Manuale E-MU 1820 1.81 (EN)

Digital Audio System
Owner's Manual
Creative Professional
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
Table of Contents
1- Introduction ................................................................. 7
Welcome!.............................................................................................................................. 7 All Systems Include: ......................................................................................................... 7 E-MU 1212M System ....................................................................................................... 8 E-MU 1820 System .......................................................................................................... 8 E-MU 1820M System ....................................................................................................... 8 Notes, Tips and Warnings ............................................................................................ 8
2 - Installation .................................................................. 9
Setting Up the Digital Audio System .................................................................................. 9 Notes for Installation ................................................................................................... 9 Safety First! ................................................................................................................. 10 Connector Types ............................................................................................................ 10 Installing the E-MU 1010 PCI Card .................................................................................. 11 Install the Sync Daughter Card or 0202 Daughter Card.................................................. 12 E-MU 0202 & AudioDock .......................................................................................... 13 Rubber Feet ................................................................................................................. 14 Rack Mounting the AudioDock ..................................................................................... 14 Software Installation .......................................................................................................... 15 Installing the E-MU 1010 Drivers ............................................................................. 15 Windows 2000 or Windows XP ................................................................................ 15 Uninstalling all Audio Drivers and Applications ..................................................... 15 Note About Windows Logo Testing .......................................................................... 15
3 - PCI Card & Interfaces ................................................. 17

The E-MU 1010 PCI Card .................................................................................................. 17 Connections ................................................................................................................... 17 EDI Connector ............................................................................................................ 17 S/PDIF Digital Audio Input & Output ...................................................................... 17 ADAT Optical Digital Input & Output ...................................................................... 17 IEEE1394 Firewire ...................................................................................................... 18 The 0202 Daughter Card ................................................................................................... 18 Connections ................................................................................................................... 18 Analog Inputs and Outputs ....................................................................................... 18 MIDI In/Out ............................................................................................................... 18 The AudioDock .................................................................................................................. 19 Front Panel Connections ............................................................................................... 20 Preamp Section ........................................................................................................... 20 MIDI 1 In/Out ............................................................................................................ 20 S/PDIF Optical Out .................................................................................................... 20 Headphone Output & Volume Control .................................................................... 20
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The AudioDock Front Panel Indicators ........................................................................ 21 The MIDI Input Indicators ......................................................................................... 21 The Clock Source and Sample Rate Indicators ......................................................... 21 The Clock Source LEDs .............................................................................................. 21 The Sample Rate Indicators ....................................................................................... 21 Rear Panel Connections ................................................................................................. 22 Line Level Analog Inputs ........................................................................................... 22 Turntable Inputs & Ground Lug ................................................................................ 22 Line Level Analog Outputs ........................................................................................ 22 Computer Speaker Analog Outputs .......................................................................... 23 MIDI 2 In/Out ............................................................................................................ 23 EDI Connector (Card) ............................................................................................... 23 The Sync Daughter Card .................................................................................................... 24 Connections ................................................................................................................... 24
4 - The PatchMix DSP Mixer ............................................. 25

PatchMix DSP..................................................................................................................... 25 Overview of the Mixer........................................................................................................ 25 Mixer Window ................................................................................................................ 26 Mixer Block Diagram ..................................................................................................... 26 Pre Fader or Post Fader .............................................................................................. 26 E-MU Icon in the Windows Taskbar ................................................................................. 27 The Toolbar ........................................................................................................................ 27 The Session ......................................................................................................................... 28 New Session .................................................................................................................... 28 Open Session .................................................................................................................. 29 Save Session .................................................................................................................... 29 Session Settings .............................................................................................................. 29 System Settings ........................................................................................................... 29 Using External Clock .................................................................................................. 30 MIDI Settings .............................................................................................................. 30 I/O Settings ................................................................................................................. 31 Input Mixer Strips............................................................................................................... 33 Input Type ................................................................................................................... 33 Mixer Strip Creation........................................................................................................... 34 Multichannel WAVE Files .............................................................................................. 35 Windows Media Player/DVD/Surround Sound Playback ....................................... 35 Insert Section .................................................................................................................. 36 Working with Inserts .................................................................................................. 36 The Insert Menu ......................................................................................................... 37 Using External Sends & Returns ................................................................................ 38 ASIO Direct Monitor Send/Return ............................................................................ 39 Meter Inserts ............................................................................................................... 40 To Set the Input Levels of a Strip ................................................................................... 40 Making the Best Possible Recording ......................................................................... 41 Trim Pot Insert ............................................................................................................ 42 Test Tone/Signal Generator Insert ............................................................................. 42 Managing Your Inserts ................................................................................................... 43 Aux Section ..................................................................................................................... 44 Sidechain Diagram ..................................................................................................... 44 Pre or Post Fader Aux Sends ...................................................................................... 45 Level, Pan, Solo & Mute Controls ................................................................................. 46 Main Section....................................................................................................................... 47 TV Screen & Selectors ..................................................................................................... 48
4 E-MU Digital Audio System
Effect ........................................................................................................................... 48 Input ........................................................................................................................... 49 Output ........................................................................................................................ 49 Auxiliary Effects & Returns ............................................................................................ 50 Sidechain Diagram ..................................................................................................... 50 Sync/Sample Rate Indicators ......................................................................................... 50 Output Section ............................................................................................................... 51 Main Inserts ................................................................................................................ 51 Main Output Fader ..................................................................................................... 51 Output Level Meters ................................................................................................... 51 Monitor Output Level ................................................................................................ 51 Monitor Balance Control ........................................................................................... 51 Monitor Output Mute ................................................................................................ 51
5 - Effects ....................................................................... 53
Overview............................................................................................................................. 53 The Effects Palette............................................................................................................... 53 FX Insert Chains ............................................................................................................. 54 Creating, Renaming & Deleting Categories or Presets ............................................. 55 Importing and Exporting Core FX Presets and FX Insert Chains ............................. 56 FX Edit Screen..................................................................................................................... 57 User Preset Section ......................................................................................................... 58 Core Effects and Effects Presets ..................................................................................... 59 List of Core Effects.............................................................................................................. 60 DSP Resource Usage ....................................................................................................... 60 Core Effects Descriptions................................................................................................... 61 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 Basic Controls ............................................................................................................. 66 Distortion ....................................................................................................................... 67 Flanger ............................................................................................................................ 68 Freq Shifter ..................................................................................................................... 69 Leveling Amp .................................................................................................................. 70 Lite Reverb ...................................................................................................................... 71 Mono Delays - 100, 250, 500, 750, 1500, 3000 .......................................................... 72 Phase Shifter ................................................................................................................... 73 Rotary .............................................................................................................................. 73 Speaker Simulator .......................................................................................................... 74 Stereo Delays - 100, 250, 500, 750, 1500 .................................................................... 75 Vocal Morpher ................................................................................................................ 77 E-MU PowerFX ................................................................................................................... 78 Automating E-MU PowerFX .......................................................................................... 80 E-MU PowerFX Resource Availability ........................................................................... 80 Rendering Audio with E-MU PowerFX ............................................................................. 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 ............................................... 82 E-MU E-Wire VST ............................................................................................................... 83 E-Delay Compensator .................................................................................................... 84
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E-Delay Compensator Use ......................................................................................... 85 E-Delay Units Parameter ............................................................................................ 85 Grouping Tracks ......................................................................................................... 86
6 - Using High Sample Rates ........................................... 87

Overview............................................................................................................................. 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 & 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 & I/O Card) ............................. 89 WDM Recording and Playback Behavior ...................................................................... 91
7 - Appendix ................................................................... 93
Sync Daughter Card Supplement ...................................................................................... 93 SMPTE Conversion ........................................................................................................ 93 SMPTE Features .......................................................................................................... 93 SMPTE Options .............................................................................................................. 93 SMPTE Modes of Operation .......................................................................................... 94 Host Mode .................................................................................................................. 94 External Mode ............................................................................................................ 94 Flywheel Mode ........................................................................................................... 94 Flywheel Modes .......................................................................................................... 94 Stripe Mode ................................................................................................................ 95 SMPTE Background............................................................................................................ 95 Types of SMPTE .......................................................................................................... 95 Why use SMPTE? ............................................................................................................ 96 Striping SMPTE ............................................................................................................... 96 Avoiding SMPTE problems ............................................................................................ 96 Duplicating SMPTE time code ................................................................................... 97 Other Tips for using SMPTE ...................................................................................... 97 Example SMPTE Connection ......................................................................................... 97 MIDI Time Code (MTC) .................................................................................................... 98 Word Clock In/Out ............................................................................................................ 98 Getting in Sync ................................................................................................................. 100 Useful Information .......................................................................................................... 101 AES/EBU to S/PDIF Cable Adapter ............................................................................. 101 Cables - balanced or unbalanced? .............................................................................. 101 Balanced Cables ....................................................................................................... 101 Unbalanced Cables .................................................................................................. 102 Digital Cables ............................................................................................................... 102 Grounding .................................................................................................................... 102 Phantom Power ............................................................................................................ 102 Appearance Settings in Windows ............................................................................ 102 Technical Specifications................................................................................................... 103 Internet References........................................................................................................... 111 Forums ...................................................................................................................... 111 Note concerning the Microsoft GS Wavetable Software Synth ................................. 111
Index ............................................................................ 115
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. Weve 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 unprecedented 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 Card 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
Inputs & Outputs
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
Inputs & Outputs
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 & 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 & 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 & 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 & 3 MIDI Outs (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 (1) Word Clock In & Out (1) SMPTE (LTC) In & 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 computers CPU. The Firewire port provides high-speed connectivity 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 exibility in routing your audio between physical inputs and
E-MU Digital Audio System 7
1- Introduction Welcome!
outputs, virtual (ASIO/WAVE) inputs and outputs and internal hardware effects and busesno 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 saved and instantly recalled for specic 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, professionalquality, 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/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. Youll want to keep up with the latest software and options for your E-MU digital audio system. You can nd 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. f 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. Warnings are especially important, since they help you avoid activities that can cause damage to your les, your computer or yourself.
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. Remove any other sound cards you have in your computer. (Once you are sure that
the E-MU card works properly, your old sound card can be reinstalled if desired.)
2. Install the E-MU 1010 PCI card in your computer. Go there. 3. Install the 0202 Daughter Card or Sync Daughter Card (if applicable). Go there. 4. Connect the AudioDock (if applicable). 5. Install the PatchMix DSP software onto your computer. 6. Connect audio, MIDI and synchronization cables between the E-MU system and
your other gear.
Notes for Installation

