audio time code VITC is strictly used for video and has the advantage of being able to be read while the video deck is paused LTC can be recorded on the audio or sync tracks of video tape and can thus be used in audio or video work Longitudinal time code is the type of SMPTE used on the Sync Daughter Card It contains 80 bits of information per frame An audio SMPTE frame is divided into 80 bit cells A voltage change during a bit cell period constitutes a digital 1 and no change during a bit cell period constitutes a digital 0 In addition to the location bits there are user bits that may contain information about tape reel numbers bits dealing with video information and a 16 bit sync word at the end of the frame SMPTE FramesFrames Seconds Seconds Minutes Minutes Hours Hours SYNC WORD Time M y 0000000000100 00000004 D KARL TDI FDO Code 10 20 30 40 50 60 70 ui Start End Frame Bit Bit Frame Cell Cell 80 Bit Cells per Frame
49. al Generator Insert Working with Inserts The Inserts are one of most powerful features of the PatchMix DSP system as they allow you to configure the mixer for a wide variety of applications To Add an Effect to an Insert Location 1 Press the FX button The effects palette appears 2 The effects are organized into categories Click on a folder to open it 3 Select the effect you want drag it over the insert section then drop it into an insert location 4 To rearrange the order of effects simply drag and drop them into the desired order You have to create an ASIO strip or ASIO Send in order to activate these ASIO channels in your software 36 Creative Professional 4 The PatchMix DSP Mixer Mixer Strip Creation The Insert Menu Right Clicking over the insert section brings up a pop up selection box containing various insert options to help you control and manage your inserts Delete Insert s Delete All Inserts Insert Send Output to ASIONYAWE or Physical Out Insert Send Return Physical Output and Input Insert ASIO Direct Monitor Insert Peak Meter Insert Trim Control Insert TestTone Signal Generator Save FX Insert Chain Solo Insert Bypass Insert Bypass All Inserts gt To Add a Send Insert This type of insert send splits the signal at the insert point and sends it out to the selected destination An ASIO Send becomes an input on your recording applic
50. al S PDIF Output is disabled when S PDIF optical is selected S PDIF Optical Format Selects between S PDIF or AES EBU format for S PDIF This sets the S PDIF AES status bit but does not affect the signal level 32 Creative Professional Input Mixer Strips PatchMix DSP Input Mixer Strips are stereo except for the AudioDock Mic Line inputs and the 0202 card inputs Each input mixer strip can be divided into four basic sections 4 The PatchMix DSP Mixer Input Mixer Strips Insert Section Effects EO External Host Sends amp Returns can be inserted into the signal path Pan Controls These controls position the signal in the stereo sound field Aux Sends Used to send the signal to sidechain effects or to create separate mixes Volume Control Controls the output level of the channel This screen shows a mono strip on the left and a stereo strip on the right Mono Stereo sel ale Lin The very top of the strip is labeled mono or stereo and displays the type Input Type of the assigned input Input mixer strips can be added as desired and can be configured to input the following Physical input Analog SPDIF ADAT Host Input Direct Sound WAV ASIO source Insert Section Inserts You can drag and drop effects from the Effects Palette or Right click to insert a Physical or ASIO Send or Send Return A Peak Meter Trim Control or Test Pan Controls Si
51. al clock Mixer Strips This section is located to the left of the Main Section and shows all the currently instantiated mixer strips Mixer strips can represent Physical analog digital inputs or Host inputs such as ASIO or Direct Sound Mixer strips can be added or deleted as necessary This section can be resized by dragging the left edge of the frame Effects Palette This popup window is invoked by pressing the FX button in the toolbar Iconic representations of all effects presets are shown here organized by category From this window you can drag and drop effect presets into the insert slots available on the mixer strips and main section aux buses and main inserts A simplified diagram of the mixer is shown below Input Input Mixer Block Diagram Post Fader Strip Pre Fader Strip Meter Aux Monitor Out Main Bus Effects Pre Fader or Post Fader When creating a new Mixer Strip you have the option for the Aux Sends to be Post Fader both Aux Sends come after the channel fader or Pre Fader both Aux Sends come before the channel fader The Pre fader option allows you to use either Aux Send as another mix bus which is unaffected by the channel fader More Information 26 Creative Professional 4 The PatchMix DSP Mixer E MU Icon in the Windows Taskbar E MU Icon in the Windows Taskbar Right clicking on the E MU icon in the Windows taskbar calls the following window Right Clic
52. alanced microphone inputs hi Z guitar pickup inputs or line level inputs The Neutrik combination jack accepts microphones using a standard XLR connector or line level hi Z inputs using a 1 4 inch TRS TS connector The superb sounding mic preamps are designed by TF Pro Each preamp has a level control which sets the preamp gain from 20dB to 55dB for the XLR input and from 10dB to 25dB for the line input The line markings around the knobs are calibrated in 10dB increments The heavy hash marks on the gain controls indicate unity analog gain to the converter inputs 5dBV input OdBFS output A phantom power switch enables 48 volt phantom power supplied to both micro phones A red LED illuminates to indicate phantom power is enabled See Phantom Power for additional information Each microphone input has its own input level and clipping indicators The green LED indicates presence of signal and illuminates at 12 dB below clipping The red LED indicates that the signal is clipping the input These LEDs monitor the signal directly at the analog to digital converters and before any processing by the rest of the system When setting the levels for signals being sent into the AudioDock the red level indicators should never flash MIDI 1 In Out MIDI input and output ports allow you to interface any type of MIDI equipment such as keyboards effect units drum or guitar controllers The MIDI drivers were installed when you installed your Pat
53. ale and will hard clip if the signal exceeds 0dB Hard clipping sounds bad and will ruin your recording Hard clipping occurs because at OdBFS all 24 bits are turned on and the A D cannot measure any higher level Analog tape unlike digital can be driven past 0dB although with some degradation of the signal The Digital Audio System includes Insert Trim Pot controls but they adjust the signal level after the signal has been digitized and will not recover any lost resolution It s far better to set the input level correctly in the first place Trim Pots can be used in emergency situations if there s no other way to get a hot signal in but they were designed to adjust levels feeding effect plug ins 4 The PatchMix DSP Mixer Mixer Strip Creation E MU Digital Audio System 41 4 The PatchMix DSP Mixer Mixer Strip Creation Trim Pot Insert The Trim Pot Insert allows you to adjust the level of a signal in an insert location The trim pot provides up to 30dB of gain or attenuation and a phase inverter The trim pot also has a built in stereo peak meter after the control Gain Attenuation Phase Invert You might use a trim pot to boost or attenuate a send or return from an external effect or to drive an effect device Certain effects such as the Compressor Distortion and Auto Wah are very level dependent and like to see a good strong input signal Ifyou are working with a weak signal you can improve
54. ance Gain Range TFPro M combination microphone preamp and line input 0 8 0 1 dB 20 Hz 20kHz lt 120 dB 1kHz 12 to 28 dB 17 dbV 19 2 dBu 94 dB 002 1 kHz at 1 dBFS 100 dB A weighted min gain 100 dB A weighted min gain 10K ohm gt 40 dB 60Hz 10 to 50 dB 12 dbV 9 8 dBu 95 dB 0018 1 kHz at 1 dBFS 100 dB A weighted min gain 330 ohm gt 80 dB 60Hz 0 0 0 35 dB 20 Hz 20 kHz 33 ohm load 70 dB 0 032 600 ohm load 85 dB 0 006 112 dB Aweighted 112 dB Aweighted lt 100 dB 1kHz at 1 dBFS 600 ohm load 500 mW 22 ohms 85 dB 7 Appendix Technical Specifications E MU Digital Audio System 107 7 Appendix Technical Specifications Specifications 1820 System TURNTABLE INPUT Frequency Response THD N SNR Stereo Crosstalk Maximum Level Input Capacitance Input Impedance DIGITAL I O S PDIF ADAT Firewire MIDI SYNCHRONIZATION Internal Crystal Sync RMS JITTER 44 1K Measured via Audio Precision 2 RIAA equalized phono input 0 5 dB 50 Hz 20 kHz 76 dB 015 1 kHz 10 mV RMS unbalanced input 90 dB 1kHz 10 mV RMS unbalanced input lt 80 dB 1kHz at 1 dBFS Professional 80 mV RMS Consumer 20 mV RMS 220 pF 47K ohm 2 in 2 out coaxial transformer coupled 2 in 3 out optical software switchable with ADAT AES EBU or S PDIF switchable under software control 8
55. ards and synthesizers Connect MIDI Out to the MIDI In port of your synthesizer and MIDI Out of your synth to MIDI In of the 0202 Daughter Card outputs The inputs can be connected to any line level Either TRS tip ring sleeve balanced or TS unbalanced W Important The 6 pin Firewire connector port has a 3 watt maximum power output Connect only one high power Usage device such as a IEEE 1394 hard disk or CD RW drive to this port unless it is self powered 18 Creative Professional The AudioDock The AudioDock connects to the E MU 1010 PCI card via the EDI cable The AudioDock provides 6 balanced analog inputs a pair of microphone preamp inputs 8 balanced line level analog outputs 4 1 8 outputs for connecting powered computer speakers 2 MIDI inputs 2 MIDI outputs one optical S PDIF output a headphone amp and a RIAA equalized turntable preamp section which is normalled into line input 3L and 3R The inputs are configured as follows 2 mono microphone line inputs 3 stereo pairs of line level inputs 6 inputs 1 RIAA equalized turntable preamp input allows you to connect a turntable without using an expensive external preamp Note These inputs are automatically disconnected when plugs are inserted into inputs 3L amp 3R since the A D converters are shared between the turntable inputs 2 MIDI input ports The outputs are configured as 4
56. as to what you were thinking when you created the session Open Session To Open a saved session click on the Open Session button A dialog box appears allowing you to choose one of your saved Sessions to open Choose one of your saved sessions and click on the Open button Save Session To Save a session click on the Save Session button A Save dialog box appears allowing Saving a session you to choose a location in which to save the current Session The My Sessions folder defragments the effect is chosen by default DSP resources If you 3 have used all your effects Get in the habit of saving the session whenever you have created a special mixer setup and Head iii try This will make you life much easier as you can recall a setup for many different audio saving the session modes such as recording mixing special ASIO routings etc Session Settings System Settings Pressing the Session Settings button on the toolbar brings up the System Settings window shown below Click the tabs to select System MIDI or I O options Summarize E MU Digital Audio System 29 4 The PatchMix DSP Mixer The Session The System Settings include the following Selects between internal or external word clock source as the master clock source for the system Internal External Clock Selects the sample rate when using internal clock Your choices are 44 1kHz 48kHz 88 2 kHz 96kHz 176 4kHz 192kH
57. ation a Physical Out goes to a pair of output jacks the signal also continues down the strip to the Aux Sends and main mixer outputs 1 Right Click over the Insert section A pop up dialog box appears 2 Select Insert Send to ASIO WAVE or physical output from the list of options The following dialog box appears Input oS To ASIO WAV or Select send destination output Insert Send Physical Output HOST ASIO IN 11 12 Panning Fader Aux 1 Bus uk 5 Cancel Main Output Bus 3 Choose one of the Send Outputs Click on a destination to select it 4 Click OK to select the output or Cancel to cancel the operation gt To Add a Send Return Insert This type of insert send breaks the signal at the insert point and sends it out to the selected destination such as an external effect processor A return source signal is also selected which returns the signal to the channel strip after processing 1 Right Click over the Insert section A pop up dialog box appears 2 Select Insert Send Return Physical Output and Input from the list of options The following dialog box appears E MU Digital Audio System 37 4 The PatchMix DSP Mixer Mixer Strip Creation New SendReturnInset_______ amp Input Insert To Physical Output PCI Card SPDIFLIR Send Return From Physical Input Panning Fader Aux 1 Bus Aux 2 Bus Main Output Bus 3 Cho
58. audio can occur when rendering with SoundForge or any version of Steinberg WaveLab This problem is caused by discontinuities in the first few audio buffers as they are fed by WaveLab to E MU PowerFX The problem can be eliminated by following these guidelines Check Render Mode box in the E MU PowerFX preferences See page 79 We recommend that you only use the MME WAVE E DSP Wave xxxx drivers Reduce the Buffer Size in the WaveLab Audio Preferences dialog box This moves the stuttering to beginning of the file Pad the beginning and or end of your audio file with silence 5 to several seconds depending on the file This action causes the buffer discontinuities to occur before the song begins 82 Creative Professional E MU E Wire VST E Wire is a special VST ASIO Bridge which allows you to route digital audio via ASIO to PatchMix and back again E Wire VST incorporates smart time alignment technology that automatically compen sates for system latencies and ensures proper synchronization of audio throughout the VST chain In addition E Wire also allows you to insert outboard audio gear into the VST environment E Wire has three main components e A VST plug in which handles the audio routing to PatchMix DSP e An ASIO mixer strip in PatchMix DSP configured to route audio to the E Wire plug in You simply drop the effects you want to use into this strip e For hosts that don t support automatic delay co
59. cables Loss of power to the device providing the clock source Sudden changes in the S PDIF sample rate as would happen if a DAT tape had data recorded at multiple rates The Sample Rate Indicators The Sample Rate LEDs indicate the current sample rate at which the system is running The LEDs will light solidly to indicate the different sample rates of 44 1kHz 48kHz 96kHz or 192kHz When slaving to an external master source the clock may drift slightly or change dramatically i e abrupt sample rate change or unplugging of physical master source the E MU 1010 is tolerant to minor drifting within the supported rates of 44 1k 48k 88k 96k 176k and 192k but if the sample rate drifts out of range 1 the Lock LED will be extinguished If set to external clock and the external clock is removed or out of tolerance the E MU 1010 will switch to internal clock at 48kHz the default sample rate until an external clock source is connected E MU Digital Audio System 21 3 PCI Card amp Interfaces The AudioDock Rear Panel Connections 6 Balanced Line Level Inputs Turntable Inputs Turntable Alternate Outputs configured as 3 stereo pairs tied to line input 3 Ground same as outputs 1 4 3L Phono 38 Gnd 00 Monitor 6 Balanced Line Level Outputs configured as 3 stereo pairs Monitor MIDI Port 2 Outputs In Out Connect to E MU 1010 Card Line Level Analog Inputs Six balanced 24 bit line level anal
60. ce it is important to have a stable timing reference for your song or sequence we have given MTC its own MIDI output port on the Sync Daughter Card This ensures that the timing information will not be affected by other MIDI data on the line Word Clock In Out Word clock provides a standardized means of synchronizing multiple digital audio devices so that data can be transferred digitally In order to digitally transfer from one device to another the two devices MUST be synchronized Clicks and pops in the audio will result when transferring digital audio which is not synchronized The E MU 1010 PCI card can be externally clocked from the ADAT input S PDIF input or from the Sync Daughter card if installed In a digital studio all digital devices in the system should run off the same master Word Clock To Synchronize PatchMix DSP to an External Clock Source 1 Make sure an external clock source is connected to the E MU Digital Audio System hardware via the word clock ADAT or S PDIF input 2 Open the Session Settings dialog box 3 Under the System tab select External Source then select either word clock ADAT or S PDIF 4 Press OK to close the dialog box 5 Check the Sync section of PatchMix DSP to verify that the Locked indicator is illuminated Devices can be connected in daisy chain fashion word clock out connected to the next unit s word clock in or in parallel for one or two devices but professional digital studios n
61. chMix DSP software and the MIDI ports will appear in your system control panel under Sounds and Audio Devices S PDIF Optical Out The front panel S PDIF connector is an optical TOSLINK output which by default carries a digital copy of the main output pair This output is a convenient way to master to a portable DAT MD recorder or other media This S PDIF output can also be freely assigned in the mixer application Headphone Output amp Volume Control The headphone output drives standard stereo headphones and the adjacent volume control sets the listening level The headphone amplifier can drive headphones with impedance as low as 24 ohms The headphone output uses a high current version of the high quality output amplifiers used on the other channels For this reason it has a very clean signal that can be used as another stereo output if you need it This output is freely assignable in the mixer application W Warning Some microphones cannot tolerate phantom power and may be damaged Check the microphones specifications and requirements before using phantom power W Warning 2 After turning phantom power off wait two full minutes before recording to allow the DC bias to drain The audio mutes for a second when phantom power is turned on lt Tip Since the headphone output can be placed into any insert location you can use it to monitor or troubleshoot the signal flow 20 Creative Professional 3 PCI
62. cies to be cut or boosted with the Mid 2 Gain control Range 1kHz to 8KHz Mid 2 Bandwidth Sets the width of the frequency range for the Mid 2 Center Frequency band that will be cut or boosted by the Mid 2 Gain control Range 01 octave to 1 octave Mid 1 Gain Sets the amount of cut or boost of the Mid 1 Frequency band Range 24dB to 24dB Mid 1 Center Freq Sets the range of frequencies to be cut or boosted with the Mid 1 Gain control Range 200Hz to 3kHz Mid 1 Bandwidth Sets the width of the frequency range for the Mid 1 Center Frequency band that will be cut or boosted by the Mid 1 Gain control Range 01 octave to 1 octave Low Shelf Gain Sets the amount of cut or boost of the low frequency shelf Range 24dB to 24dB Low Corner Freq Sets the frequency where the signal begins getting cut or boosted with the Low Gain control Range 50Hz to 800Hz E MU Digital Audio System 63 5 Effects Core Effects Descriptions Auto Wah This effect creates the sound of a guitar wah wah pedal The Wah filter sweep is automatically triggered from the amplitude envelope of the input sound Auto wah works well with percussive sounds such as guitar or bass The Auto Wah is a bandpass filter whose frequency can be swept up or down by an envelope follower which extracts the volume contour of the input signal The Envelope Sensitivity setting allows you to properly set up the env
63. cts combinations These were created by using up the reverb resources first Even more simultaneous effects are possible if fewer reverbs and shorter delays are used Examples of Effects Usage with a WAVE ASIO Return amp 2 Inputs Example 1 No Example 2 No Example 3 No Stereo Reverb 2 Lite Reverb 5 Stereo Reverb 1 4 Band EQ 4 3 Band EQ 5 Lite Reverb 2 3 Band EQ 2 1 Band EQ 4 Stereo Delay 1500 1 1 Band EQ 6 Compressor Mono Delay 250 I Compressor 6 Mono Delay 1500 l Compressor 6 Chorus I Mono Delay 250 Chorus 2 Mono Delay 1500 Auto Wah Flanger 2 4 Band EO 3 3 Band EO 3 Total Effects 22 Total Effects 18 Total Effects 21 lt Tip Saving a session defragments the effect DSP resources If you have used all your effects and need another try saving the session 60 Creative Professional Core Effects Descriptions 1 Band Para EQ This single band parametric equalizer is useful 15dB iso i i i when you just want to boost or cut a single range Boost S i ES of frequencies For example if you just want to Width brighten up the lead vocal a bit you might E i choose this EQ This EQ offers up to 15dB cut 3 or boost I Cut M i 15dB 21 nen Center Frequency Parameter Description Gain Sets the amount of cut or boost of the selected frequency band Range 15dB to 15dB Center Frequency Sets the ran
64. d E MU 0202 I O Daughter Card 0202 I O Card Cable 2 MIDI Adapter Cables D A S Software Driver Installation CD ROM Prod Tools Software Bundle CD ROM Quick Start Guide E MU 1820 E MU 1010 PCI Card AudioDock EDI E MU Digital Interface Cable PC Power Adapter Cable Headphone Splitter Cable D A S Software Driver Installation CD ROM Prod Tools Software Bundle CD ROM Quick Start Guide E MU 1820M E MU 1010 PCI Card AudioDockM E MU Sync Daughter Card Sync Card Cable EDI E MU Digital Interface Cable PC Power Adapter Cable Headphone Splitter Cable D A S Software Driver Installation CD Prod Tools Software Bundle CD Quick Start Guide Inputs amp Outputs Inputs amp Outputs Inputs amp Outputs 8 Ch ADAT Optical In 8 Ch ADAT Optical Out 2 Ch S PDIF Digital In 2 Ch S PDIF Digital Out 1 MIDI Input amp Output 2 24 bit Bal Line Inputs 2 24 bit Bal Line Outputs 8 Ch ADAT Optical In 8 Ch ADAT Optical Out 2 Ch S PDIF Digital Ins 4 Ch S PDIF Digital Out 2 MIDI Inputs amp Outputs 6 24 bit Bal Line Inputs 8 24 bit Bal Line Outputs 2 Mic Line Preamp Inputs 2 Turntable Preamp Inputs 1 Stereo Headphone Out 4 Computer Speaker Outs 8 Ch ADAT Optical In 8 Ch ADAT Optical Out 2 Ch S PDIF Digital In 4 Ch S PDIF Digital Out 2 MIDI Ins amp 3 MIDI Outs 6 24 bit Bal
65. d you will hear all soloed channels and the non soloed channels will all be muted The mute status is remembered if a muted channel is soloed When the channel solo is turned off the channel reverts to being muted The Level Control for the strip is an attenuation control that can also provide up to 12dB of gain Odb is the unity gain setting You can also type numeric values into the displays to set the level At the very bottom is the Scribble Strip text area into which you can type any short piece of text thus naming the strip i e vocals bass drums and so on 46 Creative Professional Main Section View Physical Host Selection Select Buttons Buttons TV Screen Aux Insert Section Master Master Aux Aux Send Return Amounts Amounts Sync amp Sample Rate Main Indicators Insert Section Monitor Controls Output Fader amp Session Name Meters The main section contains all controls for controlling the main mix elements as well as a TV screen for viewing the parameters of the current selected insert The three buttons across the top of the main section select what is shown on the TV display Input and output routings are graphically displayed When an insert is selected by clicking on the insert the screen shows the available parameters for the currently selected insert Below the TV screen is the Aux Bus section where effects effects chains or other inserts can be
66. d parameters E MU Digital Audio System 59 5 Effects List of Core Effects List of Core Effects Stereo Reverb Frequency Shifter Mono Delay 750 Lite Reverb Auto Wah Mono Delay 1500 Compressor Vocal Morpher Mono Delay 3000 Leveling Amp 1 Band Para EO Stereo Delay 100 Chorus 1 Band Shelf EO Stereo Delay 250 Flanger 3 Band EO Stereo Delay 500 Distortion 4 Band EO Stereo Delay 750 Speaker Sim Mono Delay 100 Stereo Delay 1500 Rotary Mono Delay 250 Phase Shifter Mono Delay 500 DSP Resource Usage There are two main factors which determine the total number of effects available for use at any given time Tank Memory and DSP Instructions Using too much of either resource will cause effects to be unavailable grayed out in the FX menu In addition the strips themselves use DSP Instructions so only create strips that you actually need Tank memory is the memory used by delay based effects such as reverb and digital delays All the reverbs and delays aside from the Mono Delay 100 and Stereo Delay 100 use varying amounts of tank memory The DSP instructions are used by all the effects Effects with multiple stages such as multi band EQs or the speaker simulator use more DSP instructions than a 1 Band EQ Tank memory tends to get used first and so we ve provided many delay line effects to allow maximum conservation of this precious resource Use only the longest delay you actually need The chart below shows three possible effe
67. dB 20 dB 60 dB A Line 2 Mic B Line 3 Mic cli At the 176 4kHz or 192kHz sample rates you sacrifice S PDIF line input 3 and line output 3 ADAT optical is reduced to two channels You can choose one of the following options Microphone Inputs amp Line 2 Inputs Microphone Inputs amp ADAT Inputs E MU 1820 MIDI 1 3L Phono 3R Gnd Ual Monitor QQ E MU 1820 MIDI 1 L R o SL Phono 3R Monitor MIDI 1 Em Midi 1 SrL R o CLOCK SMPTE SE 96 IN ext 48 192 our Ctr Sub StBkL R CLOCK SMPTE fas 96 iN ext 46 192 our Ctr Sub StBkL R S 1 4 MIDI2 Out E MU 1820 MIDI SL Phono 3R ua Monitor E MU 1820 MIDI Midi 1 Em Mio 1 SrL R CLOCK SMPTE SE 96 IN ext 46 192 our Ctr Sub StBkL R SMPTE Lek 44 1 96 IN Le 192 our Ctr Sub StBkL R Line Inputs amp ADAT Line Inputs 1 amp 3 90 Creative Professional WDM Recording and Playback Behavior WDM recording and playback is supported at all PatchMix sample rates The behavior of the driver with respect to PatchMix sample rate is described below When PatchMix and the WDM audio content WAV file format playback and record settings in WaveLab etc are both running at the same sample rate and when a Wave strip or send is present in the PatchMix mixer configuration WDM audio will be played or
68. down by any specified amount from 1 Hz to 24 KHz You can also shift pitch up on one side and down on the other if you wish Comparison between Pitch and Frequency Shifting Harmonic Original Pitch Shifted Frequency Shifted Hz 100 Hz 100 Hz 200 300 300 2 400 600 500 3 600 900 700 4 800 1200 900 5 1000 1500 1100 6 1200 1800 1300 7 1400 2100 1500 8 1600 2400 1700 Parameter Description Frequency Sets the number of Hz that will be added or subtracted with every harmonic in the signal Range 01Hz to 24kHz Left Direction Sets pitch shift up or down for the left channel Right Direction Sets pitch shift up or down for the right channel 5 Effects Core Effects Descriptions lt You can also type in exact frequencies to a resolution of 1 10 Hz E MU Digital Audio System 69 5 Effects Core Effects Descriptions Leveling Amp The first compressors developed in the 1950 s were based on a slow acting optical gain cells which were able to control the signal level in a very subtle and musical way This effect is a digital recreation of the leveling amps of yesteryear The leveling amp uses a large amount of lookahead delay to apply gentle gain reduction Because of this delay the leveling amp is not suitable for applications which require realtime monitoring of the signal This smooth and gentle compressor is designed to be used in situations where delay
69. e code playback head locations on video decks are not standardized and can cause gross timing errors Time code which is striped on an audio track will always be in sync with the picture SMPTE code is tradi tionally recorded on the right channel of a video recorder Avoiding SMPTE problems Problems in reading SMPTE time code can often be related to poor quality code on the tape Poor quality code can be caused by a number of problems the most common being dirty or misaligned heads amplifier clipping or too many generations of audio dubbing Other problems can be caused by running the SMPTE signal through signal processing devices such as Limiters Reverbs Harmonizers etc Don t laugh it has been done In fact many video decks have built in AGCs Automatic Gain Controls which will ruin the SMPTE signal if the input level is too high Always check playback to insure that the time code is usable In general no signal processing should be used on the SMPTE signal SMPTE code is delicate and should be treated as such 96 Creative Professional Duplicating SMPTE time code The Sync Daughter Card always generates clean SMPTE from the SMPTE output when reading SMPTE in This time code is in sync with the incoming SMPTE and can be used to feed other devices in your studio or to clean up old SMPTE tracks Copying SMPTE code from track to track produces deterioration of the signal with each generation although one generation of dubbing w
70. e use of slower attack times without missing signal peaks Range Oms to 3 ms Input Meter Allows you to monitor the strength of the input signal Gain Reduction Meter Shows the amount of gain reduction being applied Distortion Most audio processors aim to provide low distortion but not this one The sole purpose of this effect is to add distortion and lots of it This effect provides fuzz box style clipping distortion which is particularly effective on guitar bass organs electric pianos or whatever The input signal first passes through a lowpass filter The Lowpass Filter Cutoff Frequency allows you to control the number of new harmonics that will be generated by the distortion element The distortion element has an Edge control which controls how much distortion will be added A bandpass filter follows the distortion generator The EQ Center control lets you select a particular band of frequencies to be output The EQ Bandwidth controls the width of the center frequency band Finally a gain control allows you to make up for any gain loss through the effect Use the Wet Dry mix control in conjunction with the Edge control to reduce the amount of distortion or go wild and turn everything to 11 Lowpass Bandpass Filter Filter Signal path Stereo A 1 LP Filter A EQ BW Gain Cutoff Edge EQ Center Parameter Description Pre EQ LP Cutoff Controls the amount of high frequency audio admitted to
71. ecifications 107 output 20 Headphones using with the 0202 18 Help System 27 High Frequency Damping stereo reverb 76 High Frequency Decay Factor lite reverb 71 High Frequency Rolloff mono delays 72 stereo delays 75 Host Input Display 49 Host Mode SMPTE 94 Host Output Display 49 Hum in the audio 102 I IEEE 1394 18 Importing Core FX amp FX Insert Chains 56 Input display 49 level line 22 setting 40 specs 103 106 109 reduction at high sample rates 87 88 89 type mixer strip 33 red color 33 Insert add effect 36 add send 37 add send return 37 38 39 bypass 43 57 delete 43 menu 37 meter 40 mixer strip 36 solo 43 57 116 Creative Professional Index J types 36 output fader 51 Installing section 47 disk drive power cable 13 Master E MU 0202 daughter card 12 return level 47 E MU 1010 PCI card 11 send level 47 rubber feet 14 volume control 51 sync cables 24 Meter sync daughter card 12 insert 40 Interface main output 51 ADAT 17 setting input levels using 40 EDI 23 Microphone Preamps 20 MIDI 18 20 23 24 MIDI required cable 10 23 I O jacks S PDIF 17 20 0202 Daughter Card 18 SMPTE 24 93 AudioDock 20 23 word clock 98 input indicator 21 Invert polarity 42 jacks 20 23 settings 30 J time code 98 Mini Phone Outputs 23 Jitter Spec Mixer 1212 system 110 block dia 26 gram 1820 system 108 overview 25 1820M system 105 strip 33 aux send 44 L fader 46 Label scribble strip 46 insert 36 Latency m
72. ected against digital copying However most DVD Audio disks contain duplicate 48kHz audio tracks which will play back on the Digital Audio System Windows Media Player DVD Surround Sound Playback Select DirectSound as the output format when using Windows Media Player and other DVD player applications Eight channel WAVE playback supports 5 1 6 1 or 7 1 surround audio The chart below shows how to connect the outputs for surround sound playback Use outputs 1 3 for 5 1 surround use outputs 1 4 for 7 1 surround Multichannel WAVE to Surround Sound Speaker Channels using the 5 1 DVD Playback Session WAVE Strip Surround Channels 1 4 Outputs 1 8 Outputs E DSP WAVE 1 2 Front Left Front Right IL FL IR FR 1 Tip FL Ring FR E DSP WAVE 3 4 Center Subwoofer 3L C 3R Sub 3 Tip C Ring Sub E DSP WAVE 5 6 Rear Left Rear Right 2L RL 2R RR 2 Tip RL Ring Rk E DSP WAVE 7 8 Side Left Side Right 4L SL 4R SR 4 Tip SL Ring SR E MU Digital Audio System 35 4 The PatchMix DSP Mixer Mixer Strip Creation Insert Section The Insert Section is next in line PatchMix DSP effects can be selected from the Effects Palette and dropped into the insert locations See The Effects Palette Any number of effects can be inserted in series The Inserts also have the unique ability to patch into ASIO WAVE and external equipment ASIO WAVE Sends External Sends and External Send Returns ca
73. ed and instantly recalled for specific purposes such as recording mixdown jamming special effect setups playing games watching DVDs or general computer use E MU 1212M System The E MU 1212M includes the 0202 Daughter Card which provides 2 line level balanced analog inputs 2 line level balanced analog outputs plus MIDI input and output This is no compromise audio interface using ultra high performance 24 bit 192kHz A D D A converters to deliver an unbelievable 120dB dynamic range E MU 1820 System The E MU 1820 includes the AudioDock which is a half rack space audio interface The AudioDock adds the following input and output capabilities to the system two mic line inputs with TFPro preamps 6 balanced line level analog inputs an RIAA stereo turntable preamp 8 balanced line level outputs an assignable headphone output two sets of MIDI I O ports an additional S PDIF optical output and four stereo mini phone jacks for easy connection to powered speaker systems Combined with the digital I O on the 1010 PCI card you have a total of 18 inputs and 20 outputs Of course professional quality 24 bit A D and D A converters with automatic DC blocking are used throughout E MU 1820M System The E MU 1820M system includes the AudioDockM and is a no compromise mastering grade system which includes all the features of the 1820 system The 1820M system is distinguished by the addition of ultra high performance 24 bit 192kHz A
74. elope follower to receive a wide variety of input signals This envelope or volume contour controls the frequency of the bandpass filter so that it sweeps up and down with each new note The Attack controls the rate of the note on sweep As the input sound fades away the filter sweeps back at a rate determined by the Release setting The wah direction allows the filter to be swept either up or down in frequency Use a higher Center Frequency setting when the wah direction is down Auto Wah Filter Center Frequency Il l gt Bandwidth Il Envelope t S tivit ily I ensitivity I lt Sweep Range gt Input in TA i I Ww i Wave I pe I i Wis VAI Envelope Follower Parameter Description Wah Direction Allows you to sweep the wah up or down Env Sensitivity Controls how closely the wah sweep follows the input signal Range 12dB to 18dB Env Attack Time Sets the starting rate of the wah sweep Range Oms to 500ms Env Release Time Sets the ending or release rate of the wah sweep Range 10ms to 1000ms Sweep Range Controls the amount of wah sweep Range 0 to 100 Center Frequency Sets the initial bandpass filter frequency Range 80Hz to 2400Hz Bandwidth Sets the width of the bandpass filter Range 1Hz to 800Hz 64 Creative Professional Chorus An audio delay in the range of 15 20 milliseconds is too shor
75. ers con nonncnnonn no nc anna rr ncincnns 15 Windows 2000 or Windows XP 15 Uninstalling all Audio Drivers and Applications 15 Note About Windows Logo Testing iii 15 3 PCI Card amp Interfaces ccoooconoccnononnnononananonananosanannoanaans DD The E MU T01L0 PETCardi anale 17 Connections ric IERI IALIA SL IMG La eee a 17 EDICONDECLOr zia AAEE ASA AEE Nai SIO Sarana caio cir 17 S PDIF Digital Audio Input amp Output irudiri ecenceeceeteeneeeeeeeeeneeeeeeseeseeneenseeaeens 17 ADAT Optical Digital Input amp Output non ncononn cnn noonc nora noir 17 TEEELSIA Pitre Wi la agili aloni 18 The 0202 Daughter Cdra A eee anni 18 Connections BRALLO Aa iain ea Gen 18 Analog Inputs and Outputs non E EAA AEE 18 MIDE TO QU iento aaron 18 The AUGIO DOK oot a A e ca goes 19 Front Panel Connections Lat ai dias 20 A ia La Oe 20 MIDI TT Ot A abili aan 20 S PDIF Optical Out Laintera nre iaia nali rate er 20 Headphone Output Volume Control cono cono cononinnos 20 Creative Professional The AudioDock Front Panel Indicators cceeeccecesssseceesssseecesssseessesssseeseeaes 21 The MIDI Input Indicators nono nono nooo E T E Es 21 The Clock Source and Sample Rate Indicators 21 The Clock Source LEDS iii iia 21 The Sample Rate Indicators coi ted 21 Rear Vanel Connet