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. 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 conrmed 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 instructions on how to avoid getting the message, please visit this website: http://support.installshield.com/kb/view.asp?articleid=q108020 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 encounterby writing the number down now, youll avoid having to open your computer to nd it later on.
2 - Installation Setting Up the Digital Audio System
Safety First!
To avoid possible permanent damage to your hardware, make sure that all connections are made with the host computers power off. Unplug the computers power cable to make sure that the computer is not in sleep mode. Take care to avoid static damage to any components of your system. Internal 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 possibility of causing electrostatic damage: Avoid any unnecessary movement, such as scufng 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 youll be connecting the cable in order to discharge any static build-up.
As you install hardware components, observe the following general precautions to avoid damage to your equipment and yourself.
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 rst column of the following chart:
Name Description Connects
Card/External S/PDIF In S/PDIF Out ADAT Optical In 1394
CAT5 Connector RCA Connector RCA Connector
1010 PCI card and AudioDock S/PDIF digital audio devices S/PDIF digital audio devices
TOSLINK Optical Connector ADAT digital audio devices (or S/PDIF) Firewire Connector Interfaces to Firewire peripherals
ADAT Optical Out TOSLINK Optical Connector ADAT digital audio devices (or S/PDIF)
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 nd 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.
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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. 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 manufacturers recommended procedure for opening the case. 4. Remove the metal brackets from two adjacent PCI slots. If you have the E-MU 1820
E Note: Some computer cases dont use screws to secure PCI cards. In this case, follow the instructions that came with your computer.
system (non-M) you only need to remove the bracket from a single PCI slot. Put the screw(s) aside for use later. See gure 1 below.
Figure 1 Figure 2
PC I Sl s ot
5. Align the E-MU 1010 PCI card with the slot and press gently but rmly down into
the slot as shown in gure 2.

6. Do not force the E-MU 1010 card into the slot. Make sure that the gold nger
connector of the card is aligned with the PCI bus connector on the motherboard before you insert the card into the PCI slot. If it doesnt t properly, gently remove it and try again.
7. Secure the card into the slot using one of the screws you placed aside earlier.
s t ot sen ) Sl pre ter A be pu IS not com r ay ou (m n y o

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2 - Installation Install the Sync Daughter Card or 0202 Daughter Card
Install the Sync Daughter Card or 0202 Daughter Card

E-MU 1820M - If youre planning to use Word Clock. MIDI Time Code or SMPTE sync, unwrap the Sync Daughter Card and get ready to install it. If you dont need these options or dont have an empty PCI slot, you can skip these next few steps. E-MU 0202M - Unwrap the 0202 Daughter Card and get ready to install it.
1. Connect the ribbon cable provided with the kit between the E-MU 1010 card and
the 0202 Daughter card or Sync Daughter Card as shown in gures 3 & 4. The cables are keyed so they cannot be incorrectly inserted. Seat the connectors rmly in the sockets and arrange the cables neatly.
2. Align the Sync Daughter Card or the 0202 Daughter Card with the slot and press
gently but rmly down into the slot as shown in gure 2 on the preceding page.
3. 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 doesnt t properly, gently remove it and try again.
4. Secure the card into the slot using one of the screws you placed aside earlier.
Figure 3
Figure 4
Sync Daughter Card
0202 Daughter Card
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E-MU 0202 & 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
male connector (the one with pins on it). Plug this connector into a spare disk drive power cable in your computer. If there is no spare disk drive power cable, insert the Adapter Cable between one of your disk drives and the power supply.
Power Converter Cable

To Power Supply To Disk Drive
The AudioDock requires 1.1 Amps at 12V (13 Watts) to operate. The AudioDockM requires 1.25 Amps at 12V (15 Watts) to operate.
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 PCI card labeled EXTERNAL to the matching connector labeled Card on the AudioDock. The cable supplied with the AudioDock is specially shielded to prevent unwanted RF emissions.
9. Plug the power cord back into the wall outlet and turn on your computer.
CAUTION: Do not connect the supplied CAT5 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 or both.
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Rubber Feet
Four rubber feet were included with the AudioDock. These feet should be used if youre not going to rack mount the AudioDock. If you 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 the bottom plate.
Rubber Foot Rubber Foot
Rack-shelf mount
Rack-shelf mount
Rack-shelf mount
Rack-shelf mount
Rubber Foot
Rubber 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 t 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.
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2 - Installation Software Installation
Software Installation
Installing the E-MU 1010 Drivers
The rst 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.
E 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.
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 automatically. If not, from your Windows desktop, click Start->Run and type d:\setup.exe (replace d:\ with the drive letter of your CD-ROM drive). You can also open the CD and 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 applications and device drivers to correct problems, change congurations, 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 -> Settings -> Control Panel. 2. Double-click the Add/Remove Programs icon. 3. Click the Install/Uninstall tab (or Change or Remove Programs button). 4. Select the E-MU driver/application entries and then click the Add/Remove (or
Change/Remove) button.
5. 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 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.
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2 - Installation Software Installation
16
3 - PCI Card & Interfaces The E-MU 1010 PCI Card
3 - PCI Card & Interfaces

The E-MU 1010 PCI Card
The E-MU 1010 PCI card is the heart of the system and contains E-MUs 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
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.
EXTERNAL
Connects to Audio Dock via EDI Cable S/PDIF In/Out
S/PDIF Digital Audio Input & 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 congured in either Professional 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 or S/PDIF Optical In/Out Firewire
ADAT Optical Digital Input & Output

The ADAT optical connectors transmit and receive 8 channels of 24-bit audio using the ADAT type 1 & 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 ber light 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 information.
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.
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3 - PCI Card & Interfaces The 0202 Daughter Card
Sample Rate 44kHz/48kHz 88.2kHz/96kHz 176.4kHz/192kHz
Number of Audio Channels 8 channels of 24-bit audio 4 channels of 24-bit audio, using S/MUX standard 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 specication, supporting asynchronous and isochronous data transfers at 100, 200 or 400 Mbit/s with multiple DMA channels.
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.
The 0202 Daughter Card

The 0202 Daughter card is the companion card for E-MU 1010 systems which dont include the AudioDock. The 0202 Daughter 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 outputs. The inputs can be connected to any line level stereo signal from keyboards, CD-players, cassette 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 mixing board, the auxiliary input on your stereo or a set of powered speakers. The line outputs are not 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. Either TRS (tip-ring-sleeve) 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.
Left / Right Line Inputs
Left / Right Line Outputs
MIDI In/Out
MIDI In/Out
The MIDI input and output port can be assigned in your specic MIDI application. Connect the MIDI adapter cable that came with your 0202 Daughter card to the miniDIN connectors on the card. The adapter cables convert the mini-DIN to standard DIN connectors used on most keyboards 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.
18 Creative Professional
3 - PCI Card & Interfaces The AudioDock
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 congured as follows:
(2) (3) (1) mono microphone/line inputs stereo pairs of line level inputs (6 inputs) 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 & 3R since the A/D converters are shared between the turntable inputs. MIDI input ports 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.
f The AudioDock is completely hot pluggable Its OK to plug or unplug the AudioDock while the computer is turned on.
(2)
The outputs are congured as:

(4) (1) (1) (4) stereo pairs of line level outputs stereo pair driving a stereo headphone jack (the provided cable allows 2 stereo outputs) optical S/PDIF output (stereo). 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
(2)
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Front Panel Connections

Insert 1/4" Plug for Line Level
-10dB to +25dB Gain
A Line Mic
Clip -12 dB
Signal/Clip Indicators
B Line Mic
Phantom Power On/Off
S/PDIF Optical Out

MIDI 1
LED Indicators
CLOCK LCK 44.1 EXT 48 96 192 SMPTE IN OUT
Clip -12 dB
48V
MIDI 1 S/PDIF
Line Mic -
-10 dB +20 dB
+25 dB +55 dB
-10 dB +20 dB
+25 dB +55 dB
In
Out
Out
Insert XLR Plug for Mic Level

+20dB to +55dB Gain
Input Gain Controls
MIDI #1 I/O Jacks
Headphone Output
Headphone Volume
Preamp Section
The front panel mono Mic/Line inputs A & B can be used as balanced 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 = 0dBFS output). A phantom power switch enables +48 volt phantom power supplied to both microphones. 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 ash.
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. Warning: Some microphones cannot tolerate phantom power and may be damaged. Check the microphones specications and requirements before using phantom power.
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 PatchMix 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 & Volume Control

The headphone output drives standard stereo headphones and the adjacent volume control sets the listening level. The headphone amplier can drive headphones with impedance as low as 24 ohms. The headphone output uses a high-current version of the high-quality output ampliers 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.
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f Tip: Since the headphone output can be placed into any insert location, you can use it to monitor or troubleshoot the signal ow.
The AudioDock Front Panel Indicators

MIDI 1 2 CLOCK LCK 44.1 EXT 48 96 192 SMPTE IN OUT
The MIDI Input Indicators

These two indicators, labelled 1 & 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 reect the current settings in the Session Settings Window. See System Settings. If the 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 LCK EXT Clock Source Lock - Indicates that the internal or external clock is locked and valid. 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 icker 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 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.
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Rear Panel Connections

6 Balanced Line Level Inputs
(configured as 3 stereo pairs) (tied to line input 3)
Turntable Inputs Turntable Ground

3L Phono 3R Gnd
Alternate Outputs (same as outputs 1-4)
1L
1R
2L
2R
3L
3R
1 L/ R
2 L/ R
3 L/R
4 L/R
Out
In
Monitor
Card
Out
1L 1R 2L 2R 3L 3R 4L 4R In MIDI 2 Out
6 Balanced Line Level Outputs