76. f Range 24dB to 24dB Low Corner Freq Sets the frequency where the signal begins getting cut or boosted with the Low Gain control Range 50Hz to 800Hz Note The Wet Dry Mix control on an equalizer should normally be set to 100 wet or unpredictable results may occur 62 Creative Professional 5 Effects Core Effects Descriptions 4 Band EQ This 4 band equalizer provides two shelving filters at the high and low ends of the frequency range and two fully parametric bands in the center Up to 24 dB of boost or cut is provided for each band Note The Wet Dry Mix control on an equalizer should normally be set to 100 wet or unpredictable results may occur For more information about setting up a parametric EQ see page 62 Low Shelf Mid 1 Band Mid 2 Band High Shelf Corner i Corner 4 Frequency i i Frequency l j gt lt i 3 gt Width Width Ss o mm 0 i l I U B i i Y y Center Center Frequency Frequency Frequency _______ gt Parameter Description High Shelf Gain Sets the amount of cut or boost of the high frequency shelf Range 24dB to 24dB High Corner Freq Sets the frequency where the signal begins getting cut or boosted with the High Gain control Range 4kHz to 16kHz Mid 2 Gain Sets the amount of cut or boost of the Mid 2 Frequency band Range 24dB to 24dB Mid 2 Center Freq Sets the range of frequen
77. fied to operate at 176 4kHz 192kHz and so all S PDIF inputs and outputs are disabled The headphone output parallels the Monitor output and is no longer independently assignable just like at 96kHz E MU 1820 Inputs Outputs at 176 4kHz or 192kHz Source ADAT Microphone Inputs Mic amp Line 3 Inputs Mic amp ADAT Inputs Line 1 amp ADAT Inputs Line 1 amp 3 Total Outputs Line 1 Line 2 Line 3 N O OIN O ojl o O NIN O O N CO N N O N OG O Line 4 out monitor S PDIF 1 S PDIF 2 O Headphone out Total monitor 10 E MU 1212 System at 176 4k 192k 1010 PCI Card amp I O Card At 176 4kHz or 192kHz you have two 24 bit inputs and outputs S PDIF is not specified to operate at these rates and so all S PDIF inputs and outputs are disabled The ADAT input output channels are reduced to two channels S MUX standard E MU 1212M Inputs Outputs at 176 4kHz 192kHz Source ADAT Inputs 2 Outputs 2 S PDIF 1 Line Total 0 2 4 0 2 6 Using High Sample Rates Overview E MU Digital Audio System 89 6 Using High Sample Rates Overview A Line 2 Mic B Line Mic Clip 10dB Line R a 90 00006 Line Mic 20 50 A Line Mic B Line Mic Clip Cip 10 dB 10d48 Line 10 dB 30 dB 10 dB 30 dB Mic 20 dB 50
78. g the sample rate from W Important When some other device or application External sync can be obtained from the ADAT input using any form of digital S PDIF input or the Sync Daughter Card word clock If the session is set at 44 1kHz or input you MUST 48kHz and the external source is coming in at 96kHz for example the Sync Indicator synchronize the Digital Audio System to the external digital device S PDIF ADAT or synchronize all devices using Word Clock will be extinguished off but PatchMix will attempt to receive the external data The two units are NOT sample locked however and you should correct this condition to avoid intermittent clicks in the audio Always check for the presence of the LOCKED indicator whenever you are using a digital interface PatchMix DSP comes with several session templates to choose from so when you create a new session you can either create a blank session based around a designated sample rate or select from a list of template starting points In a PatchMix DSP session the number of strips in the mixer is dynamically config urable This allows you to create only those strips you need up to a maximum number determined by available DSP resources and available inputs New Session You create a new session by clicking the New Session button in the PatchMix DSP main Toolbar The following dialog box appears New PatchMix DSP Session 08 Select a template for your new session below
79. ge of frequencies to be cut or boosted with the Gain control Range 80Hz to 16kHz Bandwidth Sets the width of the frequency range for the Center Frequency band that will be cut or boosted by the Gain control Range Isemitone to 36 semitones 1 Band Shelf EQ This single band shelving equalizer is useful when you just want to boost or cut a single range of frequencies at the high or low end of the spectrum For example if you just want to add a little more bass there s no need to waste a 3 band EQ Just choose low shelf then adjust the gain and frequency This EQ offers up to 15dB cut or boost Low Shelf or High Shelf Corner Corner 15dB Gain Boost gt I lt Cut 15dB 3 Freq Freq es lt Frequency gt Parameter Description Shelf Type Allows you to choose either low shelving or high shelving EQ Gain Sets the amount of cut or boost of the shelf Range 15dB to 15dB Corner Frequency Sets the frequency where the signal begins getting cut or boosted with the Gain control Range 80Hz to 16kHz 5 Effects Core Effects Descriptions E MU Digital Audio System 61 5 Effects Core Effects Descriptions 3 Band EQ This versatile equalizer provides two shelving filters at the high and low ends of the frequency range and a fully parametric band in the center Up to 24 dB of boost or cut is provided for
80. gnal can also be inserted by Right clicking Pan Controls These controls allow to you position gt Aux Sends the channel in the stereo sound field Dual controls on stereo strips allow you to position each side indepen dently Channel Volume Aux Sends Control These controls send the signal to sidechain effect processors such as reverb and delay They can also be used to create separate mixes for the artist or for recording Mute Solo Volume Control Buttons Controls the output level of the strip into the main monitor mix bus Scribble Stip Mute Solo Buttons These convenient buttons allow you to solo or mute selected channels Scribble Strips Click inside the scribble strip and type a name of up to eight characters The Input Type will turn RED if the input is not available The AudioDock may be disconnected lt Physical input strips are shown with BLUE text Host input strips are shown with WHITE text E MU Digital Audio System 33 4 The PatchMix DSP Mixer Mixer Strip Creation Mixer Strip Creation PatchMix DSP is a dynamically configurable mixer Each mixer session can contain an arbitrary number of strips up to a limit set by the number of available input sources and available DSP resources To Add a New Strip 1 Click on the New Mixer Strip button See Overview of the Mixer 2 The New Mixer Strip Input Dialog appears New Mixer Strip Select
81. he 0202 Daughter card or Sync Daughter Card as shown in figures 3 amp 4 The cables are keyed so they cannot be incorrectly inserted Seat the connectors firmly in the sockets and arrange the cables neatly Align the Sync Daughter Card or the 0202 Daughter Card with the slot and press gently but firmly down into the slot as shown in figure 2 on the preceding page Do not force the E MU Card into the slot Make sure that the tab at the rear of the card is aligned with the PCI bus connector on the motherboard before you insert the card into the PCI slot If it doesn t fit properly gently remove it and try again Secure the card into the slot using one of the screws you placed aside earlier Figure 3 Figure 4 Sync Daughter Card Creative Professional 2 Installation Install the Sync Daughter Card or 0202 Daughter Card E MU 0202 amp AudioDock If you have both the E MU 0202 I O card and the AudioDock you are advised not to connect both to the same E MU 1010 PCI card using this version of software There are known issues with doing this what will be addressed in a future software update AudioDock Owners only 5 Locate the Disk Drive Power Converter Cable shown below and identify the large WV The AudioDock male connector the one with pins on it Plug this connector into a spare disk drive requires 1 1 Amps at 12V power cable in your computer If there is no spare disk drive power cable insert the 13 Watts to o
82. he bottom plate Rubber Rubber Foot Foot Rack shelf Rack shelf mount mount Rack shelf Rack shelf mount mount Rubber Rubber Foot Foot Rack Mounting the AudioDock The AudioDock was designed to be rack mounted using standard 19 inch rack shelves These shelves are available from a number of sources on the Internet Search for Rack Shelf Two AudioDocks fit side by side on a single rack shelf Two screws are provided to secure the AudioDock to the rack shelf M3 x 6mm Do not use screws longer than 6mm or damage to the circuit board may result Creative Professional Software Installation Installing the E MU 1010 Drivers The first time you restart your PC after installing the E MU 1010 PCI card you will need to install the PatchMix DSP software and E MU 1010 PCI card drivers Windows 2000 or Windows XP The software is not compatible with other versions of Windows 1 After you have installed your Digital Audio System turn on your computer Windows automatically detects the Digital Audio System and searches for device drivers 2 When prompted for the audio drivers click the Cancel button 3 Insert the E MU software Installation CD into your CD ROM drive If Windows AutoPlay mode is enabled for your CD ROM drive the CD starts running automati cally If not from your Windows desktop click Start gt Run and type d setup exe replace d with the drive letter of your CD ROM drive You can also open the CD and
83. he meter shows the peak hold level in dB The peak meters are also color coded to indicate the signal strength The chart below outlines the meanings of the colors Avoid lighting the topmost red bar as this indicates distortion of the signal Click on the clip indicator to turn it off Meter Color Indicates az Red Indicates signal clipping Yellow Good strong signal level ss Green Signal is present One of the most obvious uses of the insert meters is to set input levels On the analog inputs the analog to digital converter ADC is one of the most critical points in the signal path You want the input signal level to drive the 24 bit ADCs into their optimum range without clipping A reading of 0dB on an input meter indicates signal clipping AINNEART NAAT oiT 12dB Each bar of the meter equals 1dB The yellow bars begin at 12dB below full scale The insert meters are also useful to monitor incoming digital signals such as ADAT ASIO or S PDIF to make sure the mixer is receiving a proper signal level They re also great for troubleshooting since you can place them virtually anywhere in the mixer gt To Insert a Meter 1 Right Click on an Insert location of the mixer strip A pop up dialog box appears 2 Select Insert Peak Meter A stereo peak meter appears in the insert location 3 Select Effect in the Main Section The meters are now shown in high resolution in the TV screen To Set the Input Levels of a Strip
84. i pop circuitry mutes the analog outputs when power is turned on or off Like the analog line inputs either TRS balanced or TS unbalanced cables can be used Balanced cables provide better noise immunity and 6dB higher signal level The output line level can be set to accommodate the consumer 10dBV standard or the pro audio 4 dBu standard in the I O screen of the Session Settings dialog box See I O Settings The maximum input and output line levels are matched when the input and output settings are set to the same mode pro or consumer in the I O preferences screen IMPORTANT NOTE Do NOT use balanced audio cables TRS when connecting balanced outputs to unbalanced inputs Doing so can increase noise levels and introduce hum V Warning Do NOT leave your turntable connected when using outputs 3L and 3R This can cause a ground loop Its also a good idea to mute Dock inputs 3 in the PatchMix DSP mixer when nothing is plugged in since the turntable preamp has a very high gain 60dB and could contribute extra noise to your mix monitor bus 22 Creative Professional 3 PCI Card amp Interfaces The AudioDock Computer Speaker Analog Outputs These stereo mini phone 3 5mm jacks duplicate line level outputs 1 4 with a lower output level to accommodate consumer speakers These line level outputs are designed to interface easily with powered speakers Computer Speaker Output Duplicates Line Level Outp
85. ical Inputs and Host Inputs The Input and Output Select either category by clicking on the Physical or Host button displays make it much easier to understand the signal routings of a Host Input Display complex mixer setup lt Tip Clicking on any of the input routings in the TV display highlights the corresponding mixer strip DOCK M c Line B mono Output Selecting the Output display view shows a graphic representation of the PatchMix DSP Mixer outputs The output routings are divided into two categories Physical Outputs and Host Outputs Select either category by clicking on the Physical or Host button Physical Output Displa Host Output Displa y y EFFECT TS meurs Cs OUTPUT gt errect C__ gt PCI Ca PCI C PCI Card A DOCK Opt SPDIF Di The Host Output display shows all the Insert Routings in addition to the Main Mix and Monitor out routings Click on the desired row to make or break a physical output connection The Physical Output screen displays and allows you to connect the Main and Monitor outputs of the mixer to physical analog or digital outputs Click on the box in the mix or monitor area to make or break a connection The Host Output screen displays and allows you to view the Host ASIO or WAVE outputs of the mixer See Insert Section for information on how to connect the inserts E MU Digital Audio System 49 4 The PatchMix DSP Mixer Main Section Auxi
86. ight pipes for connections longer than 1 5 meters At the 96kHz or 192kHz sample rates the industry standard S MUX interleaving scheme is used for ADAT input and output S MUX uses additional ADAT channels to achieve the required bandwidth See the chart below or go here for additional infor mation 3 PCI Card amp Interfaces The E MU 1010 PCI Card W Important When using any type of digital I O such as S PDIF or ADAT you MUST sample sync the two devices or clicks and pops in the audio will result E MU Digital Audio System 3 PCI Card amp Interfaces The 0202 Daughter Card Sample Rate Number of Audio Channels 44kHz 48kHz 8 channels of 24 bit audio 88 2kHz 96kHz 4 channels of 24 bit audio using S MUX standard 176 4kHz 192kHz 2 channels of 24 bit audio using S MUX standard IEEE1394 Firewire This port allows high speed data transfer between your computer and external storage devices such as hard disks CD ROM drives etc Firewire ports are hot swappable which means that you can plug and unplug Firewire peripherals without turning off power This port does NOT support Firewire audio It is fully compliant with the OHCI 1 1 specification supporting asynchronous and isochronous data transfers at 100 200 or 400 Mbit s with multiple DMA channels The 0202 Daughter Card The 0202 Daughter card is the companion card for E MU 1010 systems which don t include the AudioDock The 0202 Daugh
87. igital audio devices S PDIF Out RCA Connector S PDIF digital audio devices ADAT Optical In TOSLINK Optical Connector ADAT digital audio devices or S PDIF ADAT Optical Out TOSLINK Optical Connector ADAT digital audio devices or S PDIF 1394 Firewire Connector Interfaces to Firewire peripherals W Warning The E MU 1010 PCI Card has been designed to use readily available and inexpensive standard computer system cables to make it easy for you to find replacement cables if your original cables become damaged or lost However because these standard cables types are used for other purposes you must use caution to avoid connecting the cables incorrectly Please verify that all cables are connected only to the proper components before powering up your system 10 Creative Professional 2 Installation Installing the E MU 1010 PCI Card Installing the E MU 1010 PCI Card Note This installation is very simple but if you are not familiar with the installation of computer peripherals and add in boards please contact your authorized E MU Systems dealer or an approved computer service center to arrange for the installation gt To install the 1010 PCI card into your computer 1 Make sure that the power switch on your computer is off IMPORTANT Unplug the power cord from the wall outlet 2 Touch a metal plate on your computer to ground yourself and to discharge any static electricity 3 Follow the computer
88. ill probably be OK Other Tips for using SMPTE 1 Use ascending time code Jumps in the code are OK as long as the SMPTE code jumps forward in time as the tape moves forward in time A good way to avoid any problems with this is to simply stripe the entire project with SMPTE before you record any other tracks 2 Allow enough leader Leave a few seconds between each song to allow SMPTE to sync up before the song starts Keep written logs Keeping written records of song start points and edit cues can save time and avoid wasteful searching through a project that was recorded earlier Example SMPTE Connection In the diagram below Cubase is controlling the entire system by sending MTC to the Sync Card which converts MTC to SMPTE SMPTE is fed to the ADAT BRC to convey the absolute time information hours minutes seconds frames ADAT BRC is the word clock master controlling the Digital Audio System either through the embedded clock in the ADAT optical stream or using word clock 1010 SYNC NG CARD CARD optional if ADAT sync isn t used PatchMix DSP set to ADAT Sync ADAT e o ADAT Optical carries embedded gt word clock The Sync Card shou
89. ion to control volume and pan Normally when using direct monitor recording you ll want to control the volume and pan from the recording application In this case set the PatchMix DSP stereo pan controls hard left and right mono pan controls to center and the fader to OdB To Add an ASIO Direct Monitor Send Return 1 Right Click over the Insert section A pop up dialog box appears 2 Select Insert ASIO Direct Monitor from the list of options The following dialog box appears 3 Choose one of the Send Outputs Click De on a destination to select it II A ENTERA 4 Choose one of the Return Inputs Click on a source to select it 5 Click OK to select the Send and Return or Cancel to cancel the operation E MU Digital Audio System 39 4 The PatchMix DSP Mixer Mixer Strip Creation Meter Inserts Keeping track of signal levels is important in any audio system be it analog or digital You want to keep the signal levels running as close to maximum in order to achieve high resolution and low noise On the other hand you don t want the signal level so high as to cause clipping To help you maintain optimum signal levels we have included Peak Level Meters which can be dropped into any insert location The insert meters are of the peak hold type The topmost bar in the meter holds its highest level for a second to let you see transients that would otherwise be too quick for the eye A numeric readout above t
90. ise poor audio quality will result Alternatively you can synchronize PatchMix DSP to your external device in the System Session Settings See page 30 W If the source or destination you want to use is not available in the list they are probably already being used elsewhere Check the input Strips Inserts and Output Assignments 38 Creative Professional 4 The PatchMix DSP Mixer Mixer Strip Creation ASIO Direct Monitor Send Return This type of insert send breaks the signal at the insert point and sends it out to the selected ASIO Host Input destination such as Cubase or Sonar A return source signal is also selected which returns the signal to the channel strip from an ASIO Host Output The ASIO Direct Monitor Send Return is unique in that it utilizes ASIO 2 0 zero latency monitoring In order to utilize this feature Direct Monitoring must be enabled in the audio recording application While recording the Direct Monitor Send Return routes the signal to the recording application but monitors directly from the input to eliminate latency During playback the recording application automatically switches the Direct Monitor Send Return to monitor the recorded track Input Input I Recording Recording Software Software 5 New ASIO Direct Monitor Insert___ I i f I ASIANA Aada Lan ronn vanti santi yann zem aanas fvo w Recording Playback The Direct Monitor Send Return also allows the recording applicat
91. k Here gt 0 MO 11 28 am Edit Opens the PatchMix DSP Mixer a Always try this option Help Calls the PatchMix DSP help system first if PatchMix is Disables the splash screen that appears at crashing or if you are boot up having any other Disable Splash Screen strange audio problems Load FX on Startup E When unchecked FX are not loaded until needed resulting in faster computer boot Restore Defaults Restores the default PatchMix DSP and driver settings Exit PatchMix DSP Services Closes the PatchMix DSP background program disabling use of all audio I O from the E MU hardware Open the Patch Mix DSP application to start audio again The Toolbar Click the buttons in New Save About Session the toolbar to learn about Session Session PatchMix DSP Settings their function Open Sync Show Hide Global Session Settings Effects Prefs New Session Calls up the New Session dialog box New Session Open Session Calls up the standard Open dialog box allowing you to open a saved Session Save Session Calls up the standard Save or Save As dialog boxes allowing you to save the current Session Show Hide Effects Toggle button that shows or hides the FX palette Session Settings Calls up the Sessions Settings window Session Settings Global Preferences Calls up the Global Preferences window Sync Settings Calls
92. ld not be used as both the SMPTE and word clock master Word Clock is generated by the Digital Audio System and NOT by the software application Cubase SMPTE is not locked to Word Clock inside the Sync Card they are completely independent 7 Appendix SMPTE Background E MU Digital Audio System 97 7 Appendix MIDI Time Code MTC MIDI Time Code MTC MIDI time code is basically SMPTE time code adapted to the world of MIDI MTC specifies absolute location information in hours minutes seconds frames just like SMPTE There are two main kinds of messages in MTC Full frame messages and Quarter frame messages Full frame messages are ten bytes long and are sent when SMPTE start stops or relocates Full frame messages contain the entire SMPTE number of hours minutes seconds frames as well as the SMPTE type 24fps 25fps 30fps non drop 30fps drop Quarter frame messages are sent at each quarter of a SMPTE frame and only carry 1 8th of the SMPTE time message Quarter frame messages require two entire SMPTE frames to send the complete time stamp h m s f Timing accuracy is maintained as long as the quarter frame messages continue to come in at a constant rate gt To Enable MTC MIDI Time code disables the use of MIDI port 2 on the back panel of the AudioDock 1 Open Session Settings from the toolbar 2 Select the MIDI tab and choose Sync Card MTC from the MIDI options 3 Click OK to close the window Sin
93. led Selects the rear MIDI Input on the AudioDock as MIDI 2 Selects the Sync Card functions This selection disables MIDI 2 In on the rear panel of the AudioDock MIDI 2 Out on the rear panel of the AudioDock duplicates MIDI 1 Out in this mode Note if set to External without an external clock present PatchMix DSP defaults to the internal 48kHz clock rate Note The maximum supported sample rate for S PDIF is 96kHz The SMPTE Input will not function and the Sync Card control panel will not be updated when Dock MIDI 2 In is selected Word Clock and SMPTE Out will operate with Dock MIDI 2 selected 30 Creative Professional 4 The PatchMix DSP Mixer The Session I O Settings You can set the level 10dBV or 4 dBu for each pair of analog outputs and the input gain setting for each pair of analog inputs An output setting of 4 provides the most output and is compatible with professional audio gear Balanced output cables provide a 6dB hotter signal than unbalanced cables when used with balanced inputs Do NOT use balanced cables unless your other gear has balanced inputs See Cables balanced or unbalanced in the Appendix for more information Comparison of 10dBV amp 4dBu Signal Levels Consumer Professional unbalanced balanced 20 dBu lt Clipping Clipping gt 6dBV 8 dBu Headroom Headroom 2 dBV 4 dBu 10 dBV 8 dBu O dBV
94. liary Effects amp Returns The section immediately below the TV Screen is where you assign the Auxiliary Effects In a traditional mixing console auxiliary effects sends are used to send part of the signal to outboard effect devices then return the effected signal back into the mix using the effect returns This is called a sidechain routing because the aux signal takes a detour through the effects before being summed back into the main mix Sidechain effects are usually effects that you might want applied to several channels such as reverb Effects such as EQ and compressors are usually NOT used as sidechain effects because they can cause unpredictable results when returned to the main bus Input Input Sidechain Diagram Post Fader Aux Sends Send Amount Return Amount Aux Bus Main Bus Output You can also use the Auxiliary Sends as two extra mix buses By turning the Aux Return amount all the way down and dropping an Insert Send into the chain you can send the Auxiliary bus to any output you wish See Insert Section for more information Sync Sample Rate Indicators The Sync Sample rate Indicators show the current session s sample rate and whether it is internal or slaving to an external source The LEDs indicate which sample rate is currently in effect If an external source is being used the Source display reads EXTERNAL When slaving to an external master source the clock may drift slightl
95. lick and drag the effect to the desired location Drag the effect to the area above or below the final destination and release the mouse button to move the effect b gt To Edit an Effect 1 Click on the Insert Location containing the effect you wish to edit The effect controls now appear on the TV screen 2 Edit the effect parameters as desired gt To Delete an Effect 1 Right click on the Insert location containing the effect you wish to delete and a pop up list appears 2 Select Delete Insert s from the top of the list The effect will be deleted FX Insert Chains FX Insert Chains can be used to save several effects and their settings into a single multi effect When an effects chain is selected and dropped into an insert location all the effects with control settings are copied as a single entity Once dropped into an insert location the effects are totally separate just as if you had placed them individually gt To Save FX Insert Chains 1 Select two or more effects and place them into any consecutive insert locations 2 Set the effect parameters the way you want them including wet dry mix settings 3 Right click to bring up the list of options 4 Select Save FX Insert Chain The New FX preset dialog box appears 5 Select a category folder where your preset will be placed and enter a new preset name for your FX Chain New FX Preset aa Select preset category to put new preset in Distortion
96. llisecond increments This parameter allows you to tune the flanger to a specific frequency range Range 01ms to 4ms Feedback Controls how much signal is recirculated through the delay line and increases resonance Negative values can produce intense flanging with some signals Range 0 to 100 LFO Rate Sets the speed of the flanger sweep Range 01 Hz to 10Hz LFO Depth Sets how much the LFO affects the delay time Increases the animation and amount of the flanging effect Range 05 to 100 LFO Waveform Selectable between Sine or Triangle wave LFO L R Phase Controls the stereo width by adjusting the phase difference between the left and right sweeps Range 180 to 180 68 Creative Professional Freq Shifter This unusual effect is sometimes called spectrum shifting or single sideband modulation Frequency shifting shifts every frequency in the signal by a fixed number of Hz which causes the harmonics to lose their normal relationship The more common pitch shifter in contrast preserves the harmonic relationships of the signal and so is better suited to creating musical harmonies This isn t to say that the frequency shifter can t be used musically Small intervals of frequency shifting 1 Hz and below can produce a wonderful lush chorusing or phasing effect For bizarre frequency shifting effects simply crank up the frequency knob Frequencies can be shifted up or
97. manufacturer s recommended procedure for opening the case 4 Remove the metal brackets from two adjacent PCI slots Ifyou have the E MU 1820 system non M you only need to remove the bracket from a single PCI slot Put the screw s aside for use later See figure 1 below Figure 1 Figure 2 5 Align the E MU 1010 PCI card with the slot and press gently but firmly down into the slot as shown in figure 2 6 Do not force the E MU 1010 card into the slot Make sure that the gold finger connector of the card is aligned with the PCI bus connector on the motherboard before you insert the card into the PCI slot Ifit doesn t fit properly gently remove it and try again 7 Secure the card into the slot using one of the screws you placed aside earlier Note Some computer cases don t use screws to secure PCI cards In this case follow the instructions that came with your computer E MU Digital Audio System 2 Installation Install the Sync Daughter Card or 0202 Daughter Card Install the Sync Daughter Card or 0202 Daughter Card e E MU 1820M If you re planning to use Word Clock MIDI Time Code or SMPTE sync unwrap the Sync Daughter Card and get ready to install it If you don t need these options or don t have an empty PCI slot you can skip these next few steps e E MU 0202M Unwrap the 0202 Daughter Card and get ready to install it Connect the ribbon cable provided with the kit between the E MU 1010 card and t
98. may not cause harmful interference and 2 this device must accept any interference received including interference that may cause undesired operation CAUTION You are cautioned that any changes or modifications not expressly approved in this manual could void your authority to operate this equipment Note This equipment has been 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 instructions may cause harmful interference to radio communications However there is no guarantee that interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures e Reorientor relocate the receiving antenna e Increase the separation between the equipment and receiver e Connect the equipment into an outlet on a circuit different from that to which the receiver is connected e Consult the dealer or an experienced radio TV technician for help The supplied interface cables must be used with the equipment in order to comply with the limits for a digital device pursuant to Subpart B of Part 15 of FCC Rules 112 C
99. me Early Reflections iS After a short pre delay period the echoes from the closest walls or ceiling are heard These first echoes or early reflections vary greatly depending on the type of room Some time after the early reflection cluster ends late reverb delay the late reverberation a dense cloud of complex wall reflections begins and decays according to the time set by the Decay Time parameter Diffusion is the amount of scattering and density of the late reverberation cloud Rooms with many complex surfaces have more diffusion than bare rooms High frequency energy tends to fade away first as a sound is dissipated in a room The High Frequency Damping parameter adjusts the time it takes for the high frequency energy to die away and thus changes the characteristics of the room Rooms with smooth hard surfaces are more reflective and have less high frequency damping Rooms filled with sound absorbing materials such as curtains or people have more high frequency damping The Low Frequency Damping parameter adjusts the time it takes for the low frequencies to die away This control adjusts the boominess of the room Parameter Description Decay Time Sets the length of the Late Reverb Range 1 5 to 30seconds Early Reflections Level Sets the volume of the initial wall reflections Range 0 to 100 Early Late Reverb Bal Adjusts the balance between early refections and late reverb Range 0 to 100 Late Reve
100. mpensation a manual delay compensation plug in can be inserted in Cubase tracks or channels that don t use E Wire to compensate for ASIO delay The diagram below may give you a better idea of how E Wire works E Wire VST plug in PatchMix DSP Stereo Reverb ASIO Send Return to VST PatchMix DSP Strip configured for E Wire E Wire bridges the gap between hardware I O and the VST world The E Wire VST plug in sends audio to a strip containing the desired effect An ASIO Send routes the audio back to E Wire VST 5 Effects E MU E Wire VST Note lts easier to use E MU PowerFX instead of E Wire if you just want to use the hardware effects E Wire was the precursor to E MU PowerFX However E Wire can be very useful because it allows you to route VST inserts or Sends to Physical Inputs and Outputs via PatchMix DSP E MU Digital Audio System 83 5 Effects E MU E Wire VST gt To Setup and use E Wire Setup PatchMix DSP 1 Open PatchMix DSP application 2 Insert an ASIO Input mixer strip into PatchMix DSP Alternately you can select New Session select E Wire Example and skip to step 6 Mute the strip or turn the Fader all the way down Insert an ASIO Send plug in into one of the inserts on your ASIO strip Name your ASIO strip as an E Wire strip Insert the desired PatchMix DSP effects into slots above the ASIO Send NO na W Save the Session Se
101. mputer Once you are sure that the E MU card works properly your old sound card can be reinstalled if desired Install the E MU 1010 PCI card in your computer Go there Install the 0202 Daughter Card or Sync Daughter Card if applicable Go there Connect the AudioDock if applicable Install the PatchMix DSP software onto your computer Connect audio MIDI and synchronization cables between the E MU system and your other gear Notes for Installation e IF AT ANY TIME DURING THIS INSTALLATION YOU SEE NO RESPONSE Use the Alt Tab feature to select other applications One of them may be the Microsoft Digital Signature warning It is possible for this warning to appear behind the installation screen e Make sure you have the latest Windows Service Packs from Microsoft Windows 2000 SP 4 Windows XP SP 1 or higher Disable onboard sound and uninstall all other sound cards If you wish to try using multiple sound cards in your system do so after you have confirmed that your E MU Digital Audio System is operating normally InstallShield IKernel Application Error on Windows XP When installing this software on Windows XP you may be confronted with a kernel error at the very end of installation This is an issue with the InstallShield program which is what we use to install software on your computer Please do not be alarmed by this as the error is innocuous To read more about this error and obtain instr
102. n Aux Bus 1 Amt Send Amount Fader Aux Bus 2 Main Monitor Bus Output Input Post Fader Aux Send Volume Fader amp Mute affects both Aux Send Levels Pan Fader Mute Return Amount chain A Main Monitor Bus Output Aux Bus 2 4 The PatchMix DSP Mixer Mixer Strip Creation W In order to change a strip from pre fader to post fader or vice versa you have to delete the strip and create a new one E MU Digital Audio System 45 4 The PatchMix DSP Mixer Mixer Strip Creation Level Pan Solo amp Mute Controls Pan Controls Aux Send Amount Controls Level Control Mute amp Solo Buttons Scribble Strip The Pan control comes before the Level Control and Aux Sends in the signal flow On stereo strips we use an unconventional pan section with two pan pots one for the left part of the signal and one for the right part of the signal This feature allows you to independently position both sides of the stereo signal A conventional stereo balance control only allows you to turn down one side or the other The Mute button does just what you would expect press the button and the sound from that channel is cut off Pressing the Solo button while the Mute button is pressed allows you to hear the channel until solo is turned off The Solo button allows you to listen to only that channel while muting the rest of the mixer s output If multiple solo buttons are presse
103. n be dropped into the insert section to route the signal anywhere you want The Insert Patch Bay is incredibly flexible Want to send the input of the strip to your audio recorder Simply insert an ASIO send into the insert section and select the ASIO pair you want That s it That input is now available in your ASIO software The following types of inserts can be selected Hardware Effect Reverb EO Compressor Flanger etc using PatchMix DSP effects which do not load your CPU Host ASIO Send Splits off the signal and sends it to an ASIO host input such as a software audio recorder or anything that uses ASIO ASIO Direct Monitor Sends the signal to a selected ASIO host input then returns a selected ASIO host output to the chain Use for recording with Direct Monitoring Ext Send Return External Send Sends signal to a selected external output then returns it to the chain via a physical input Sends the signal to an external output See To Add a Send Insert Peak Meter Peak meters allow you to monitor the signal level anywhere in the chain See Meter Inserts Trim Pot You can insert a gain control with up to 30 dB of gain or attenuation A peak level meter and phase inverter are also included See Trim Pot Insert Test Tone This special insert outputs a calibrated sine wave or noise source which can be used to track down audio problems See Test Tone Sign