(configured as 3 stereo pairs)
Monitor Outputs
MIDI Port 2 In/Out
Connect to E-MU 1010 Card
Line Level Analog Inputs

Six balanced 24-bit, line-level, analog 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 & 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.
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.
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 anti-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.
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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 1 L/R 2 L/R 3 L/R 4 L/R Duplicates Line Level Output Tip = 1L Tip = 2L Tip = 3L Tip = 4L Ring = 1R Ring = 2R Ring = 3R Ring = 4R
MIDI 2 In/Out
A second, independent set of MIDI input and output ports which can be assigned in your specic 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.
Warning: The AudioDock has been designed to use readily available and inexpensive standard computer system cables. This makes it easy for you to nd 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.
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3 - PCI Card & 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, please 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 running 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. 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.
In Word Clock Out
In SMPTE Out
MTC Out
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 send/return routing, main mix and monitor control and allows you to store and recall these Sessions at will.
1. Left-click once on the E-MU icon
To Invoke the PatchMix DSP Mixer on the Windows System Tray. The PatchMix DSP mixer window appears.
Overview of the Mixer

Physical Input Strips Add New Strip ASIO Input Strip Toolbar
f Click on the buttons and knobs in the mixer screen below to jump to the description of the control.
Display Select Buttons
Delete Strip
Channel Insert Section
TV Screen
Pan Controls Aux Sends Aux Effects Section
Volume Fader
Sync/ Sample Rate Indicators
Solo/Mute Buttons Monitor Volume/Balance /Mute Controls WAVE Strip

Controls Windows Source Audio (Direct Sound, Windows Media, etc.)
User Denable Scribble Strip
Main Inserts
Current Session Name
Main Mix Output Volume & Meters 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 external clock. 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. 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.
Mixer Strips
Effects Palette
A simplied diagram of the mixer is shown below.
Input
Post-Fader Strip
Input
Pre-Fader Strip
Mixer Block Diagram
Insert Chain
Panning
Insert Chain
Fader
MUTE
Meter
Aux 1 Send Amount
Aux 1
Aux Bus 1
Aux Effects
Insert Chain
Return Amount
Aux 2
Aux Bus 2
Aux 2
Send Amount
Return Amount
Monitor Out MUTE

Main Bus Effects
Insert Chain
Fader
MUTE
Insert Chain
Monitor Level Main Level
Main Bus
Main Out
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.
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-Click Here
Opens the PatchMix DSP Mixer. Calls the PatchMix DSP help system. Disables the splash screen that appears at boot-up. When unchecked, FX are not loaded until needed, resulting in faster computer boot. Restores the default PatchMix DSP and driver settings. Closes the PatchMix DSP background program, disabling use of all audio I/O from the E-MU hardware. Open the PatchMix DSP application to start audio again.
f Restore Defaults: Always try this option rst if PatchMix is crashing or if you are having any other strange audio problems.
The Toolbar
New Session Save Session About PatchMix DSP Session Settings
f Click the buttons in the toolbar to learn about their function.
Open Session
Sync Settings
Show/Hide Effects
Global Prefs
New Session Open Session
Calls up the New Session dialog box. New Session.

Calls up the standard Open dialog box, allowing you to open a saved Session. Calls up the standard Save or Save As dialog boxes, allowing you to save the current Session. Toggle button that shows or hides the FX palette. Calls up the Sessions Settings window. Session Settings. Calls up the Global Preferences window. Calls up the SMPTE window. (if Sync Card is installed)
Save Session
Show/Hide Effects Session Settings Global Preferences Sync Settings
About PatchMix DSP Right-Click on the E-MU logo to view the About PatchMix DSP screen, which provides the software and rmware version numbers and other information.
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4 - The PatchMix DSP Mixer The Session
The Session
The current state of the PatchMix DSP mixer (fader settings, effects routingseverything!) 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 signicantly 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 obtaining the sample rate from some other device or application. External sync can be obtained from the ADAT input, S/PDIF input or the Sync Daughter Card word clock. If the session is set at 44.1kHz or 48kHz and the external source is coming in at 96kHz (for example), the Sync Indicator 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 congurable. This allows you to create only those strips you need up to a maximum number determined by available DSP resources and available inputs.
Important: When using any form of digital input, you MUST synchronize the Digital Audio System to the external digital device (S/PDIF/ADAT) or synchronize all devices using Word Clock.
New Session
You create a new session by clicking the New Session button in the PatchMix DSP main Toolbar. The following dialog box appears.
Select a Template or new Session at the desired sample rate
Session Description
Add your own comment or note about the Session Check this if you want to edit the New Session.
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You can now select one of the factory template sessions. The factory templates are preprogrammed with specic 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 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 you to choose a location in which to save the current Session. The My Sessions folder is chosen by default. Get in the habit of saving the session whenever you have created a special mixer setup. This will make you life much easier as you can recall a setup for many different audio modes such as: recording, mixing, special ASIO routings, etc.
f Saving a session defragments the effect/ DSP resources. If you have used all your effects and need another, try saving the session.
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.
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The System Settings include the following:

Internal/External Clock Sample Rate Selects between internal or external word clock source as the master clock source for the system Selects the sample rate when using internal clock. Your choices are: 44.1kHz, 48kHz, 88.2 kHz, 96kHz, 176.4kHz, 192kHz. Select from: ADAT, S/PDIF , or Word Clock (Sync card only) as an external sample clock source.
E Note: if set to External without an external clock present, PatchMix DSP defaults to the internal 48kHz clock 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 <-> 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.
E Note: The maximum supported sample rate for S/PDIF is 96kHz.
MIDI Settings
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 Enabled 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.
E 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. Creative Professional
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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 & +4dBu Signal Levels Consumer

(unbalanced)
Professional
(balanced)
+20 dBu
Clipping -->
Headroom
+ 6 dBV = +8 dBu + 2 dBV = +4 dBu -10 dBV = -8 dBu
<-- Clipping
Headroom
0 dBV = 1V RMS
0dBu = .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 rst 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.
f Input too weak? Use -10 Input setting.
Output too weak? Use +4 Output setting
Input Level Settings
Output Level Settings
E-MU 1010 Optical Input Select
E-MU 1010 Optical Output Select S/PDIF Output Format Select
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Inputs +4 or -10
Selects between Consumer level (-10dBV) or Professional level (+4dBu) inputs. (Use the -10dBV setting if your input is too weak.) Selects between Consumer level (-10dBV) or Professional level (+4dBu) outputs. (The +4 dBu setting outputs a hotter level.) 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. Selects between ADAT or optical S/PDIF for the 1010 PCI card ADAT Output. The coaxial S/PDIF Output is disabled when S/PDIF optical is selected. 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.
Outputs +4 or -10
PCI Card Optical Input
PCI Card Optical Output
S/PDIF Optical Format
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4 - The PatchMix DSP Mixer Input Mixer Strips
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.
Insert Section Pan Controls Aux Sends Effects, EQ, External/Host Sends & Returns can be inserted into the signal path. These controls position the signal in the stereo sound eld. Used to send the signal to sidechain effects or to create separate mixes.
Volume Control Controls the output level of the channel.
Mono/Stereo
Input Type
The very top of the strip is labeled mono or stereo and displays the type of the assigned input. Input mixer strips can be added as desired and can be congured to input the following:
Physical input (Analog/SPDIF/ADAT). Host Input (Direct Sound, WAV, ASIO source)
f The Input Type will turn RED if the input is not available. (The AudioDock may be disconnected.)
Input Type
f Physical input strips are shown with BLUE text. f Host input strips are shown with WHITE text.
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 Signal can also be inserted by Rightclicking.
Pan Controls
Pan Controls
Aux Sends
These controls allow to you position the channel in the stereo sound eld. Dual controls on stereo strips allow you to position each side independently.
Channel Volume Control
Aux Sends
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 Buttons
Volume Control
Controls the output level of the strip into the main/monitor mix bus.
Scribble Strip
Mute/Solo Buttons
These convenient buttons allow you to solo or mute selected channels.
This screen shows a mono strip on the left and a stereo strip on the right.
Scribble Strips
Click inside the scribble strip and type a name of up to eight characters.
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4 - The PatchMix DSP Mixer Mixer Strip Creation
Mixer Strip Creation

PatchMix DSP is a dynamically congurable 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:
f 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.
3. Select the desired input to the mixer strip from the following choices: Physical Source: Host - ASIO Source input Host - WAVE input Analog or digital input (Analog, ADAT, S/PDIF) Streaming audio from an ASIO software application. Window sound sources WAVE, WDM, CD
f CDs & MP3s: The WAVE 1/2 strip is used to playback CDs, Windows Media Player, and Direct Sound.
Mixer Strip Type Physical: I/O Card In Physical: Dock Mic/Line Physical: Dock In Physical: PCI Card S/ PDIF Physical: PCI Card ADAT HOST SOURCE
Function 24-bit monophonic analog input from the 0202 Daughter Card. 24-bit monophonic analog input from the AudioDock. 24-bit stereo analog input from the AudioDock. 2 channel digital audio from the S/PDIF input on the E-MU 1010 card. 2 channel digital audio from the ADAT input on the E-MU 1010 card Function
Host ASIO Output 2 channel digital audio from an ASIO source (software app). Source ASIO: 1/2, 3/4, 5/6, 7/8, 9/10, 11/12, 13/14 31/32 From software application 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
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4 - The PatchMix DSP Mixer Mixer Strip Creation 4. Select Pre-Fader Aux Sends or leave the box unchecked for Post-Fader Aux Sends. 5. Click OK to create a new strip or Cancel to cancel the operation.
f See Pre or Post Fader Aux Sends on page 45.
To Delete a Mixer Strip:

1. Click the 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: Classic MME DirectSound 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 protected 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 E-DSP WAVE 1/2 E-DSP WAVE 3/4 E-DSP WAVE 5/6 E-DSP WAVE 7/8 Surround Channels Front Left / Front Right Center / Subwoofer Rear Left / Rear Right Side Left / Side Right 1/4 Outputs 1L = FL 1R = FR 3L = C 3R = Sub 2L = RL 2R = RR 4L =SL 4R = SR 1/8 Outputs 1 (Tip = FL Ring = FR) 3 (Tip = C Ring = Sub) 2 (Tip = RL Ring = RR) 4 (Tip = SL Ring = SR)
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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 can be dropped into the insert section to route the signal anywhere you want. The Insert/Patch Bay is incredibly exible. 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. Thats it! That input is now available in your ASIO software. The following types of inserts can be selected.
Hardware Effect Host ASIO Send ASIO Direct Monitor Ext. Send/Return External Send Peak Meter Trim Pot Reverb, EQ, Compressor, Flanger, etc. using PatchMix DSPs effects which do not load your CPU. Splits off the signal and sends it to an ASIO host input such as a software audio recorder or anything that uses ASIO. 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 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 meters allow you to monitor the signal level anywhere in the chain. See Meter Inserts. 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. This special insert outputs a calibrated sine wave or noise source, which can be used to track down audio problems. See Test Tone/Signal Generator Insert.
f You have to create an ASIO strip or ASIO Send in order to activate these ASIO channels in your software.
Test Tone
Working with Inserts

The Inserts are one of most powerful features of the PatchMix DSP system as they allow you to congure 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.
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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.
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 application, 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
To ASIO, WAV or Physical Output
Panning Fader Aux 1 Bus Aux 2 Bus
Insert Send
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.
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.