104. nd return routing main mix and monitor control and allows you to store and recall these Sessions at will gt To Invoke the PatchMix DSP Mixer 1 Left click once on the E MU icon on the Windows System Tray The PatchMix Click on the buttons DSP mixer window appears and knobs in the mixer screen below to jump to the description of the Overview of the Mixer pee Physical Input Strips ASIO Input Strip Toolbar Add New Tad tD 1 Strip Won di linn Display 0202 VO CAY L W SYNC CARD W Select Buttons Delete Strip Channel TV Insert i a m i Screen Section Triangle Pan Controls Aux Aux Sends Al a 6 Section Volume GAS Fader ample Rate Indicators Solo Mute Buttons Monitor User Volume Balance Definable TETTE E NI Mute Controls Scribble Strip WAVE Strip Main Current Main Mix Controls Windows Source Audio Inserts Session Output Volume Direct Sound Windows Media etc Name amp Meters E MU Digital Audio System 25 4 The PatchMix DSP Mixer Overview of the Mixer Mixer Window The Mixer consists of four main sections Application Toolbar Lets you manage sessions and show hide the various views Main Section Controls all the main levels aux buses and their inserts This section also has a TV which shows parameters for the currently selected effect and the input output patchbay It also shows the sessions current sample rate and whether its set to internal or extern
105. nd the Sync card monitors the input for valid code If valid code is again received it chases and relocks Fixed 0 127 Upon any dropout MTC continues outputting Quarter frame messages at the same rate flywheeling When a dropout is detected this is the number of frames that will be output before the Sync card stops output ting MTC and monitors the input for valid code If valid code is again received it chases and relocks Continuous Upon any dropout MTC continues outputting Quarter frame messages at the same rate flywheeling The Sync card monitors the input for valid code and continues flywheeling until valid code is received then relocks 1 Time Jam Sync Upon any dropout MTC continues outputting Quarter frame messages at the same rate flywheeling without monitoring the SMPTE input until the Stop button is pressed 94 Creative Professional 7 Appendix SMPTE Background Stripe Mode This mode is used to record SMPTE time code onto an audio track of another recorder SMPTE is output when the Start button is pressed in the System Settings menu and begins at the time set by the Start Time setting MTC is also simultaneously output from the Sync Daughter Card MIDI out SMPTE and MTC will continue to be output until the Stop button is pressed See Striping SMPTE SMPTE Background SMPTE time code was standardized way back in 1969 by the Society of Motion Picture and Television Engineers as
106. nd the external A D D A is the Slave 100 Creative Professional Useful Information AES EBU to S PDIF Cable Adapter This simple adapter cable allows you to receive AES EBU digital audio via the S PDIF input on the E MU 1010 PCI card This cable may also work to connect S PDIF out from the 1010 PCI card to the AES EBU input of other digital equipment From AES EBU Device To S PDIF In N C Cables balanced or unbalanced All inputs and outputs on the E MU Digital Audio System are designed to use either balanced or unbalanced cables Balanced signals provide an additional 6dB of gain on the inputs and are recommended for best audio performance although unbalanced cables are fine for most applications If you re having problems with hum and noise or just want the best possible performance use balanced cables Balanced Cables Balanced cables are used in professional studios because they cancel out noise and interference Connector plugs used on balanced cables are XLR 3 prong mic connector or TRS Tip Ring Sleeve 1 4 phone plugs l Ground shield N Balanced XLR _ Connectors 2 Hot 3 Cold Input Output Sleeve Ground Balanced 1 4 Tip Hot TRS Connectors Ring Cold Sleeve Ground Unbalanced 1 4 Connectors Tip Signal Balanced cables have one ground shield connection and two signal carrying conductors of equal potential but opposite polarity There is o
107. nds amp Returns nono nc nn cnc OEA 38 ASIO Direct Monitor Send Return i 39 Meter Insert it di ie tall ieri 40 To Set the Input Levels of a Strip nana AT 40 Making the Best Possible Recording ronca 41 Trim Pot Inst at dee ii aa Sos E 42 Test Tone Signal Generator Insert con non non EEEE EEES 42 Managing Your Ia o dan aro 43 A A e cs da ee 44 Sidechain Diagram aoran E Ea noo ironia alari rano 44 Pre or Post Fader Aux Sends iiii iii 45 Level Pan Solo Mute Controls i 46 MAS id A AA A deal 47 TV Screen amp Selectors airada dicas 48 4 E MU Digital Audio System PU A A ata 49 NN 49 Auxiliary Effects amp Returns nono aa non nooo ron a Aaa e ee 50 Sidechaini Diagrammi rsa nadan dicas re 50 Sync Sample Rate Indicators non nonn con non noo nonn non a ey 50 Output Section sn a a A i i i 51 Main Inserts naar ii buia ai 51 Main Output Fader Aiello e 51 Output bevel Meters ai nae nr acts Sete tt havin ehh me ate ener 51 Monitor Output Level ac O See A SAS 51 Monitor Balance Control conc cononnconcon ronca cnn aa 51 Monitor Output Mute aaa iaia 51 5 EffectS accionados DD OU CIVERA de ieee ae eee 53 The Effects Palette tte ee an Naar e eae ceca De De dct aol 53 DI ECO EZRA 54 Creating Renaming amp Deleting Categories or Presets
108. ne hot or positive lead and a cold or negative lead At any point in time both conductors are equal in voltage but opposite in polarity Both leads may pick up interference but because it is present both in and out of phase this interference cancels out at the balanced input connection 7 Appendix Useful Information Y WARNING Do NOT use balanced audio cables when connecting balanced outputs to unbalanced inputs Doing so can increase noise level and introduce hum Use balanced 3 conductor cables ONLY if you are connecting balanced inputs to balanced outputs E MU Digital Audio System 101 7 Appendix Useful Information Unbalanced Cables Unbalanced cables have one conductor and one ground shield and usually connect via unbalanced 1 4 phone plugs or RCA phono plugs The shield stays at a constant ground potential while the signal in the center conductor varies in positive and negative voltage The shield completely surrounds the center hot conductor and is connected to ground in order to intercept most of the electrical interference encountered by the cable Unbalanced cables are more prone to hum and interference than balanced cables but the shorter the cable the less hum introduced into the system Digital Cables Don t cheap out Use high quality optical fiber for ADAT and low capacitance electrical cables for S PDIF when transferring digital I O to avoid data corruption It s also
109. nning together This is referred to as house clock or house sync and is set to the actual sample rate of the system Use a cable with BNC connectors to connect incoming clock signals to the Word Clock In jack on the Sync Daughter card Connect the Word Clock Out to your other digital equipment to use the Sync Daughter Card as the Master Word Clock source See Word Clock In Out The Sync Daughter Card provides SMPTE LTC sync in and out on two 1 4 phone jacks LTC can be recorded onto an unused audio track on an analog or digital recorder and then fed back into the SMPTE input to synchronize your computer sequencer recorder See SMPTE Background for more information Word Clock MTC Out MIDI Time Code is also output whenever MTC is being generated by the host application sequencer or audio recorder A special cable converts the mini DIN to a standard MIDI jack See the Sync Daughter Card Supplement for more information about using the Sync Daughter Card 24 Creative Professional 4 The PatchMix DSP Mixer PatchMix DSP 4 The PatchMix DSP Mixer PatchMix DSP The PatchMix DSP Mixer is a virtual console which performs all of the functions of a typical hardware mixer and a multi point patch bay With PatchMix you may not even need a hardware mixer PatchMix DSP performs many audio operations such as ASIO WAVE routing volume control stereo panning equalization effect processing effect se
110. o cancel the operation To Rename an Effects Category Right click on the category folder you wish to rename A pop up selection box appears Select Rename Category A pop up dialog box appears asking you to Enter New Category Name Click OK to rename the folder or Cancel to cancel the operation E MU Digital Audio System 55 5 Effects The Effects Palette Importing and Exporting Core FX Presets and FX Insert Chains These utilities make it easy to import or export your FX Presets and FX Insert Chains You can share presets with your friends or download new presets from the Internet gt To Import Core FX Presets This option imports complete folders of Core FX presets into the E MU PatchMix DSP folder normally located here C Program Files Creative Professional E MU PatchMix DSP Core Effects If the name of an imported FX preset exactly matches a preset you already have a number will be appended to end of the imported preset name 1 Click the Import Export FX Library button from the FX Palette Select Import FX Library The Browse for Folder window appears Choose the folder where the Core FX presets you wish to import are located A WN The selected folder of Core FX presets will be copied into the Core Effects folder of PatchMix DSP To Import FX Category Folders This option imports complete category folders of FX Chains into the E MU PatchMix DSP folder normally
111. oaxial transformer coupled 2 in 3 out optical software switchable with ADAT AES EBU or S PDIF switchable under software control 8 channels 24 bit 44 1 48 kHz 4 channels 24 bit 96 kHz 2 channels 24 bit 192 kHz 400 IEEE 1394a port 6 pin Compatible with DV cameras or HDs 2 MIDI in 2 MIDI out 44 1 kHz 48 kHz 88 2 kHz 96 kHz 176 4 kHz 192 kHz ADAT S PDIF optical or coaxial Word Clock sync card only 75 ohm termination switchable SRSync SourceRMS jitter in picoseconds 44 1 kHz internal Crystal 596ps 44 1 kHz Optical Input 795ps Converts to from longitudinal time code LTC to MIDI time code MTC 24 25 30 drop 30 non drop frames second Compatible with 29 97 fps timecode Regeneration stripe and conversion modes 0 5 4V p p 4 dBu 10 dBV software selectable 10K ohm E MU Digital Audio System 105 7 Appendix Technical Specifications Specifications 1820 System GENERAL Sample Rates Bit Depth Hardware DSP Converters amp OpAmps AudioDock Power Use ANALOG LINE INPUTS Type Level software selectable Frequency Response THD N SNR Dynamic Range Channel Crosstalk Common mode Rejection Input Impedance ANALOG LINE OUTPUTS Type Level software selectable Frequency Response THD N SNR Dynamic Range Stereo Crosstalk Output Impedance 44 1 kHz 48 kHz 88 2 kHz 96 kHz 176 4 kHz 192 kHz from internal crystal Externally
112. og inputs are provided 1 3 These can be used to input any line level signal from keyboards CD players cassette decks etc The analog inputs are assigned to mixer strips in the mixer application Input line level can be set to accommodate the consumer 10dBV standard or the pro audio 4 dBu standard in the I O screen of the Session Settings dialog box See I O Settings The maximum input level in pro mode is 18dBV 20 2dBu Maximum output level in consumer mode is 6dBV Either TRS balanced or TS unbalanced cables can be used See page 101 for additional information about unbalanced cables and connectors The line level inputs are all servo balanced enabling them to convert unbalanced signals to balanced signals internally to reduce noise Turntable Inputs amp Ground Lug The RCA turntable inputs feed an RIAA equalized preamp designed to accept moving magnet type phono cartridges The turntable inputs share line level inputs 3L and 3R Inserting a plug into Line Input 3 disconnects the turntable preamp from that channel Connect the ground lead from your turntable to the ground lug to prevent hum Line Level Analog Outputs Eight balanced 24 bit line level analog outputs are provided 1 4 Output pair 4 is designated as the Monitor Output and is fed by the monitor bus of the PatchMix DSP mixer application We suggest that you plug your speakers in here All the analog outputs can be freely assigned in the mixer application Special ant
113. ong Rendering allows a virtually unlimited number of VST effects to be used because the audio processing is performed out of realtime E MU PowerFX and the PatchMix DSP effects are strictly realtime processes When E MU PowerFX are used while rendering audio the rendering process must proceed at realtime rate Some host applications are not designed to handle realtime rendering and this can cause problems E MU PowerFX can be used with these applications if you are willing to follow certain guidelines General Tips for Rendering using PowerFX If an error message occurs increase the ASIO Buffer Latency setting located in the device Setup dialog box Depending on your setup you may have to increase or decrease the Buffer Latency settings to find the setting that works Instead of rendering with E MU PowerFX bounce the E MU PowerFX processed tracks to another track in realtime Check Realtime Render in the Render dialog box when using Cubase LE Cubase SX2 or Cubase SL2 This setting will give the best results Tips for using Freeze Mode on Cubase LE Make the project length as short as possible Freeze always renders the entire project length even if the MIDI track being rendered is shorter Great Tip Temporarily bypass E MU PowerFX and any other effects even when Freezing another track This will allow the track to Freeze faster than realtime Using E MU PowerFX with WaveLab and SoundForge Stuttering in the
114. onitoring without 39 label 46 LED mute button 46 clock source 21 new 34 green 20 solo button 46 MIDI activity 21 type 34 red 20 viewing 25 sample rate indicator 21 Mixer Strip Level Fader 46 add new 34 Leveling Amp 70 delete 35 Levels setting input 40 type 34 LFO Monitor flanger 68 balance control 51 phase shifter 73 mix 47 vocal morpher 77 mute 47 Limiter 66 output 22 Line Level level control 51 input output mute 51 audiodock 22 Mono Delays 72 I O daughter card 18 MTC 98 Lite Reverb 71 enabling 30 98 Loss of Sync 21 to SMPTE Conversion 93 Low Frequency Damping 76 Multichannel WAVE Files 35 Low Frequency Decay Factor lite reverb 71 Mute mixer strip 46 M monitor 47 Main bus 47 inserts 51 E MU Digital Audio System 117 Index N N New mixer strip 34 session 27 28 Notes Tips amp Warnings 8 O OpAmp Type 1212 system 109 1820 system 106 1820M system 103 Optical Cables 102 Output fader main 51 level line 22 meters 51 monitor 51 SMPTE 94 reduction at high sample rates 89 routing display 49 section 51 P Palette effects 53 Pan 46 Pan Controls 33 Parametric EQ setting up 62 PatchMix DSP disabling 27 Peak Meters 40 Phantom Power 20 description 102 Phase Invert 42 Phase Shifter 73 Phattening using chorus 65 Phoneme 77 Physical Input Display 49 Physical Output Display 49 Physical Source 34 Playing CDs 34 Post Gain leveling amp 70 PowerFX 78 automating 80 resource availability 80 Preamp microphone 20
115. ormally use a master word clock generator or House Sync with a distribution system so that each device receives a phase coherent and jitter free word clock W MTC and SMPTE do NOT synchronize at the sample rate and are not locked to word clock in any way SMPTE and MTC are used to synchronize music but do not have the required resolution to sample lock digital audio Word clock ADAT and S PDIF synchronize at the sample rate and are used to transfer digital data between machines 98 Creative Professional 7 Appendix Word Clock In Out Digital Digital Digital Digital Device 2 Device 4 A master word clock generator is preferable for larger digital setups Word Clock In Receives word clock sample clock from another digital device such as a digital video deck digital recorder or digital mixer Word Clock Out Sends word clock sample clock to another digital recorder Word clock is always output whether it is generated by the internal clock or passed through from the word clock input 759 On Off Termination for the word clock input can be switched on or off in the Sync Card menu of the PatchMix DSP application Normally word clock termination should be left on Ifyou have problems with a weak word clock signal try turning termi nation off See Word Clock Termination The diagram below shows the proper way to connect and terminate a serial word clock chain Using a BNC T connector ensure
116. ose one of the Send Outputs Click on a destination to select it 4 Choose one of the Return Inputs Click on a source to select it 5 Click OK to select the Send and Return or Cancel to cancel the operation Using External Sends amp Returns An External Send Return breaks the signal at the insert point and sends it out to the selected external destination such as a compressor a stereo effect processor or any other audio device Any physical input or output can be used 5 New Send Return Insert JE ele d outr Outboard Signal Processor PCI Card SPDIFLIR S PDIF Input TT 00000 ele umng S PDIF PCI Card SPDIF InLiR Output The Send Return Inserts allow you to connect your favorite external analog or digital gear gt To Insert an External Signal Processing Device 1 Right click on the insert chain and select the Insert Send Return Physical Output and Input The popup dialog box shown above appears 2 Select the output and input you wish to use Connect your external audio gear to the appropriate analog or digital connectors 4 If you re using the analog outputs and inputs you may have to adjust the levels in the I O Session Settings See page 31 You can insert a level meter after the Send Return to make sure you re getting a strong signal back from the external device 5 If you re using a digital Send Return make sure that the external digital device is synchronized to the digital input Otherw
117. oth Automation Write and Automation Read and press Play Cubase LE begins overwriting as soon as you change a control If you don t like the results and want to try again select Show Used Automation from the Project menu The Automation Subtrack appears Next click in the Parameter Display and select Remove Parameter Note This only erases one automation parameter from the Automation Subtrack To erase multiple control edits repeat the procedure above See the Cubase LE manual for more specific information about automation editing E MU PowerFX Resource Availability Because different collections of VST plug ins and PatchMix Sessions can be run simulta neously it is possible to load a Cubase Song or PatchMix Session for which resources are not available If DSP resources are NOT available for an existing setup E MU PowerFX loads a Hardware I O Path and simply passes audio through without any effects The effects insert slot s in E MU PowerFX will be redded out If no Hardware I O Paths are available the plug in will be disabled and run in a soft pass through mode The effects insert slot s in E MU PowerFX will be grayed out If DSP resources ARE available but no Hardware I O Paths are available the plug in will run in soft pass through mode If the sample rate is changed in the middle of a E MU PowerFX session E MU PowerFX plug ins will be bypassed since the hardware effects cannot operate at 96kHz or
118. peaker cabinets are modeled There is only one parameter on this effect Just select the speaker you want and listen Normally this effect should be used with the Mix control set to 100 Speaker Type Description British Stack 1 amp 2 Modeled from a British 8 speaker high power amplifier stack British Combo 1 3 Modeled from a British 2 speaker combo amplifier Tweed Combo 1 3 Modeled from an American 19505 era 2 speaker combo amplifier 2x12 Combo Modeled from an American 19605 era 2 speaker combo amplifier 4 x 12 Combo Modeled from an American 19605 era 4 speaker amplifier set Metal Stack 1 amp 2 Modeled from a modern era power amplifier stack 74 Creative Professional Stereo Delays 100 250 500 750 1500 The Stereo Delays are true stereo delay lines in that the left and right channels are kept entirely separate from each other The delay number refers to the maximum delay time that can be produced by the delay lines The five different lengths from 100 ms to 1 5 seconds allow you to make the most efficient use of the effect memory resource Because the left and right channels can have different delay times you can create a panning effect by setting one delay long and the other short Very short delay times combined with a high feedback amount can be used to create monotone robotic sounding effects Using the longer stereo delays you can overdub
119. perate The AudioDockM requires 1 25 Amps at 12V 15 Watts to operate Adapter Cable between one of your disk drives and the power supply Power Converter Cable To Disk Drive E MU 1010 PCI Card 6 Plug the small connector into the E MU 1010 PCI card as shown above The connector is keyed and can only be inserted one way 7 After all components have been installed and securely fastened close the computer case 8 Connect the supplied network type cable from the 10 BaseT jack on the E MU 1010 V CAUTION Do not PCI card labeled EXTERNAL to the matching connector labeled Card on the connect the supplied AudioDock The cable supplied with the AudioDock is specially shielded to prevent CATS cable to the Ethernet or network connector on your 9 Plug the power cord back into the wall outlet and turn on your computer computer Doing so may result in permanent damage to either your computer the E MU 1010 or both unwanted RF emissions E MU Digital Audio System 13 2 Installation Install the Sync Daughter Card or 0202 Daughter Card Rubber Feet Four rubber feet were included with the AudioDock These feet should be used if you re not going to rack mount the AudioDock Ifyou are going to rack mount the AudioDock leave the feet off To install the rubber feet simply peel off the protective backing from the adhesive and press the feet into the round depressions at each corner of t
120. perly but will probably not be damaged if phantom power K is left on 3 48V Ribbon microphones should NOT be used with phantom power on Doing so can seriously damage the ribbon element Since ribbon microphones are fairly specialized and generally expensive you ll know if you own one Most microphones are either of dynamic or condenser type and these are not harmed by phantom power Appearance Settings in Windows Adjusting the Performance Options in Windows will improve the screen appearance when moving the mixer around on the screen To Improve the Appearance Settings 1 Open the Windows Control Panel Start Settings Control Panel 2 Select System Select the Advanced Settings tab 3 Under Visual Effects select Adjust for Best Performance Click OK 102 Creative Professional 7 Appendix Technical Specifications Technical Specifications Specifications 1820M System GENERAL Sample Rates Bit Depth Hardware DSP Converters amp OpAmps WDM Drivers AudioDockM Power Use ANALOG LINE INPUTS Type Level software selectable Frequency Response THD N SNR Dynamic Range Channel Crosstalk Common mode Rejection Input Impedance ANALOG LINE OUTPUTS Type Level software selectable Frequency Response THD N SNR Dynamic Range Stereo Crosstalk Output Impedance 44 1 kHz 48 kHz 88 2 kHz 96 kHz 176 4 kHz 192 kHz from internal crystal Externally supplied clock from S
121. r level later When the telephone rings just hit the monitor mute to cut the noise E MU Digital Audio System 51 4 The PatchMix DSP Mixer Main Section 52 Creative Professional 5 Effects Overview PatchMix DSP comes complete with a host of great core DSP effects including Compressors Delays Choruses Flangers and Reverb Each 32 bit effect has various parameters for editing as well as factory presets You can also create and save as many of your own effect presets as you wish Since the effects are implemented in hardware they don t place any load on your host computer This allows your valuable CPU cycles to be used for other applications or software plug ins The effects are only available at the 44 1 and 48kHz sample rates There is a finite limit to how many effects you can use at the same time As you use up the PatchMix DSP resources certain effects will appear grayed out and cannot be added to the mixer Complex effects such as reverb use more DSP resources than say a 1 Band EQ If you continue to add effects all of the DSP resources will eventually be used up The Effects Palette Click the FX button on the toolbar to bring up the Effects Palette The Effects Palette contains two types of folders The Core Effects folder contains the effect algorithms themselves This folder cannot be modified The other folders contain Effects Chains consisting of two or more effects grouped together
122. r the transfer delay for hosts that DO NOT support plug in delay compensation The E Delay Compensator plug in is used to delay the dry tracks tracks without a PowerFX or E Wire as an insert effect or auxiliary send channels For each dry track or send add an E Delay Compensator plug in to re align the track The E Delay Compen sator is automatic and requires no user interaction to operate For example consider a Cubase VST session with two audio tracks If PowerFX or E Wire is applied as an insert effect to the first audio track but not to the second the first track will be delayed in relation to the second track The E Delay Compensator should be added as an insert effect on the second track in order to provide delay compensation Cubase VST or Cubasis Insert Insert ME E Delay Compensator Use PatchMix di that dont support automatic DSP 1 An E Delay Compensator should be used when unprocessed audio tracks are played alongside tracks using a PowerFX or E Wire plug in 2 Simply insert an E Delay Compensator into each track that doesn t use a PowerFX or E Wire send E Delay Units Parameter The Units value in the E Delay dialog box should be set for the number of times you send ASIO down to the PatchMix DSP mixer and back in a single track A single PowerFX insert chain with any number of effects only requires one delay unit because there was only one trip to the hardware and back Ifyou use two Cubase inser
123. rame messages amp full frame messages Constant quarter frame messages are generated with steady SMPTE data input Occasional MIDI full frame messages are generated when SMPTE contains data dropouts Conversion of MTC quarter frame amp full frame messages from the host computer to SMPTE out Simultaneous SMPTE and MTC output when receiving MTC from the host computer Outputs SMPTE and MTC striping data SMPTE Start Time and type can be set via System Settings dialog box SMPTE Options When the Sync Daughter Card is installed in your system a SMPTE button in the PatchMix DSP mixer becomes visible Pressing the SMPTE button brings up the SMPTE window SMPTE Flywheel Mode Current Time Start Striping Start Time Off Continuous Flywheel Fixed 1 timeJam Amount o 5L Sync Calg Settings Ne o E E reno ne 00 00 00 00 BAY 00 00 00 00 SMPTE Status SMPTE Frame Stop Output Word Clock Output Error Indicators Rate Settings Striping Source Termination Level E MU Digital Audio System 93 7 Appendix Sync Daughter Card Supplement Mode fps Sets the transmitted frame rate when striping SMPTE SMPTE Striping Edit this field to set the start time in hours minutes seconds frames for striping SMPTE Stripe Button Initiates SMPTE Time Code generation at the SMPTE output beginning at the time set in the striping display Stop Button Stops SMPTE striping This button also stops SMPTE when One Time Jam Sync ha
124. rb Delay Sets the time between early reflections and the onset of the late reverb cloud Range 1ms to 350ms Diffusion Sets the amount of scattering of the late reverb cloud Range 0 to 100 High Freq Damping Sets the rate at which high frequencies die away Range 10 0 to 3 0 damping factor Low Freq Damping Sets the rate at which low frequencies die away Range 10 0 to 3 0 damping factor 76 Creative Professional Vocal Morpher This unique effect allows you to select two vocal phonemes and morph between them using an LFO Phonemes are the consonants and vowels we use in articulating speech sounds and these sounds are very distinctive and evocative 30 different phonemes are available and these can be shifted up or down in pitch for even more effects To use the Vocal Morpher you just select Phoneme A and Phoneme B from the list of thirty Now the LFO automatically morphs back and forth between the two selected phonemes creating interesting vocal articulations The rate of the LFO is adjustable and you can select between Sine Triangle or Sawtooth waveforms The sine and triangle waves fade smoothly The sawtooth wave gradually fades then jumps abruptly back When the frequency of the A or B Phonemes is shifted up or down entirely new effects can be produced These frequency controls can also be used to tune the phoneme frequencies to the range of audio you are processing Phoneme B TO
125. rd E MU 1820 System at 88 2k 96k 1010 PCI Card amp AudioDock All outputs remain active at 88 2k 96k but the number of ADAT channels is reduced from eight to four see above There are two possible input configurations when using the E MU 1820 system at 88 2k 96k as shown in the chart below Basically you have the option of using the 4 ADAT input channels or 4 Line Inputs Line Inputs 2 and 3 At 88 2kHz 96kHz the headphone output parallels the Monitor output and is no longer independently assignable E MU 1820 Inputs Outputs at 88 2kHz or 96kHz Inputs Inputs Source ADAT Option Line In Option Outputs Note Headphone Out is permanently linked to Monitor Out in 96kHz mode ADAT S PDIF 1 S PDIF 2 Microphone N Line 1 Line 2 Line 3 O O N N N N NI N NINI N N O 1 Line 4 out monitor NI N NI NIN Headphone out a Total 12 12 18 monitor E MU Digital Audio System 87 6 Using High Sample Rates Overview Input Output 88 2 kHz 96 kHz A Line Mic B Line 3 Mic sw E MU 182077 mmj co a Clip Clip 1 SE 96 IN 10d8 2 ext 48 192 our S PDIF O ADAT enabled Bis chan MIDI1 3L Phono3R Gnd UR SUR Ci Sub SIBkL R IES 4 Chan 500001 Monitor SERER 0000 010 MIDI2 Out A Line Mi B Line Mi pee A A E MU 18207 r txt ica 2 ext 48 192 our 3L phono
126. reative Professional Compliance Information United States Compliance Information FCC Part 15 Subpart B Class B using CISPR 22 1997 Class B ANSI C63 4 1992 method FCC Site No 90479 Canada Compliance Information ICES 0003 Class B using CISPR 22 1997 Class B ANSI C63 4 1992 method Industry of Canada File No IC 3171 B European Union Compliance Information EN55024 1998 EN55022 1998 Class B EN61000 3 2 2001 EN61000 3 3 1995 w A1 98 Australia New Zealand Compliance Information AS NZS 3548 1995 w A1 amp A2 97 Class B EN55022 1998 Class B Japan Compliance Information VCCI April 2000 Class B using CISPR 22 1997 Class B VCCI Acceptance Nos R 1233 amp C 1297 Attention for the Customers in Europe This product has been tested and found compliant with the limits set out in the EMC Directive for using connection cables shorter than 3 meters 9 8 feet Notice If static electricity or electromagnetism causes data transfer to discontinue midway fail restart the application or disconnect and connect the Firewire cable again 7 Appendix Internet References E MU Digital Audio System 113 7 Appendix Internet References 114 Creative Professional Index Numerics Index 3 eae Background program disabling 27 Balance Control monitor 51 Balanced Cables 22 101 Block Diagram mixer 26 Bypass effect insert 57 send return insert 48 Numerics E 0202 Daughter Card 18 Ca
127. recorded bit accurate without sample rate conversion or bit truncation When running PatchMix at 44kHz 48kHz if there is a mismatch between the WDM playback audio content and the PatchMix sample rate sample rate conversion is performed so that WDM audio will always be heard or recorded Also such non native sample rate audio is truncated to 16 bits When running PatchMix at 88 2kHz 96kHz 176 4kHz or 192kHz WDM record or playback audio content must be running at the same sample rate as PatchMix If the sample rates are mismatched NO AUDIO will be produced or recorded In other words the WDM driver does not perform sample rate conversion of any kind when PatchMix is running at 88 2kHz 96kHz 176 4kHz or 192kHz 6 Using High Sample Rates Overview E MU Digital Audio System 91 6 Using High Sample Rates Overview 92 Creative Professional 7 Appendix Sync Daughter Card Supplement 7 Appendix Sync Daughter Card Supplement SMPTE Conversion One of the main functions of the Sync Daughter Card is to convert SMPTE LTC to W Warning SMPTE and MIDI Time Code MTC and vice versa The term Host MTC refers to MTC which is MTC do not provide generated or used by the host application Cubase etc MTC is also available at the sample sync for digital MIDI jack on the back of the Sync Card 1 O You must use Word Clock S PDIF or ADAT sync SMPTE Features Conversion of SMPTE to MTC quarter f
128. resets then press OK 5 The FX Chains will be copied to the selected destination 56 Creative Professional 5 Effects FX Edit Screen FX Edit Screen Click on an FX Insert to display the parameters for that effect If an insert effect is not Note Effects have to selected the FX display will read No Insert be placed into an insert location before you can Most effects have a wet dry mix parameter to control the ratio of effect to plain signal mea The wet dry setting is stored with the FX preset The effect parameters vary with the type of effect Generally if an effect is placed in an Aux Send the wet dry mix in the effect should be set to 100 wet since the Aux Return amount controls how much effect is applied The User Preset section is located at the bottom of the FX Edit screen User presets are variations of the main effect and can be edited deleted renamed or overwritten as you wish Effects Display EFFECT CT meurs C gt oureuts iI View Button NE i Vocal Mo rp her Strip 3 vocoder Insert 1 Cors IMA et Effect Location Effect Bypass amp Solo Buttons Wet Dry Mix Control gt Effect Parameters User Preset Section gt To Bypass an Insert Inserts can be bypassed if you want to temporarily hear the audio without the effect or insert Bypass can also be used to turn off a Send Insert Method 1 1 Clickon the Fffect in the Insert section 2 Click the Bypass button
129. rols how loud the echoes are in relation to the original signal Feedback Delay Time Parameter Description Delay Time Sets the length of the delay in milliseconds 01ms minimum increment between settings Mono Delay 100 Range 1 millisecond to 100 milliseconds Mono Delay 250 Range 1 millisecond to 250 milliseconds Mono Delay 500 Range 1 millisecond to 500 milliseconds Mono Delay 750 Range 1 millisecond to 750 milliseconds Mono Delay 1500 Range 1 millisecond to 1 5 seconds 1 1 1 1 1 Mono Delay 3000 Range 1 millisecond to 3 seconds Feedback Sets the amount of delayed signal that will be recirculated through the delay line Range 0 to 100 High Freq Rolloff Damps high frequencies in the feedback path Range 0 to 100 72 Creative Professional 5 Effects Core Effects Descriptions Phase Shifter A phase shifter produces a fixed number of peaks and notches in the audio spectrum which can be swept up and down in frequency with a low frequency oscillator LFO This creates a swirly ethereal sound with harmonically rich sound sources of a type of pitch shift with simpler sounds The phase shifter was invented in the 1970 s and the characteristic sound of this device evokes emotions of that musical era By setting the LFO Depth to zero and tuning the LFO Center a fixed multi notch filter is created Feedback Signal path Stereo LFO Center LFO
130. rus Compressor Distortion Flanger Freq Shifter Leveling Amp i rb Mono Delay 250 Mono Delay 500 Stereo Reverb BALE Dry AO O Wet FX Palette FX Inserts Output Signal Present FX Presets Preset Editing Parameter Description PowerFX On Off Enables or bypasses E MU PowerFX FX Palette Select from a single Core effect or a Multi Effect FX Inserts Drop Effects from the FX Palette here Signal Present LEDs These indicators turn blue to show the presence of input and output signals FX Parameters Select the desired effect in the center insert section then adjust the wet dry mix and parameters for the effect FX Presets Select from the list of preprogrammed effect presets here Preset Editing Click here to Save Delete Rename or Overwrite a User Preset See the User Preset Section for more information W E MU PowerFX are not available at 96kHz and 192kHz sample rates Cubase SX SL LE 2 0 Nuendo and Sonar using the Cakewalk VST adapter 4 4 1 implement VST 2 X auto delay compensation 78 Creative Professional Parameter Description Preferences The Preferences menu allows you to Toggle the Tooltips On or Off using E MU PowerFX in your VST Host application This box should be checked when using Fruity Loops Render Mode Induces realtime rendering in applications which do not support realtime rendering WaveLab Sound Forge
131. s been initiated Flywheel Mode Selects one of the four Flywheel modes See the descriptions below Output Level Sets the SMPTE output level from 10dBV consumer to 4dBu pro wheel frames that will be output before the sync card stops and chases FLY JAM Frames If flywheel mode is on and a dropout is detected this is the number of fly Word Clock Turns word clock termination on or off Except in special cases this con Termination trol should normally be left on See Word Clock In Out SMPTE MTC This control selects the source of the SMPTE output jack The choices are Output Source Host MTC or the SMPTE Input jack to regenerate SMPTE SMPTE Modes of Operation Host Mode The host computer is the source of synchronization MTC messages are sent to the Sync Daughter Card from the computer application and converted into SMPTE MTC is also output from the MIDI port on the Sync Daughter Card External Mode SMPTE messages from SMPTE In are converted to MTC quarter frame messages and sent to the host application This happens automatically whenever LTC is received at the SMPTE input jack Clean SMPTE data is also transmitted from SMPTE Out if SMPTE Regenerate is set Flywheel Mode If the incoming SMPTE data is corrupted or missing frames MTC code will continue to be output if Flywheel mode is enabled The flywheel modes are described below Flywheel Modes Off Upon any dropout MTC stops a