4 - The PatchMix DSP Mixer Mixer Strip Creation 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.
Input
Insert Send/Return Panning Fader Aux 1 Bus Aux 2 Bus
To Physical Output From Physical Input
Main Output Bus
3. Choose 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 & 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.
Outboard Signal Processor

S/PDIF Input
S/PDIF Output
The Send/Return Inserts allow you to connect your favorite external analog or digital gear.
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. 3. Connect your external audio gear to the appropriate analog or digital connectors. 4. If youre 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 youre getting a strong signal back from the external device.
5. If youre using a digital Send/Return, make sure that the external digital device is
synchronized to the digital input. Otherwise, poor audio quality will result. (Alternatively, you can synchronize PatchMix DSP to your external device in the System Session Settings. See page 30.)
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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
Direct Mon
Input
Recording Software
Direct Mon
Recording Software
Recording
Playback
The Direct Monitor Send/Return also allows the recording application to control volume and pan. Normally when using direct monitor recording youll 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 0dB. 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
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.
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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 dont 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 the 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 E Red E Yellow E Green Indicates Indicates signal clipping. Good strong signal level. 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.
Level
70 60 50 40 30 20 10
--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. Theyre also great for troubleshooting, since you can place them virtually anywhere in the mixer. 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

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
the signal level.

4. Adjust the output level of the external device (synthesizer, instrument, preamp, etc.)
f Input too weak? Use -10 Input setting.
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. If the clip indicator ever comes on, reduce the signal level.
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Output too weak? Use +4 Output setting
4 - The PatchMix DSP Mixer Mixer Strip Creation 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 the signal level you feed into the A-D converters. If the analog input level is set too low, you lose resolutionif 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 ne tune the level further. In order to supply the correct input level, youll 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 of your 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 0dBFS (FS = Full Scale) and will hard clip if the signal exceeds 0dB. Hard clipping sounds bad and will ruin your recording. Hard clipping occurs because at 0dBFS, 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. Its far better to set the input level correctly in the rst 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.
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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 Meters
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. If you are working with a weak signal, you can improve 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 its 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 instruments. 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.
f
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
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Managing Your Inserts

To Delete an Insert: 1. Right-Click over the Insert you wish to delete. A yellow line around the insert location indicates that it is selected. A pop-up dialog box appears.
2. Select Delete Insert to remove the selected insert or select Delete All Inserts to
remove all inserts.

3. The insert(s) are deleted from the insert chain.
f Tip: Select the Insert and press the Delete key to delete the plug-in from the strip.
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.
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.
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 Effect (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.
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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 & 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 you dont 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
Pan Fader
Mute Amt
Sidechain Diagram
(Post-Fader Aux Sends)
Send Amount Aux Bus 1 Send Amount

Amt
Return Amount
Side Chain
Return Amount
Aux Bus 2
Side Chain
Main / Monitor Bus
Output
Other Uses of the Aux Sends You can think of the Aux Sends as two extra mixing buses because thats 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.
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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 wont be affected by the fader settings.
Input
Pan
Pre-Fader Aux Send

Volume Fader & Mute does NOT affect Send Levels
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.
Send Amount
Amt
Return Amount
Aux Bus 1
Amt
Side Chain
Return Amount
Send Amount Aux Bus 2
Fader
Mute
Side Chain
Main / Monitor Bus
Output
Input
Pan Fader
Mute Amt
Post-Fader Aux Send

Volume Fader & Mute affects both Aux Send Levels
Send Amount Aux Bus 1 Send Amount

Amt
Return Amount
Side Chain
Return Amount
Aux Bus 2
Side Chain
Main / Monitor Bus

Output
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Level, Pan, Solo & Mute Controls

Pan Controls
Aux Send Amount Controls
The Pan control comes before the Level Control and Aux Sends in the signal ow. 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 expectpress 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 mixers Level Control output. If multiple solo buttons are pressed, 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 Mute & Solo channel reverts to being muted.
Buttons
The Level Control for the strip is an attenuation control that can also provide up to +12dB of gain. 0db 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.
Scribble Strip
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4 - The PatchMix DSP Mixer Main Section
Main Section
Physical/Host Select Buttons View Selection Buttons
TV Screen
Aux Insert Section
Master Aux Send Amounts
Master Aux Return Amounts Sync & Sample Rate Indicators
Main Insert Section
Monitor Controls Output Fader & Meters
Session Name
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 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.
TV Screen & 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 displayEffect, Inputs or Outputs.
Effect
Select the Effect display view in the main section, then click on an Effect Insert to display the effect parameters. If an insert effect is not selected, the display will read No Insert. Most effects have a wet/dry mix parameter to control the ratio of effect to plain signal. 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 View Button
E Note: Effects have to be placed into an insert location before you can program them.
Effect Location Effect Bypass & 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 Destination
Return Source
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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: Physical Inputs and Host Inputs. Select either category by clicking on the Physical or Host button.
f The Input and Output displays make it much easier to understand the signal routings of a complex mixer setup.
Physical Input Display
Host Input Display
f Tip: Clicking on any of the input routings in the TV display highlights the corresponding mixer strip.
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 Display Host Output Display
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.
Auxiliary Effects & 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
f 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.
Sidechain Diagram
(Post-Fader Aux Sends)
Pan Fader
Mute
Aux Amt
Send Amount
Return Amount
Aux Amt
Aux Bus
Side Chain
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 sessions 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 slightly 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 automatically 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.
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Output Section
Clip Indicators Main Output Level Fader Sync/Sample Rate Indicators
Main Insert Section
Monitor Mute
Monitor Balance
Output Level Meters
Monitor 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 locationsjust drag and drop effects from the palette or right-click and add Sends, Sends/Returns. etc. Refer to the Mixer Block Diagram
Main Output Fader

The main output fader controls the level of the 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 ampliers or other equipment.
Output Level Meters

This stereo bar-graph meter reects 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.
MAIN MIX
0dB
10 10
-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.
20 20 30 30
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.
40
40
50
50
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 monitor level later. When the telephone rings, just hit the monitor mute to cut the noise.
52
5 - Effects Overview
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 dont 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 nite 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 1Band EQ. If you continue to add effects, all of the DSP resources will eventually be used up.
f Saving a session defragments the effect/ DSP resources. If you have used all your effects and need another, try saving the session.
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 modied. The other folders contain Effects Chains, consisting of two or more effects grouped together. 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 Multi-Effects Distortion Lo- Drums & Percussion Environment Equalization Guitar Morpher Multi Effects Reverb Synths & Keys Vocal
53
5 - Effects The Effects Palette
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-click and drag the effect to the
f The order of effects in a chain can have a big effect on the sound.
desired location. Drag the effect to the area above or below the nal destination and release the mouse button to move the effect. To Edit an Effect
1. Click on the Insert Location containing the effect you wish to edit. The effect
This icon will appear when you drag an effect to a new location.
controls now appear on the TV screen.

2. Edit the effect parameters as desired.
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 multieffect. 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. 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
f Trim pots, peak meters and test tone generators will also be included in the FX chain.
name for your FX Chain.
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.

Creating, Renaming & Deleting Categories or Presets

There are several utilities to help you organize your effects presets. 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. Alternatively, you can Right-click over an Effects Folder, which calls a pop-up dialog box with the option to Create New Category.
2. Type in a name for your new folder. 3. Click OK to create a new folder or Cancel to cancel the operation.
To Delete an Effect Category or Preset

1. Right-click on the category folder you wish to delete. A pop-up selection box
appears.
2. Select Delete Category. A popup dialog box appears warning you that this action
will delete all presets in the folder.

3. Click OK to delete the folder or Cancel to cancel the operation.
To Rename an Effects Category

1. Right-click on the category folder you wish to rename. A pop-up selection box
appears.
2. Select Rename Category. A pop-up dialog box appears, asking you to Enter New
Category Name.
3. Click OK to rename the folder or Cancel to cancel the operation.
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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. 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.
2. Select Import FX Library. The Browse for Folder window appears. 3. Choose the folder where the Core FX presets you wish to import are located. 4. 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 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.
2. Select Import FX Category. The Browse for Folder window appears. 3. Choose the folder where the FX Chains you wish to import are located. 4. The selected folder of FX Chains will be copied into the Effect Presets folder of
PatchMix DSP. To Export your Core FX Presets This option exports your Core FX presets to a folder of your choice.
2. Select Export FX Library. The Browse for Folder window appears. 3. Choose a destination location for the Core FX presets, then press OK. 4. The Core FX presets will be copied to the selected destination.
To Export your FX Category Folders This option exports a single category of FX chains to a folder of your choice.
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 presets, then press OK.