132. s designed in the days when tape dropout was a common occurrence and so it was designed to convey absolute location information Since each frame of SMPTE code provides its own unique identification it provides the ability for a receiving device to recover from data dropout In addition edits can be performed in the middle of a song with just a few seconds of pre roll before the punch in point SMPTE is also standardized which means that code generated on different makes of equipment will be compatible with each other SMPTE also has fairly good resolution especially at the subframe level You ll be happy to know that the Sync Daughter Card resolves to the subframe level The chart below shows subframe accuracy at the three frame rates SMPTE Subframe Resolution Frames per second Resolution 24 fps 521 mS 25 fps 500 mS 30 fps 417 MS Striping SMPTE Printing SMPTE to a track is called striping as in stripe SMPTE time code is recorded on an unused audio track of another recorder then played back into the Sync Daughter Card The Sync Daughter Card passes the location information on to the host computer as MTC quarter frame data to be used by an application such as an audio recorder or sequencer SMPTE is usually recorded at about 3 VU on semi pro gear 10 VU on professional gear and 0 VU on video gear Experiment to find the optimum levels When printing to a time code track of a video deck be careful The tim
133. s for using SMPTE onecoa adria 97 Example SMPTE Connection arie A es eh n 97 MIDI Time Code MTC ida 98 Word Clock TOQUE A een 98 A eil a i ada aa 100 Useful Informationi urlare ail 101 AES EBU to S PDIF Cable Adapter cnn ncnnonncnn aR 101 Cables balanced or unbalanced cnn nonnonnc on conc es 101 Balanced Cable 20 a a tania E OLIO ai 101 Unbalanced Cables acne ione iaia pira i 102 Digital Gables siglare ian 102 Grounding ds 102 Phantom PO WEE lara aa air 102 Appearance Settings in Windows non nonn con con nc ncnncanncnnnns 102 Technical Specifications assale en iena 103 Internet Referencesi rue li ANI Ge allo 111 FOIS A ilaria ei teeter 111 Note concerning the Microsoft GS Wavetable Software Synth 111 Index sivizinizii a LD E MU Digital Audio System 1 Introduction Welcome 1 Introduction Welcome Thank you for purchasing the E MU 1820M E MU 1820 or E MU 1212M digital audio system Your computer is about to be transformed into a powerful audio processing workstation We ve designed this E MU digital audio system to be logical intuitive and above all to provide you with pristine sound quality All three systems offer unprece dented value by providing studio quality 24 bit 192kHz multi channel recording and playback at an astounding price E MU Digital Audio System Components E MU 1212M E MU 1010 PCI Car
134. s high enough above 10 1 the signal will effectively be prevented from getting any louder In this situation the compressor will be acting as a Limiter placing an upper limit on the signal level In general ratios from 2 1 to 6 1 are considered compression and higher ratios above 10 1 are considered limiting The Post Gain control amplifies the signal after it has been compressed to bring it back up in volume If you don t increase the gain the compressed signal will be much lower in volume Two other important controls are Attack and Release Attack controls how quickly the gain is turned down after the signal exceeds the threshold Release controls how fast the gain is returned to its normal setting after the signal has fallen below the threshold again An attack setting of about 10 milliseconds will delay the onset of compression long enough to preserve the attack transients in guitar bass or drums while allowing the sustain portion of the sound to be compressed Longer release times are generally used to reduce the so called pumping effect as the compressor turns on and off Don t make the release time too long however or the compressor won t have time to recover for the next pluck or hit In general the attack and release controls are used to smooth out the action of the compressor but they can also be used to create special effects The Pre Delay parameter lets the level detector look into the future up to 4 milli second
135. s in order to anticipate upcoming peaks in the signal This is accomplished of course by inserting delay into the signal path This lookahead technique allows the use of slower attack times without missing signal peaks This parameter is especially effective on drums and percussion The Input Meter allows you to monitor the strength of your input signal Always try to boost the signal before the compressor if you can The Compression Meter shows the amount of gain reduction being applied Since this meter displays how much the gain is being turned down the meter moves from right to left instead of left to right like a normal meter Parameter Description Threshold Threshold sets the input signal level above which dynamic range compression takes place Everything above the threshold will be brought down in volume Range 60dB to 12dB Ratio Sets the ratio of input signal level to output signal level or now much compression will be applied Range 1 1 to 1 Post Gain Amplifies the signal after it has been compressed to bring up the volume Range 60dB to 60dB 66 Creative Professional Parameter Description Attack Time Controls how quickly the gain is turned down after the signal exceeds the threshold Range 1ms to 500ms Release Time Controls how fast the gain is returned to its normal setting after the signal has fallen below the threshold Range 50ms to 3000ms Pre Delay Allows th
136. s that word clock is precisely in phase for both devices The middle device has termination turned Off and the last device in the word clock chain has termination turned On gital Mixer sa fo alo lsfalalols lala al els o o o ololo o o o o o o kS ojojo olo olojojojolo o kS o ololo o o o o olo o o n ll o ololo o olo o o o o o 6 6 olo polo ololololololjolo 6 o olo olo o olo o o o o 2 zz o o ololo o o o o o o o aa 2 olololololololololololo ooo o naa a a a 0000 una OOO O AAA ADAT Optical T connector or AES Digital ADAT Optical 1901 POM E MU 1010 CARD SYNC CARD Word Clock Termination ON This diagram shows the proper way to connect word clock if you dont have a multi output word clock generator The last device in a Word Clock chain should have Termination ON E MU Digital Audio System 99 7 Appendix Getting in Sync Getting in Sync Whenever you connect external digital audio devices together you need to be aware of how they are synchronized to each other Simply connecting digital out to digital in doesn t guarantee that two digital devices are synced even if audio is being passed Unless you have set one to be the Master and the other a Slave they are probably NOT synchronized and the quality of your audio will suffer S PDIF and ADAT are two commonl
137. s when 5 Effects E MU PowerFX W Using any driver other than E MU ASIO may produce undesirable results when using E MU PowerFX E MU Digital Audio System 79 5 Effects E MU PowerFX Automating E MU PowerFX E MU PowerFX can be automated in Cubase LE or other recording host just like any other VST effect When Write Automation is activated in Cubase LE control changes made in the PowerFX window during playback will be recorded on a special Audio Mix track located at the bottom of the Arrange Window When Automation Read is activated the recorded control changes will be played back gt 1 2 To Record PowerFX parameter changes in Cubase LE Add E MU PowerFX as a Channel Insert Rewind the song and enable Automation Write by pressing the WRITE button on illuminating it Refers to Cubase LE If you are using another application refer to the documentation Bring the E MU PowerFX window to the front and select the Effect you want to automate The effect parameters appear in the TV screen Make sure the blue On button is lit Press the Play button on the Cubase LE Transport control The song begins playing Adjust the E MU PowerFX controls to achieve the effect you want Rewind the song when finished Disable Automation Write and enable Automation Read R Playback the song to hear and view your changes To edit Automation first enable b
138. se refer to SMPTE Background Synchronization is a basic technique needed for connecting multiple pieces of equipment Word Clock S PDIF or ADAT optical are all industry standard methods of synchronizing digital equipment together at the system sample rate 44 1kHz 48kHz 96kHz or 192kHz The master clock source is set in the Mixer Session Settings menu See System Settings for more information Recording equipment can also be synchronized so that two audio recorders or an audio and video recorder can lock together as a single machine SMPTE and MTC sync are used because they convey absolute time information Word clock S PDIF or ADAT optical sync only synchronize the sample rate and unlike SMPTE and MTC do not convey song position information In a synchronized system there is usually one MASTER machine and one or more SLAVES When the master starts the others will follow chase The Sync Daughter card is also a format converter It converts incoming SMPTE time code to MIDI Time Code MTC and passes this information to the host computer to be used by a sequencer or audio recorder application When your computer application is the Master the Sync Daughter card converts MTC into SMPTE and sends it out to another SMPTE device Connections The Sync Daughter Card contains Word Clock inputs and outputs for clock signals used in a studio where a common sample rate reference is required to keep multiple pieces of digital equipment ru
139. section A pop up menu appears 2 Select Un Bypass All Inserts from the list of options All the insert names will light to indicate that they are active User Preset Section Each core effect has a set of User Presets that you can use to store your favorite effect To copy or share User parameter settings We ve included a good collection of user presets to get you started Presets you must save The user presets are accessed from the bar at the bottom of the TV screen The user preset them as FX Palette edit menu allows you to select stored presets create new presets rename or delete effects existing presets or overwrite existing presets with your modified settings User presets stay with the Mixer application regardless of which Session is open Click here to Select Presets To Select a User Preset 1 Select the FX display in the TV screen 2 Select the desired insert effect highlighting it The effect parameters appear in the TV screen 3 Click on the y icon on the preset menu A drop down preset list appears 4 Select a preset from the list To Create a New User Preset 1 Select the FX display in the TV screen 2 Select the desired insert effect highlighting it The effect parameters appear in the TV screen 3 Click on the Edit button A pop up menu appears 4 Select New A pop up dialog box appears asking you to name the new preset 5 Name the preset and click OK Your new preset is now saved
140. t to be an echo but is perceived by the ear as a distinctly separate sound If we now vary the delay time in this range an effect called chorus is created which gives the illusion of multiple sound sources A slight amount of feedback serves to increase the effect A very slow LFO rate is usually best for a realistic effect but a faster LFO rate can also be useful with minimal LFO depth 2 Since this is a stereo chorus an LFO phase parameter is included which can be used to widen the stereo image Parameter Description Delay Sets the length of the delay Range Oms to 20ms Feedback Sets the amount of delayed signal that will be recirculated through the delay line Range 0 to 100 LFO Rate Sets the frequency of the low frequency oscillator Range 01Hz to 10Hz LFO Depth Sets how much the LFO affects the delay time Increases the animation and amount of the chorus effect Range 0 to 100 LFO Waveform Selectable between Sine or Triangle wave LFO L R Phase Controls the stereo width by adjusting the phase difference of the LFO waveform between left and right channels Range 180 to 180 Compressor In its simplest form an audio compressor is just an automatic gain control When the volume gets too loud the compressor automatically turns it down Compressors are useful in musical applications because they allow you to record a hotter signal without overloading the recording device
141. tegory 1010 PCI Card 17 create new preset 55 1 Band Para EQ 61 delete effects 55 1 Band Shelf EQ 61 rename effects 55 1 Time Jam Sync SMPTE 94 CDs playing 34 3 Band EQ 62 Chorus 65 48 Volt Phantom Power 20 102 _ using freq shifter 69 l 4 Band EQ 63 Clicks amp Pops in the audio 17 98 88kHz 96kHz Sample Rate 87 Clipping Indicators 20 96kHz Sample Rate 87 Clock external 24 30 Comb Filter 68 Compressor 65 A Connecting AudioDock 13 A D D A Converter Type Connectors interface 10 1212 system 109 Core Fffects 1820 system 106 descriptions 61 1820M system 103 listing 60 ADAT Optical Core FX Presets importing exporting 56 at 96kHz amp 192kHz 87 connection example 100 D input output connector 17 AES EBU to S PDIF Adapter 101 Damping high frequency 71 76 Analog I O Decay Time lite reverb 71 0202 Daughter Card 18 Decay Time reverb 76 AudioDock 22 Delete Appearance improving 102 folder 55 ASIO FX user preset 59 direct monitor 39 _ mixer strip 35 send 36 Diffusion 76 Attack compressor 66 Digital Cables 102 Audio Dock Digital Interface S PDIF 17 front panel indicators 21 Direct Sound Source 34 inputs outputs 19 Distortion 67 installing power connector 13 Doppler effect using Rotary 73 rack mounting 14 Drivers installing 15 Automating PowerFX 80 Drop frame SMPTE 95 Auto Wah 64 DVD playing in 5 1 7 1 surround 35 Aux Bus 44 Dynamic Range 103 106 109 Auxiliary Effects Assignment 50 Auxiliary Returns 50 E Auxiliary Sends 44
142. ter card provides one pair of 24 bit balanced analog inputs and one pair of 24 bit balanced analog outputs plus MIDI in and out Connections Analog Inputs and Outputs The 0202 Daughter Card provides two balanced analog inputs and two balanced line level analog Left Right 777 stereo signal from keyboards CD players cassette Line Inputs __ p decks etc The analog inputs are assigned to a mixer strip in the mixer application The outputs can feed any line level input such as a Left Right _ Y mixing board the auxiliary input on your stereo or a ag set of powered speakers The line outputs are not Line Outputs designed to drive headphones directly Connect the line outputs to a stereo receiver or mixer with a headphone jack to obtain the proper current drive MIDI _ 7 In Out z g z N cables can be used Balanced cables provide better noise immunity and 6dB higher signal level The output line level can be set to accommodate the consumer 10dBV standard or the pro audio 4 dBu standard in the I O screen of the Session Settings dialog box See I O Settings o E S MIDI In Out The MIDI input and output port can be assigned in your specific MIDI application Connect the MIDI adapter cable that came with your 0202 Daughter card to the mini DIN connectors on the card The adapter cables convert the mini DIN to standard DIN connectors used on most keybo
143. the performance of these effects inserting a trim pot and boosting the gain Trim pots can be used to boost the level of analog line level inputs but it s much better to boost the signal level before the A D converters in order to get maximum resolution and signal to noise ratio from the converters The phase invert switch inverts the polarity of the signal It is generally used to correct for balanced lines and mics that are wired backwards Test Tone Signal Generator Insert The test tone signal generator insert is a handy troubleshooting aid which outputs a calibrated sine wave white noise or pink noise This tool in combination with an insert meter allows you to accurately measure the signal gain or attenuation of an internal or external device The test tone can also be quite handy for tuning up musical instru ments SA Kod The sine wave oscillator frequency is variable from 20Hz 20kHz The level is variable from off to 30dB White noise is a mixture of all frequencies in the audio spectrum at the same average level analogous to white light in the visible spectrum Pink noise provides equal power distribution per octave White noise has more power in the higher octaves Pink noise and white noise are useful as wideband sound sources Musical Note Freq A 440 Hz B 493 88 Hz C 523 25 Hz D 587 33 Hz E 659 26 Hz F 698 46 Hz G 783 99 Hz 42 Creative Professional 4 The PatchMix DSP Mixer Mi
144. the signal level you feed into the A D converters If the analog input level is set too low you lose resolution if it s set too high the A D converters will clip To measure the input level simply add an insert meter to the channel strip in PatchMix DSP These meters are accurately calibrated to display 1dB for each bar on the meter You can enlarge the meter view by clicking on the insert meter in a strip and selecting the Effect button at the top of the TV screen The I O Settings in the Digital Audio System allow you to set the input levels to 10dBV consumer equipment level or 4dBu professional equipment level for each analog input This control sets the overall input level to match your other gear but to get the best possible recording you need to fine tune the level further In order to supply the correct input level you ll need to adjust the output of your analog source electric instrument or preamp so that the input level comes close to 0dB without ever going over Play your input source signal while watching the insert meter in the strip The signal should go into the yellow area frequently but never into the red Adjust the level ofyour source until you have a good level If the signal is way too strong or too weak you may have to go back and adjust the I O Settings Choose 10 if the input signal is too weak and 4 if the signal is too strong Digital audio has NO headroom past OdBFS FS Full Sc
145. thers 86 Creative Professional 6 Using High Sample Rates Overview 6 Using High Sample Rates Overview When operating at 88 2k 96k 176 4k and 192k sample rates the mixer functionality and number of I O channels are reduced These changes are summarized in the following tables All S PDIF inputs and outputs are disabled at 176 4kHz and192kHz The number of ADAT channels also decreases at the 88 2k 96k and 176 4k 192k sample rates due to the bandwidth limitations of the optical components When using 88 2kHz 96kHz 176 4kHz or 196kHz sample rates Effect processors are disabled Output sends amp returns are still available ADAT is reduced to 4 chan at 88k 96k amp 2 chan at 176k 192k ASIO channels are reduced to 8 stereo ASIO channels at 88k 96k and 4 stereo ASIO channels at 176k 192k At 176 4k 192k the number of physical inputs outputs is reduced At the 176 4k amp 192k sample rates S PDIF optical is disabled The ADAT optical interface was originally designed to carry 8 channels at a 48kHz sample rate We use the Sonorus S MUX standard to encode audio with higher sample rates onto the ADAT light pipe In this multiplexing scheme two ADAT channels are used to carry one 88 2k or 96k stream and four ADAT channels are used to carry one 176k or 192k audio stream In order to use the ADAT interface at these higher sample rates you must have other equipment that supports the Sonorus S MUX standa
146. ti oni ria iti 22 Line Level Analog Inputs isrann iieii ENNE Ees Er AE oe AASS 22 Turntable Inputs Ground Lug i 22 Line Level Analog Outputs non nonncnn nono AS 22 Computer Speaker Analog Outputs nono connonncnn cnn nonnrnn cnn nnn ninos 23 MIDE 2 Tin Oti Ti aire ate bead 23 EDE Conmector Card tii a dass dened illa 23 The Syne Daughter Cat vz rsa ani darai 24 CONNECHONS a aaa eae ew ase 24 4 The PatchMix DSP Mixer ccccceesnnecneeecnesenesnnesnnesnnesnas 2D Patch Mix DP nts ee A ara iaia 25 Overview or the Mixer ce te Reece ash BAR A ha 25 Mixer WIN TONE ae a E heal naro aaa 26 Mixer Block Diagram i 26 Pre Ttaderor Post ade sitio dices arie 26 E MU Icon in the Windows Taskbar ii 27 The Lol AS N A A A een A ae 27 WES RR RIA 28 NeW Session i oi Ae 28 OPpen SEssioNi mitin NALI 29 SAVE ESO a iniettare uu de ine i ii ila 29 SESSION Seti GS a dada 29 SCS OS ees Aisi es ee i es e e Eades ta da ate aa 29 Using External Clock orrein raer aara E ER EAE EAE ice rapito 30 MIDE Settings ili alii aaea e ea EE e EAEE vals cre 30 TO Settinigs E RAN 31 Input MIC a 33 INPuE IDE O tada 33 Mixer Strip CA atua alal O aia 34 Multichannel WAVE Files iii iria 35 Windows Media Player DVD Surround Sound Playback i 35 Insert Section iaia iaia 36 Working wth Inserts paoted irio T EEE EE E NEEE 36 The Insert Melisa 37 Using External Se
147. ts in series on a track both using PowerFX or E Wire you would set the number parameter to 2 on all other audio tracks Each trip down to PatchMix DSP and back to Cubase equals one unit E MU Digital Audio System 85 5 Effects E MU E Wire VST In practical use however you ll probably never need to use more than one E Wire VST on a single track since PowerFX effects can be placed in series We have included this feature just in case you need it Here s one more example of how to use the E Delay Compensator with different numbers of PowerFX E Wire sends on each track The delay compensation on each track must equal the track with the maximum number of PowerFX E Wire sends See the diagram below Insert PowerFX PowerFX PowerFX or E Wire or E Wire or E Wire Since track 1 uses two PowerFX E Wire inserts the delay of all the other tracks must equal two Track 2 has one PowerFX E Wire insert and so adding one unit of E Delay keeps it time aligned Track 3 doesn t use a PowerFX E Wire insert and so it needs two E Delay Units to remain in alignment Grouping Tracks When several tracks require E Delay Compensation you can send the output of each track to a group or bus and use a single E Delay Compensator on the output of the group or bus e E MU Digital Audio System and PatchMix DSP must be installed e E Wire is compatible with Cubase SX SL LE Cubase VST Wavelab and Cakewalk Sonar via DirectX VST adapter among o
148. tup Cubase LE 8 Launch Cubase LE 9 Instantiate E Wire VST in an Insert or Aux Send location within Cubase 10 Edit the E Wire plug in and activate the plug in by pressing the blue button 11 Set the ASIO Send and Return on the E Wire plug in to match the strip you set up for E Wire 12 Done E Delay Compensation An E Delay Compensator must be inserted into any other audio tracks that are not using E Wire in order to keep them time aligned 13 Simply insert an E Delay Compensator plug in into the same insert location you used for E Wire on any other audio tracks That s it E Delay Compensator As audio is transferred back and forth between the VST host application and the E MU sound hardware a delay in the audio stream is incurred Normally this delay is compen sated for automatically by the host application but not all VST host applications support this automatic compensation E DELAY UNITS Ec i A host will support PowerFX and E Wire s plug in delay compensation if it supports the SetInitialDelay feature of the VST 2 0 specification 84 Creative Professional 5 Effects E MU E Wire VST Currently automatic delay compensation is supported by the Steinberg 2 0 family Nuendo 2 x Cubase SX 2 0 Cubase LE 2 0 Magix Samplitude 7 x and Sonar using the Cakewalk VST adapter 4 4 1 but not by Steinberg Cubase VST 5 1 and Cubasis The E Delay Compensator utility plug in is used to manually compensate fo
149. type of room Some time after the early reflection cluster ends the actual Reverberation a dense cloud of complex wall reflections begins and decays according to the time set by the Decay Time parameter The Reverberance parameter controls the density and smearing of both the early reflections and the reverberation cloud High frequency energy tends to fade away first as a sound is dissipated in a room The High Frequency Decay Factor adjusts the time it takes for the high frequency energy to die away and thus changes the characteristics of the room Rooms with smooth hard surfaces are more reflective and have less high frequency damping Rooms filled with sound absorbing materials such as curtains or people have more high frequency damping The Low Frequency Decay Factor parameter adjusts the time it takes for the low frequencies to die away This control adjusts the boominess of the room Parameter Description Decay Time Sets the reverb decay time Range 0 to 100 HF Decay Factor Sets the rate at which high frequencies die away The high frequencies last longer as the percentage is increased Range 0 to 100 LF Decay Factor Sets the rate at which low frequencies die away The low frequencies last longer as the percentage is increased Range 0 to 100 Early Reflections Sets the volume of the initial wall reflections Range 0 to 100 Reverberance Sets the amount of scattering of the early reflections and
150. uctions on how to avoid getting the message please visit this website http support installshield com kb view asp articleid q108020 e Multiple Digital Audio System sound cards are not supported Please read the following sections as they apply to your system as you install the E MU 1010 paying special attention to the various warnings they include Prior to installing the hardware take a few moments to write down the 18 digit serial number which is located on the back of the box and on the 1010 PCI Card This number can help EMU Customer Service troubleshoot any problems you may encounter by writing the number down now you ll avoid having to open your computer to find it later on E MU Digital Audio System 2 Installation Setting Up the Digital Audio System Safety First W As you install To avoid possible permanent damage to your hardware make sure that all connec hardware components tions are made with the host computers power off Unplug the computers observe the following general precautions to avoid damage to your Take care to avoid static damage to any components of your system Internal equipment and yourself computer surfaces the E MU 1010 PCI board and the interfaces are susceptible to electrostatic discharge commonly known as static Electrostatic discharge can damage or destroy electronic devices Here are some procedures you can follow when handling electronic devices in order to minimize the
151. und channel chart 35 playback 35 Sync Daughter Card description 24 Sync Sample Rate Indicators 50 Synchronization ADAT example 100 source 30 System Settings 29 T T Connector word clock 99 Templates session 29 Termination word clock 99 Threshold compressor 66 Time Code MIDI 98 SMPTE background 95 SMPTE conversion 93 Toggle Tooltips 79 Toolbar overview 27 TRS Plugs amp Jacks 101 Turntable Inputs 22 Tutorial Getting in Sync 100 Making the Best Possible Recording 41 Setting up amp using E Wire 84 Setting up amp using PowerFX 79 Using External Sends amp Returns 38 TV Screen 47 48 Index U Unbalanced Cables 102 User Preset effect 58 v Vocal Morpher 77 Volume Control 33 W Wah Wah 64 WDM Recording amp Playback Behavior 91 Wet Dry Mix effects 57 Windows Media Player 34 Windows Media Player multichannel 35 Windows Taskbar E MU icon 27 Word Clock In Out 24 98 X XLR Connector 20 Z Zero Latency Monitoring 39 E MU Digital Audio System 119 Index Notes 120 Creative Professional
152. up the SMPTE window if Sync Card is installed About PatchMix DSP Right Click on the E MU logo to view the About PatchMix DSP screen which provides the software and firmware version numbers and other information E MU Digital Audio System 27 4 The PatchMix DSP Mixer The Session The Session The current state of the PatchMix DSP mixer fader settings effects routings every thing can be saved as a Session Whenever you create or modify a mixer setup all you have to do is Save it to be able to recall it at a later time Before you begin using PatchMix DSP you need to set it up to be compatible with the other software applications you may be running The most important consideration is your system sample rate PatchMix DSP and any applications or other digital gear you are using must be set to the same sample rate PatchMix DSP can run at 44 1k 48k 88 2k 96k 176 4k or 192k but its complete set of features are only available at 44 1kHz or 48kHz See Chapter 6 Using High Sample Rates for complete details Once the sample rate is set you can only easily switch between 44 1k and 48k You cannot switch between 44 48k and the higher rates of 88k 96k 176k 192k This is because the number of mixer inputs and outputs changes significantly at these high sample rates In the case of such drastic sample rate changes you must start a new session You can also set up an external sync source thereby obtainin
153. ut 1 L R Tip IL Ring IR 2 L R Tip 2L Ring 2R 3 UR Tip 3L Ring 3R 4 L R Tip 4L Ring 4R MIDI 2 In Out A second independent set of MIDI input and output ports which can be assigned in your specific MIDI application EDI Connector Card Connects to the AudioDock to the E MU 1010 PCI card using a CAT5 computer cable The cable supplied with the AudioDock is specially shielded to prevent unwanted RF emissions W Warning The AudioDock has been designed to use readily available and inexpensive standard computer system cables This makes it easy for you to find replacement cables if your original cable becomes damaged or lost However because these standard cables types are used for other purposes you must use caution to avoid connecting the cables incorrectly DO NOT connect the supplied EDI cable to the Ethernet or network connector on your computer Doing so may result in permanent damage to either your computer the E MU 1010 card or the AudioDock E MU Digital Audio System 23 3 PCI Card amp Interfaces The Sync Daughter Card The Sync Daughter Card The Sync Daughter card included in the E MU 1820M system and available as an option for other systems provides word clock in and out SMPTE LTC in and out and an additional MIDI output for transmitting MIDI Time Code MTC MIDI Time Code is a special rendering of SMPTE that can be transmitted over MIDI cables For additional information about SMPTE plea
154. xer Strip Creation Managing Your Inserts gt To Delete an Insert 1 Right Click over the Insert you wish to delete A yellow line around the insert Tip Select the Insert location indicates that it is selected A pop up dialog box appears and press the Delete key to delete the plug in from 2 Select Delete Insert to remove the selected insert or select Delete All Inserts to E the strip remove all inserts 3 The insert s are deleted from the insert chain gt To Bypass an Insert Inserts can be bypassed if you want to temporarily hear the audio without the effect or insert Bypass can also be used to turn off a Send Insert Method 1 1 Click on the Effect in the Insert section and select Effect in the TV display 2 Click the Bypass button Method 2 1 Right Click over the Effect you want to bypass in the Insert section A pop up dialog box appears 2 Select Bypass Insert from the list of options gt To Bypass All Inserts All Inserts in a strip can be also be bypassed with a single command 1 Right Click over the Effect you want to bypass in the Insert section A pop up dialog box appears 2 Select Bypass All Inserts from the list of options gt To Solo an Insert Inserts can also be soloed Solo bypasses all the other inserts in the strip and allows you to hear only the soloed effect This feature is very useful when adjusting the effect parameters Method 1 1 Clickon the Fffect
155. y or change dramatically i e abrupt sample rate change or unplugging of physical master source PatchMix DSP is tolerant to minor drifting within the supported rates of 44 1k 48k 88k 96k 176k and 192k but if the sample rate drifts out of this range the LOCKED LED will extinguish If the external clock source makes a radical sample rate change from the lower rates of 44 1k 48k to a higher rate or between any of the higher rates the hardware automati cally switches to internal 48kHz clock until the proper external clock is restored The LOCKED LED will be off and the two units are NOT synchronized Always check the LOCKED LED when using an external clock source amp The Wet Dry mix setting in the effect should normally be set to 100 when the effect is inserted as a sidechain effect This is because the Aux Return Amount will control the wet dry mix 50 Creative Professional 4 The PatchMix DSP Mixer Main Section Output Section Clip Indicators Main Output Level Fader Sync Sample Rate Indicators Main Insert Section Monitor Mute Monitor Balance Output Level Monitor Meters Volume Main Inserts The main inserts allow you to apply effects to the main stereo signal coming out of the mixer both mains and monitor You might want to apply EQ or a compressor here These inserts work just like the other insert locations just drag and drop effects from the palette or right
156. y used digital audio formats Both these digital formats carry an embedded word clock which can be used to synchronize the digital equipment You must enable External Clock on the slave device to have clock sync The diagrams below show two ways to synchronize an external A D D A converter to the E MU Digital Audio System using the ADAT lightpipe connection In the first example only the A D converters on the external device are being used Only one lightpipe is needed as long as PatchMix is set to receive its word clock signal from the external device The external A D is the Master and the E MU DAS is the Slave External Device supplies Master Clock via ADAT The lightpipe carries eight channels of audio data and an embedded clock ADAT Out Master External A D D A Converter Set PatchMix DSP to receive External ADAT Sync PatchMix DSP supplies Master Clock via ADAT This lightpipe carries eight channels of audio data Set External Device to receive ADAT Out External ADAT Sync External A D D A Converter This lightpipe carries an embedded clock signal Master amp eight channels of audio In the second example a second lightpipe is used to supply embedded word clock as well as eight channels of audio to the external A D D A The external device MUST be set to receive external clock via ADAT or the units will not be synchronized The E MU Digital Audio System is the Master a
157. you don t want the submix to be combined into the main mix Aux Send and Return values can also be changed by typing directly into the displays Input Sidechain Diagram Post Fader Aux Sends Pan Fader Mute Aux Bus 2 Main Monitor Bus Output Other Uses of the Aux Sends You can think of the Aux Sends as two extra mixing buses because that s exactly what they are These two mixes can be routed anywhere such as to a physical output or an ASIO pair You could route one of the Aux buses to the Monitor out to create a monitor mix while sending the main mix off to your audio recording software 44 Creative Professional Pre or Post Fader Aux Sends When you create a New Mixer Strip you have the option to place both Aux Sends after the channel volume fader and mute control or you can place them before the fader and mute Post Fader turns down the send level as you lower the volume of the strip With Pre Fader selected you may still hear the effected signal returning from one of the Aux Buses with the volume fader turned down With the Pre Fader box selected the Aux Send levels are completely unaffected by the Level Fader and Mute settings The Pre Fader setting allows you to create two completely different mixes using the Aux Buses since the signal levels of this mix won t be affected by the fader settings Input Pre Fader Aux Send Volume Fader amp Mute does NOT affect Send Levels Pan Send Amount Retur
158. z Select from ADAT S PDIF or Word Clock Sync card only as an external sample clock source Sample Rate External Clock Source ext clock only Using External Clock Whenever you are using any digital I O such as ADAT or S PDIF one of the digital devices MUST supply the master clock to the others This master clock runs at the system sample rate 44 1k 48k 88 2k 96k 176 4k or 192 k and can be distributed using a dedicated cable word clock or embedded into a data stream such as S PDIF or ADAT Common symptoms of unsynced digital audio include random clicks or pops in the audio or failure of the digital stream to be recognized Always check for the presence of the LOCKED indicator whenever you are using a digital interface If an External Clock is interrupted or switched after the Session has been created except between 44 1k lt gt 48k the LOCKED indicator will be extinguished and PatchMix will attempt to receive the external data The two units are NOT sample locked however and you should correct this condition to avoid intermittent clicks in the audio MIDI Settings Session Settings ee System MIDI LO MIDI Input 2 Dock MIDI 2 In 0 Sync Card Enabled Y OK This option allows you to use either the MIDI In jack on the rear of the AudioDock or the Sync Card MIDI jack as a MTC Output The MTC Out only transmits MTC Dock MIDI 2 In Sync Card Enab

Download Pdf Manuals

Related Search

Related Contents

Stûv 30-compact in Installation Gebrauchsanweisung  MANUEL D`UTILISATION ICEPEAK 6  2013夏・新商品導入マニュアル  USER GUIDE - AstralPool    Avaya BCM50e Configuration manual  Manual de Instruções Stille  encendido e inyeccion secuencial multipunto tomo 3 de 3  L237E  Optimus 120-1725 User's Manual  

Copyright © All rights reserved. Failed to retrieve file