5. The FX Chains will be copied to the selected destination.
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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 selected, the FX display will read No Insert. Most effects have a wet/dry mix parameter to control the ratio of effect-to-plain signal. 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 View Button Effect Location Effect Bypass & Solo Buttons Wet/Dry Mix Control
E Note: Effects have to be placed into an insert location before you can program them.
Effect Parameters
User Preset Section
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) 2. Click the Bypass button 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. 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
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. 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. 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 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 parameter settings. Weve included a good collection of user presets to get you started. The user presets are accessed from the bar at the bottom of the TV screen. The user preset edit menu allows you to select stored presets, create new presets, rename or delete existing presets, or overwrite existing presets with your modied settings. User presets stay with the Mixer application regardless of which Session is open.
Click here for Edit Menu Click here to Select Presets
E To copy or share User Presets, you must save them as FX Palette effects.
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
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.
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To Delete a User Preset

1. Select the user preset you wish to delete from the user preset menu. 2. Click on the Edit button. A pop-up menu appears. 3. Select Delete. A pop-up dialog box appears asking you to conrm your action. 4. Click OK to delete the preset or No or Cancel to cancel the operation.
To Rename a User Preset

1. Select the user preset you wish to rename from the user preset menu. 2. Click on the Edit button. A pop-up menu appears. 3. Select Rename. A pop-up dialog box appears asking you to rename the preset. 4. Type in the new preset name, then click OK to rename the preset or Cancel to cancel
the operation. 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 Edit 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 le. Hint: You can open the effects presets with NotePad or other word processor to view and edit the name and parameters.
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5 - Effects List of Core Effects
List of Core Effects

Stereo Reverb Lite Reverb Compressor Leveling Amp Chorus Flanger Distortion Speaker Sim Rotary Phase Shifter Frequency Shifter Auto-Wah Vocal Morpher 1-Band Para EQ 1-Band Shelf EQ 3-Band EQ 4-Band EQ Mono Delay 100 Mono Delay 250 Mono Delay 500 Mono Delay 750 Mono Delay 1500 Mono Delay 3000 Stereo Delay 100 Stereo Delay 250 Stereo Delay 500 Stereo Delay 750 Stereo Delay 1500
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 rst, and so weve 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 effects combinations. These were created by using up the reverb resources rst. Even more simultaneous effects are possible if fewer reverbs and shorter delays are used.
f Tip: Saving a session defragments the effect/ DSP resources. If you have used all your effects and need another, try saving the session.
Examples of Effects Usage (with a WAVE, ASIO Return & 2 Inputs)

Example 1 Stereo Reverb 4-Band EQ 3-Band EQ 1-Band EQ Compressor Chorus Mono Delay 1500 No. 2 4 2 6 6 1 1 Example 2 Lite Reverb 3-Band EQ 1-Band EQ Compressor Mono Delay 1500 Mono Delay 250 Auto-Wah No. 5 5 4 1 1 1 1 Example 3 Stereo Reverb Lite Reverb Stereo Delay 1500 Mono Delay 250 Compressor Chorus Flanger 4-Band EQ 3-Band EQ Total Effects 22 Total Effects 18 Total Effects No. 1 2 1 1 6 2 2 3 3 21
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5 - Effects Core Effects Descriptions
Core Effects Descriptions

1-Band Para EQ
+15dB Boost Width
Gain
Cut
This single band parametric equalizer is useful when you just want to boost or cut a single range of frequencies. For example, if you just want to brighten up the lead vocal a bit, you might choose this EQ. This EQ offers up to 15dB cut or boost.
-15dB
Center Frequency
Parameter Gain Center Frequency Bandwidth
Description Sets the amount of cut (-) or boost (+) of the selected frequency band. Range: -15dB to +15dB Sets the range of frequencies to be cut or boosted with the Gain control. Range: 80Hz to 16kHz Sets the width of the frequency range for the Center Frequency band that will be cut or boosted by the Gain control. Range: 1semitone 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, theres 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
+15dB Boost Corner Freq
or
High Shelf
Corner Freq
Gain
-15dB
Cut
Frequency
Description Allows you to choose either low shelving or high shelving EQ. Sets the amount of cut (-) or boost (+) of the shelf. Range: -15dB to +15dB
Parameter Shelf Type Gain
Corner Frequency Sets the frequency where the signal begins getting cut or boosted with the Gain control. Range: 80Hz to 16kHz
3-Band EQ
This versatile equalizer provides two shelving lters 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 each band.
Low Shelf
+24dB
Boost
Mid Band
High Shelf
Corner Freq.
Corner Freq.
E Note: The Wet/Dry Mix control on an equalizer should normally be set to 100% wet or unpredictable results may occur.
Gain
Width
Cut
Center
-24dB
Frequency
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 lter.

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 High Shelf Gain
Description 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 Mid Freq. 1 Mid Bandwidth Sets the amount of cut (-) or boost (+) of the mid frequency band. Range: -24dB to +24dB Sets the range of frequencies to be cut or boosted with the Mid Gain control. Range: 200Hz to 3kHz 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 Sets the amount of cut (-) or boost (+) of the low frequency shelf. Range: -24dB to +24dB
Low Shelf Gain
Low Corner Freq. Sets the frequency where the signal begins getting cut or boosted with the Low Gain control. Range: 50Hz to 800Hz
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4-Band EQ
This 4-band equalizer provides two shelving lters 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
Corner Frequency
Mid 1-Band
Mid 2-Band
High-Shelf
Corner Frequency
Boost
Gain
Width
Width
Center Frequency Center Frequency
Cut
Frequency
Parameter High Shelf Gain High Corner Freq. Mid 2 Gain Mid 2 Center Freq. Mid 2 Bandwidth Description Sets the amount of cut (-) or boost (+) of the high frequency shelf. Range: -24dB to +24dB Sets the frequency where the signal begins getting cut or boosted with the High Gain control. Range: 4kHz to 16kHz Sets the amount of cut (-) or boost (+) of the Mid 2 Frequency band. Range: -24dB to +24dB Sets the range of frequencies to be cut or boosted with the Mid 2 Gain control. Range: 1kHz to 8kHz 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 Sets the amount of cut (-) or boost (+) of the Mid 1 Frequency band. Range: -24dB to +24dB Sets the range of frequencies to be cut or boosted with the Mid 1 Gain control. Range: 200Hz to 3kHz 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 Sets the amount of cut (-) or boost (+) of the low frequency shelf. Range: -24dB to +24dB Sets the frequency where the signal begins getting cut or boosted with the Low Gain control. Range: 50Hz to 800Hz
Mid 1 Gain Mid 1 Center Freq. Mid 1 Bandwidth
Low Shelf Gain Low Corner Freq.
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Auto-Wah
This effect creates the sound of a guitar wah-wah pedal. The Wah lter 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 lter 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 envelope follower to receive a wide variety of input signals. This envelope, or volume contour, controls the frequency of the bandpass lter 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 lter sweeps back at a rate determined by the Release setting. The wah direction allows the lter 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
Bandwidth
Envelope Sensitivity Input Wave
Attack Release
Sweep Range
Envelope Follower
Parameter Wah Direction Env. Sensitivity Env. Attack Time Env. Release Time Sweep Range Center Frequency Bandwidth
Description Allows you to sweep the wah up or down. Controls how closely the wah sweep follows the input signal. Range: -12dB to +18dB Sets the starting rate of the wah sweep. Range: 0ms to 500ms Sets the ending or release rate of the wah sweep. Range: 10ms to 1000ms Controls the amount of wah sweep. Range: 0% to 100% Sets the initial bandpass lter frequency. Range: 80Hz to 2400Hz Sets the width of the bandpass lter. Range: 1Hz to 800Hz
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Chorus
An audio delay in the range of 15-20 milliseconds is too short 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 Delay Feedback LFO Rate LFO Depth LFO Waveform LFO L/R Phase
Description Sets the length of the delay. Range: 0ms to 20ms. Sets the amount of delayed signal that will be recirculated through the delay line. Range: 0% to 100% Sets the frequency of the low frequency oscillator. Range: .01Hz to 10Hz Sets how much the LFO affects the delay time. Increases the animation and amount of the chorus effect. Range: 0% to 100% Selectable between Sine or Triangle wave. 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. 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.
In
Signal path = Stereo
Delay
VCA
Out
Level Control
Threshold Ratio
Post Gain Release Attack

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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 youre 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 is 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 amplies the signal after it has been compressed to bring it back up in volume. If you dont 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. Dont make the release time too long, however, or the compressor wont 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 milliseconds 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 Threshold
Description 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 Sets the ratio of input signal level to output signal level, or how much compression will be applied. Range: 1:1 to :1 Amplies the signal after it has been compressed to bring up the volume. Range -60dB to +60dB
Ratio Post Gain
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Parameter Attack Time Release Time
Description Controls how quickly the gain is turned down after the signal exceeds the threshold. Range .1ms to 500ms Controls how fast the gain is returned to its normal setting after the signal has fallen below the threshold. Range: 50ms to 3000ms Allows the use of slower attack times without missing signal peaks. Range: 0ms to 3 ms
Pre-Delay
Input Meter Gain Reduction Meter
Allows you to monitor the strength of the input signal. 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 rst passes through a lowpass lter. 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 lter 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 Filter Bandpass Filter
In
Distortion
LP Filter Cutoff EQ BW Gain EQ Center
Out
Edge
Parameter Pre EQ LP Cutoff Edge Gain Post EQ Center Freq. Post EQ Bandwidth
Description Controls the amount of high frequency audio admitted to the distortion. Range: 80Hz to 24kHz Sets the amount of distortion and new harmonics generated. Range: 0-100 Sets the output volume of the effect. Range: -60dB to 0dB Sets the frequency of the output bandpass lter. Range: 80Hz to 24kHz Sets the width of the output bandpass lter. Range: 80Hz to 24kHz
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Flanger
A anger 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 cancellations known as a comb lter. Since the anger is a type of lter, it works best with harmonically rich sounds.
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 lter and deepens the effect.
Feedback In
Flanger
Out
Delay
LFO
Waveform
Phase
Parameter Delay
Description Sets the initial delay of the anger in .01 millisecond increments. This parameter allows you to tune the anger to a specic frequency range. Range: .01ms to 4ms Controls how much signal is recirculated through the delay line and increases resonance. Negative values can produce intense anging with some signals. Range 0% to 100% Sets the speed of the anger sweep. Range: .01 Hz to 10Hz Sets how much the LFO affects the delay time. Increases the animation and amount of the anging effect. Range 05 to 100% Selectable between Sine or Triangle wave. Controls the stereo width by adjusting the phase difference between the left and right sweeps. Range: -180 to +180
Feedback
LFO Rate LFO Depth LFO Waveform LFO L/R Phase
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Freq Shifter
This unusual effect is sometimes called spectrum shifting or single sideband modulation. Frequency shifting shifts every frequency in the signal by a xed 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 isnt to say that the frequency shifter cant 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 down by any specied 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 1 2 3 4 5 6 7 8 Original Pitch Shifted Frequency Shifted (Hz) (100 Hz) (100 Hz) 200 400 600 800 1000 1200 1400 1600 300 600 900 1200 1500 1800 2100 2400 300 500 700 900 1100 1300 1500 1700
f You can also type in exact frequencies to a resolution of 1/10 Hz.
Parameter Frequency Left Direction Right Direction
Description Sets the number of Hz that will be added or subtracted with every harmonic in the signal. Range: .01Hz to 24kHz Sets pitch shift up or down for the left channel. Sets pitch shift up or down for the right channel.
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Leveling Amp
The rst compressors developed in the 1950s 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 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 xed at about 2.5:1. If a 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 Amplies the signal after it has been compressed to bring up the volume. Range 0dB to 36dB
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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 ve Lite Reverbs can be used at once. Decay time denes the time it takes for the reected sound from the room to decay or die away. The diagram below shows a generalized reverberation envelope.
Early Reflections
Reverberation
Time
After a short pre-delay period, the echoes from the closest walls or ceiling are heard. These rst echoes, or Early Reections, vary greatly depending on the type of room. Some time after the early reection cluster ends, the actual Reverberation (a dense cloud of complex wall reections) 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 reections and the reverberation cloud. High frequency energy tends to fade away rst 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 reective and have less high frequency damping. Rooms lled 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 Decay Time HF Decay Factor Description Sets the reverb decay time. Range: 0% to 100% Sets the rate at which high frequencies die away. The high frequencies last longer as the percentage is increased. Range: 0% to 100% Sets the rate at which low frequencies die away. The low frequencies last longer as the percentage is increased. Range: 0% to 100% Sets the volume of the initial wall reections. Range: 0% to 100% Sets the amount of scattering of the early reections and the reverberation cloud. Range: 0% to 100%
LF Decay Factor
Early Reections Reverberance
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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 efcient 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 anging and comb lter 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 ltering produced by the delay line. Comb ltering: See page 68. A High Frequency Rolloff lter 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 controls how loud the echoes are in relation to the original signal.
Feedback HF Rolloff L In L Out
Delay
R In Delay Time R Out
Parameter Delay Time
Description
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 Mono Delay 3000 Range: 1 millisecond to 3 seconds Feedback High Freq. Rolloff Sets the amount of delayed signal that will be recirculated through the delay line. Range: 0% to 100% Damps high frequencies in the feedback path. Range: 0% to 100%
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Phase Shifter
A phase shifter produces a xed 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 1970s 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 xed multi-notch lter is created.
Feedback In
Phase Shifter
Out
LFO Center
LFO
LFO Rate
Parameter LFO Center Feedback LFO Rate LFO Depth Waveform LFO L/R Phase
Description Sets the initial offset of the LFO and changes the position of the peaks and notches. Range: 0% to 100% Increases the depth of the notches and height of the peaks. Range: 0% to 100% Controls the sweep rate of the Low Frequency Oscillator. Range: .01Hz to 10Hz Controls how much the Center Frequency is swept by the LFO. Range: 0% to 100% Selects a Sine or Triangle wave for the LFO 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 Speed
Description Switches between slow or fast rotor speeds with acceleration and deceleration as the speed changes.
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Speaker Simulator
The Speaker Simulator provides realistic guitar speaker responses and is designed for use with guitar, bass or synthesizer. Twelve popular guitar amp speaker 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 British Stack 1 & 2 British Combo 1-3 Tweed Combo 1-3 2 x 12 Combo 4 x 12 Combo Metal Stack 1 & 2
Description Modeled from a British 8-speaker high power amplier stack. Modeled from a British 2-speaker combo amplier. Modeled from an American, 1950s era, 2-speaker combo amplier. Modeled from an American, 1960s era, 2-speaker combo amplier. Modeled from an American, 1960s era, 4-speaker amplier set. Modeled from a modern era, power amplier stack.
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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 ve different lengths, from 100 ms to 1.5 seconds, allow you to make the most efcient 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 roboticsounding effects. Using the longer stereo delays, you can overdub musical lines one on top of the other with the feedback control turned up.
Feedback HF Rolloff In
Delay
Out
L Delay R Delay Time Time
Parameter Left Delay Time Right Delay Time Delay Time (L & R) Stereo Delay 100 Stereo Delay 250 Stereo Delay 500 Stereo Delay 750 Stereo Delay 1500 Feedback High Freq. Rolloff
Description Sets the length of the delay for the left channel in milliseconds. Sets the length of the delay for the right channel in milliseconds.
(.01ms. minimum increment between settings) Range: 1 millisecond to 100 milliseconds Range: 1 millisecond to 250 milliseconds Range: 1 millisecond to 500 milliseconds Range: 1 millisecond to 750 milliseconds Range: 1 millisecond to 1.5 seconds
Sets the amount of delayed signal that will be recirculated through the delay line. Range: 0% to 100% Damps high frequencies in the feedback path. Range: 0% to 100%
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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 denes the time it takes for the reected sound from the room to decay or die away. The diagram below shows a generalized reverberation envelope.
Early Reflections
Late Reverb
Time
After a short pre-delay period, the echoes from the closest walls or ceiling are heard. These rst echoes, or early reections, vary greatly depending on the type of room. Some time after the early reection cluster ends (late reverb delay), the late reverberation (a dense cloud of complex wall reections) 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 rst 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 reective and have less high frequency damping. Rooms lled 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 Decay Time Early Reections Level Early/Late Reverb Bal Late Reverb Delay Diffusion High Freq. Damping Low Freq. Damping Description Sets the length of the Late Reverb. Range 1.5 to 30seconds Sets the volume of the initial wall reections. Range: 0% to 100% Adjusts the balance between early refections and late reverb. Range: 0% to 100% Sets the time between early reections and the onset of the late reverb cloud. Range: 1ms to 350ms Sets the amount of scattering of the late reverb cloud. Range: 0% to 100% Sets the rate at which high frequencies die away. Range: -10.0 to +3.0 damping factor Sets the rate at which low frequencies die away. Range: -10.0 to +3.0 damping factor
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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
Phoneme A
List of Available Phonemes A AE IY G P E AH UH J R I AO UW K S O EH B L T U ER D M V AA IH F N Z
Parameter Phoneme A Phoneme A Tuning Phoneme B Phoneme B Tuning LFO Rate LFO Waveform
Description Select any of the available Phonemes for Phoneme A. Adjusts the frequency of Phoneme A up or down 2 octaves in semitone intervals. Range: -24 semitones to +24 semitones Select any of the available Phonemes for Phoneme B. Adjusts the frequency of Phoneme B up or down 2 octaves in semitone intervals. Range: -24 semitones to +24 semitones Controls how fast the phonemes morph back and forth. Range: .01Hz to 10Hz Selects the waveform for the morph: Sinusoid, Triangle, Sawtooth
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Tim e
Frequ
ency
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
f Cubase SX/SL/LE 2.0, Nuendo and Sonar (using the Cakewalk VST adapter 4.4.1) implement VST 2.X auto delay compensation.
E-MU PowerFX are not available at 96kHz and 192kHz sample rates.
FX Palette
FX Inserts
Output Signal Present
FX Presets
Preset Editing
Parameter PowerFX On/Off FX Palette FX Inserts Signal Present LEDs FX Parameters FX Presets Preset Editing
Description Enables or bypasses E-MU PowerFX. Select from a single Core effect or a Multi -Effect. Drop Effects from the FX Palette here. These indicators turn blue to show the presence of input and output signals. Select the desired effect in the center insert section, then adjust the wet/dry mix and parameters for the effect. Select from the list of preprogrammed effect presets here. Click here to Save, Delete, Rename or Overwrite a User Preset. See the User Preset Section for more information
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Parameter Preferences
Description The Preferences menu allows you to: Toggle the Tooltips On or Off Extra Buffers - Check this box if excessive stuttering occurs when 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, SoundForge).
To Setup & Use E-MU PowerFX:
Setup Cubase LE
1. Launch Cubase LE. 2. Instantiate E-MU PowerFX in an Insert or Aux Send location within Cubase (go to
the EMU folder in VST plug-ins).

3. Press the Insert Edit button
Using any driver other than E-MU ASIO may produce undesirable results when using E-MU PowerFX.
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
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.
5. Drag the desired effects from the Effects Palette to the center Insert strip. 6. 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.
7. 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
If you 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 tracks to keep them time-aligned.
8.
Simply insert an E-Delay Compensator plug-in into the same insert location you used for E-MU PowerFX on any other audio tracks. Thats it.
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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. To Record PowerFX parameter changes in Cubase LE
1. Add E-MU PowerFX as a Channel Insert. 2. Rewind the song and enable Automation Write by pressing the WRITE button Steinberg Cubasis does not have the control automation feature.
on, illuminating it. (Refers to Cubase LE. If you are using another application, refer to the documentation.)
3. 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.
4. Press the Play button on the Cubase LE Transport control. The song begins playing. 5. Adjust the E-MU PowerFX controls to achieve the effect you want. Rewind the song
when nished.
6. Disable Automation Write and enable Automation Read
. Playback the
Once you have recorded or drawn automation, do not delete or move effects from the Insert Strip. Doing so will result in unpredictable behavior.
song to hear and view your changes.

7. To edit Automation, rst enable both Automation Write and Automation Read
and press Play. Cubase LE begins overwriting as soon as you change a control.
8. If you dont 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 specic information about automation editing.
E-MU PowerFX Resource Availability

Because different collections of VST plug-ins and PatchMix Sessions can be run simultaneously, 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 192kHz.
80
E-MU PowerFX Compatibility Chart

Application Name Steinberg Cubase VST 5.1 Steinberg Cubase SX 1 Steinberg Cubase SX 2 Compatible? Yes Yes Yes Instrument Freeze triggers error if not in render mode. Note Render Off Off Off Extra Buffers Off Off Off
Steinberg Cubase LE Steinberg Cubase SL Steinberg WaveLab 4 Steinberg WaveLab Lite (ver 4) Steinberg WaveLab 5
Yes Yes Yes Yes No Pops & clicks may occur. (Try 8 buffers at 1024)
Off Off On On On
Off Off Off Off Either
Sony Acid 4 Sony Vegas 5 Sony SoundForge 7
Yes Yes No Power FX crashes when launched. Audio distortion & immediate lockup. Distortion when FX parameters are changed.
On On On
Off Off Off
Adobe Audition 1.5
No
Any
Any
FruityLoops Studio 4.5 Ableton Live 3.5
Yes No
Off On
On Off
Cakewalk Sonar 3
Yes
Off
Off
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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 le from a multitrack song. 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 nd 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 audio can occur when rendering with SoundForge or any version of Steinberg WaveLab. This problem is caused by discontinuities in the rst 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 le. Pad the beginning (and/or end) of your audio le with silence (.5 to several seconds depending on the le). This action causes the buffer discontinuities to occur before the song begins.
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5 - Effects E-MU E-Wire VST
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 compensates 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: A VST plug-in which handles the audio routing to PatchMix DSP. An ASIO mixer strip in PatchMix DSP congured to route audio to the E-Wire plug-in. You simply drop the effects you want to use into this strip. For hosts that dont support automatic delay compensation, a manual delaycompensation plug-in can be inserted in Cubase tracks or channels that dont use E-Wire to compensate for ASIO delay. The diagram below may give you a better idea of how E-Wire works:
E Note: Its 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-Wire VST plug-in
Send to Strip
Stereo Reverb
Return to VST
ASIO Send
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. E-MU Digital Audio System 83
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.)

3. Mute the strip or turn the Fader all the way down. 4. Insert an ASIO Send plug-in into one of the inserts on your ASIO strip. 5. Name your ASIO strip as an E-Wire strip. 6. Insert the desired PatchMix DSP effects into slots above the ASIO Send. 7. Save the Session.
Setup 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. Thats 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 compensated for automatically by the host application, but not all VST host applications support this automatic compensation.
A host will support PowerFX and E-Wires plug-in delay compensation if it supports the SetInitialDelay feature of the VST 2.0 specication.
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 for 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 Compensator 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 rst audio track, but not to the second, the rst 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

Track 1
Insert
Track 2
Insert
Track 3
Insert
E-Wire
E-Delay
E-Delay
E-Delay Compensator Use
PatchMix DSP
For host applications that dont support automatic delay compensation. 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 doesnt 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. If you use two Cubase inserts 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.
In practical use, however, youll 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. Heres 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.
Cubase VST or Cubasis

Track 1
Insert Insert Insert
Track 2
Insert
Track 3
Insert
PowerFX or E-Wire
PowerFX or E-Wire
PowerFX or E-Wire
E-Delay 1
E-Delay 2
PatchMix DSP
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 doesnt 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-MU Digital Audio System and PatchMix DSP must be installed. E-Wire is compatible with Cubase SX/SL/LE, Cubase VST, Wavelab, and Cakewalk Sonar (via DirectX-VST adapter) among others.
86
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 & returns are still available.) ADAT is reduced to 4 chan. at 88k/96k, & 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 & 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 standard.
E-MU 1820 System at 88.2k/96k (1010 PCI Card & 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 congurations 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 Source ADAT S/PDIF 1 S/PDIF 2 Microphone Line 1 Line 2 Line 3 Line 4 out (monitor) Headphone out Total Inputs (ADAT Option) 4 2 2 2 2 0 0 12 Inputs (Line In Option) 0 2 2 2 2 2 2 12 Outputs 4 2 2 2 2 2 2 2 (monitor) 18
87
E Note: Headphone Out is permanently linked to Monitor Out in 96kHz mode.
Input/Output - 88.2 kHz/96 kHz

A Line Mic
Clip -10 dB
B Line
Mic
Clip -10 dB 48V
MIDI 1
CLOCK LCK 44.1 EXT 48 96 192
SMPTE IN OUT
ADOCK
MIDI 1 S/PDIF
Line Mic -
-10 dB +20 dB
+30 dB +60 dB
-10 dB +20 dB
+30 dB +60 dB
In
Out
Out
ADAT enabled
1L 1R 2L 2R 3L 3R 3L Phono 3R Gnd
L/R Sr L / R Ctr/ Sub SrBk L / R
4 Chan. 4 Chan.
1-4
In
Monitor
Card
Out
or
A Line Mic
Clip -10 dB
B Line
Mic
Clip -10 dB 48V
MIDI 1
CLOCK LCK 44.1 EXT 48 96 192
SMPTE IN OUT
ADOCK
MIDI 1 S/PDIF
Line Mic -
-10 dB +20 dB
+30 dB +60 dB
-10 dB +20 dB
+30 dB +60 dB
In
Out
Out
Line In 2 & 3 enabled

L/R Sr L / R Ctr/ Sub SrBk L / R
4 Chan.
1-4
In
Monitor
Card
Out
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 & 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 ADAT S/PDIF Line Total
88
Inputs 4 2 2 8
Outputs 4 2 2 8
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 congurations 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 & 3 enabled (allows use of turntable inputs at 192kHz) S/PDIF is not specied 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 Line 1 Line 2 Line 3 Line 4 out (monitor) S/PDIF 1 S/PDIF 2 Headphone out Total Inputs Mic & Line 3 0 2 0 0 2 0 0 4 2 2 0 0 0 0 0 4 Inputs Mic & ADAT 2 0 2 0 0 0 0 4 Inputs Line 1 & ADAT Inputs Line 1 & 3 0 0 2 0 2 0 0 4 Total Outputs 2 2 2 0 2 0 0 2 (monitor) 10
E-MU 1212 System at 176.4k/192k (1010 PCI Card & I/O Card)
At 176.4kHz or 192kHz, you have two 24-bit inputs and outputs. S/PDIF is not specied 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 S/PDIF 1 Line Total Inputs 2 0 2 4 Outputs 2 0 2 4
89
Microphone & Line 3 Input enabled

A Line Mic
Clip -10 dB
B Line
Mic
Clip -10 dB 48V
ADOCK
MIDI 1
CLOCK LCK 44.1 EXT 48 96 192
SMPTE IN OUT
MIDI 1 S/PDIF
Line Mic -
-10 dB +20 dB
+30 dB +60 dB
-10 dB +20 dB
+30 dB +60 dB
In
Out
Out
1L
1R
2L
2R
3L
3R
3L Phono 3R
Gnd
L/R
Sr L/ R
Ctr / Sub
SrBk L / R
2 Chan.
1-4
In
Monitor
Card
Out
or
Microphone & ADAT Input enabled
A Line Mic
Clip -10 dB
B Line
Mic
Clip -10 dB 48V
ADOCK
MIDI 1
CLOCK LCK 44.1 EXT 48 96 192
SMPTE IN OUT
MIDI 1 S/PDIF
Line Mic -
-10 dB +20 dB
+30 dB +60 dB
-10 dB +20 dB
+30 dB +60 dB
In
Out
Out
2 Chan.
L/R Sr L/ R Ctr / Sub SrBk L / R
1-4
2 Chan.
In
Monitor
Card
Out
or
Line Input 1 & ADAT Input enabled
A Line Mic
Clip -10 dB
B Line
Mic
Clip -10 dB 48V
ADOCK
MIDI 1
CLOCK LCK 44.1 EXT 48 96 192
SMPTE IN OUT
MIDI 1 S/PDIF
Line Mic -
-10 dB +20 dB
+30 dB +60 dB
-10 dB +20 dB
+30 dB +60 dB
In
Out
Out
2 Chan.
L/R Sr L/ R Ctr / Sub SrBk L / R
1-4
2 Chan.
In
Monitor
Card
Out
or
Line Inputs 1 & 3 enabled
A Line Mic
Clip -10 dB
B Line
Mic
Clip -10 dB 48V
ADOCK
MIDI 1
CLOCK LCK 44.1 EXT 48 96 192
SMPTE IN OUT
MIDI 1 S/PDIF
Line Mic -
-10 dB +20 dB
+30 dB +60 dB
-10 dB +20 dB
+30 dB +60 dB
In
Out
Out
1L
1R
2L
2R
3L
3R
3L Phono 3R
Gnd
L/R
Sr L/ R
Ctr / Sub
SrBk L / R
1-4
2 Chan.
In
Monitor
Card
Out
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 & Line 2 Inputs Line Inputs 1 & ADAT Microphone Inputs & ADAT Inputs Line Inputs 1 & 3
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 le 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 conguration, WDM audio will be played or 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-nativesample-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.
91
92
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 MIDI Time Code (MTC) and vice-versa. The term Host MTC refers to MTC, which is generated or used by the host application (Cubase, etc.). MTC is also available at the MIDI jack on the back of the Sync Card.
Warning: SMPTE and MTC do not provide sample sync for digital I/O. You must use Word Clock, S/PDIF or ADAT sync.
SMPTE Features
Conversion of SMPTE to MTC quarter-frame messages & 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 & 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 Start Time Flywheel Mode Off Continuous Fixed 1-time Jam
Current Time
Start Striping
Flywheel Amount
SMPTE Status/ Error Indicators
SMPTE Frame Rate Settings
Stop Striping
Output Source
Word Clock Termination
Output Level
93
7 - Appendix Sync Daughter Card Supplement
Mode (fps) SMPTE Striping Stripe Button Stop Button Flywheel Mode Output Level FLY/JAM Frames Word Clock Termination SMPTE/MTC Output Source
Sets the transmitted frame rate when striping SMPTE. Edit this eld to set the start time in hours:minutes:seconds:frames for striping SMPTE. Initiates SMPTE Time Code generation at the SMPTE output beginning at the time set in the striping display. Stops SMPTE striping. This button also stops SMPTE when One-Time Jam Sync has been initiated. Selects one of the four Flywheel modes. See the descriptions below. Sets the SMPTE output level from -10dBV (consumer) to +4dBu (pro). If ywheel mode is on and a dropout is detected this is the number of ywheel frames that will be output before the sync card stops and chases. Turns word clock termination on or off. Except in special cases, this control should normally be left on. See Word Clock In/Out. This control selects the source of the SMPTE output jack. The choices are: 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 ywheel modes are described below.
Flywheel Modes
Off Fixed 0-127 Upon any dropout, MTC stops and the Sync card monitors the input for valid code. If valid code is again received, it chases and relocks. Upon any dropout, MTC continues outputting Quarter-frame messages at the same rate (ywheeling). When a dropout is detected, this is the number of frames that will be output before the Sync card stops outputting MTC and monitors the input for valid code. If valid code is again received, it chases and relocks. Upon any dropout, MTC continues outputting Quarter-frame messages at the same rate (ywheeling). The Sync card monitors the input for valid code and continues ywheeling until valid code is received, then relocks. Upon any dropout, MTC continues outputting Quarter-frame messages at the same rate (ywheeling) without monitoring the SMPTE input until the Stop button is pressed.
Continuous
1-Time Jam Sync
94
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 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.
Frames Frames Seconds Seconds Minutes Minutes Hours Hours
SYNC WORD
SMPTE Time Code
10 Start Frame
20
30
40
50
60
70
80 End Frame
80 Bit Cells per Frame
Bit Cell =0
Bit Cell =1
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 24 frame 25 frame 30 drop-frame 30 non-drop Use US Film Euro. Film + Video US & Japan Color Video US & Japan B/W Video Hours 00-23 00-23 00-23 00-23 Minutes 00-59 00-59 00-59 00-59 Seconds 00-59 00-59 00-59 00-59 Frames 00-23 00-24 00-29 00-29
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
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 rst 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 was 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 identication, 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. Youll 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 24 fps 25 fps 30 fps Resolution .521 mS .500 mS .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 nd the optimum levels. When printing to a time code track of a video deck, be careful. The time 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 traditionally 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, amplier 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. (Dont 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
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 will 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.
Cubase
1010 CARD
ADOCK
SYNC CARD
C MT
BRC
M A S T E R
RECORD INPUT
R E M O T E
C O N T R O L
DISPLAY TYPE
NORMAL SMPTE BARS
PITCH CONTROL
CENTS
TAPE LOCATION
HOURS MINUTES SECONDS FRAMES
EJECT
ADAT In
optional if ADAT sync isn't used
PITCH UP 1 33 65 97 2 34 66 98 3 35 67 99 4 36 68 100 RECORD INPUT 5 37 69 101 6 38 70 102 7 39 71 103 8 40 72 104

BARS BEATS SUB BEATS
PITCH DOWN
PITCH MODE
FIXED VARIABLE
ABSOLUTE RELATIVEE
DISPLAY MODE RESET 0
FORMAT TAPE
DROP FRAME 30 FPS
PITCH MODE
SMPTE IN MIDI IN
29.97 FPS 25 FPS 24 FPS
SMPTE
SMPTE START EXT SYNC OFFSET
9 41 73 105
10 42 74 106
11 43 75 107
12 44 76 108 RECORD INPUT
13 45 77 109
14 46 78 110
15 47 79 111
16 48 80 112
NAME CURSOR
COPY TAPE LOCATION
RECORD XFADE MIDI UTIL TEMPO MAP 7 STUV 21 53 85 117 22 54 86 118 23 55 87 119 24 56 88 120 SAVE SETUP COPY SONG DELETE SONG TO TAPE 8 WXYZ 0 (CHARS)
AUTO-PUNCH PRE-ROLL
POST-ROLL
17 49 81 113
18 50 82 114
19 51 83 115
20 52 84 116 RECORD INPUT
4 JKL
5 MNO
6 PQR
LOOP
TAPE OFFSETTRACK DELAY
LOAD SETUP SET LOCATE LOCATE SONGFROM TAPE
1 ABC
2 DEF
3 GHI
DIGITAL I/O GEN SYNC
EDIT
25 57 89 121
26 58 90 122
27 59 91 123
28 60 92 124
29 61 93 125
30 62 94 126
31 63 95 127
32 64 96 128
LTC
TRACK 1-32
TRACK 33-64
TRACK 65-96
TRACK 97-128 LOCATE 0
AUTO PLAY
REHEARSE
AUTO INPUT
ALL SAFE
ALL INPUT
ALL CLEAR
SET LOCATE
REWIND
GROUP 1 GROUP 2 GROUP 3 GROUP 4 SET GROUP LOCATE
F AS T F OR WAR D
S T OP
PLAY
RECORD
PatchMix DSP set to ADAT Sync

ADAT Optical carries embedded word clock
ADAT 9-pin
ADAT
REWIND
FAST FWD
STOP
PLAY
RECORD
EJECT
The Sync Card should 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 Cardthey are completely independent.
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 species 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. 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. Since 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. 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 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
f Word clock, ADAT and S/PDIF synchronize at the sample rate and are used to transfer digital data between machines.
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 units word clock in) or in parallel for one or two devices, but professional digital studios normally 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.
98
7 - Appendix Word Clock In/Out
Digital Device 1 House Sync Generator Digital Device 2
Digital Device 3
Digital 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. 75 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. If you have problems with a weak word clock signal, try turning termination 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 ensures 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.
Digital Mixer
Word Clock
ADAT Optical or AES Digital
ADAT Optical
T - connector
IN
Word Clock Termination OFF
Word Clock
AES
ADOCK
E-MU 1010 CARD SYNC CARD
IN
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 doesnt 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 commonly 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 rst 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
External Device supplies Master Clock (via ADAT)

The lightpipe carries eight channels of audio data and an embedded clock. ADAT Out
1 2 3 4 5 6 7 8
Master
External A/D - D/A Converter

Set PatchMix DSP to receive: External ADAT Sync Slave
EXTERNAL
PatchMix DSP supplies Master Clock (via ADAT)

This lightpipe carries eight channels of audio data. Set External Device to receive: External ADAT Sync
5 6 7 8
ADAT Out
1 2 3 4
Slave ADAT In
External A/D - D/A Converter
Master
This lightpipe carries an embedded clock signal & 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 and the external A/D - D/A is the Slave.
7 - Appendix Useful Information
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
1 2
N.C.
3
To S/PDIF In
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 ne for most applications. If youre 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.
Balanced XLR Connectors
2 3
1 3
1 = Ground/shield 2 = Hot (+) 3 = Cold (-)
Input
Balanced 1/4 TRS Connectors
Output
Sleeve = Ground Tip = Hot (+) Ring = Cold (-)
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.
Unbalanced 1/4 Connectors
Sleeve = Ground Tip = Signal
Balanced cables have one ground (shield) connection and two signal-carrying conductors of equal potential but opposite polarity. There is one 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
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
Dont cheap out! Use high quality optical ber (for ADAT) and low-capacitance electrical cables (for S/PDIF) when transferring digital I/O to avoid data corruption. Its also a good idea to keep digital cabling as short as possible (1.5 meters for plastic light pipes; 5 meters for high quality glass ber 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 preamplier 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 power. An unbalanced dynamic microphone may not work properly, but will probably not be damaged if phantom power is left on.
1
(grd)
2 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, youll 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.
7 - Appendix Technical Specications
Technical Specications
Specications: 1820M System
GENERAL
Sample Rates 44.1 kHz. 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 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 (JRC) 8 channels operational at 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz & 192kHz 1.25A @ +12V 15W.
Bit Depth Hardware DSP
Converters & OpAmps
WDM Drivers AudioDockM Power Use
ANALOG LINE INPUTS

Type Level (software selectable) Servo-balanced, DC-coupled, low-noise input circuitry Professional: +4 dBu nominal, 20 dBu maximum (balanced) Consumer: -10 dBV nominal, 6 dBV maximum (unbalanced) Frequency Response THD + N SNR Dynamic Range Channel Crosstalk Common-mode Rejection Input Impedance +/- .05dB, 20 Hz - 20 kHz -110 dB (.0003%) 1kHz at -1 dBFS 120 dB (A-weighted) 120 dB (A-weighted) < -115 dB, (1 kHz signal at -1 dBFS) > 40 dB at 60Hz 10K ohm
ANALOG LINE OUTPUTS

Type Level (software selectable) Balanced, low-noise, 2-pole low-pass differential lter Professional: +4dBu nominal, 20dBu (balanced) Consumer: -10dBV nominal, 6dBV maximum (unbalanced) Frequency Response THD + N SNR Dynamic Range Stereo Crosstalk Output Impedance E-MU Digital Audio System +0.0/-0.35 dB, 20 Hz - 20 kHz -105 dB (.0006%) 1kHz signal at -1dBFS 120 dB (A-weighted) 120 dB (A-weighted) < -120 dB, 1kHz 560 ohms 103
MIC PREAMP/LINE INPUT

Type Frequency Response Stereo Crosstalk TFPro combination microphone preamp and line input +0.8/-0.1 dB, 20 Hz - 20kHz < 120 dB, 1kHz
LINE INPUT Gain Range: Max Level: THD+N: Dynamic Range: SNR: Input Impedance: CMRR: -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 > 40 dB (60Hz)
MICROPHONE PREAMP Gain Range: Max Level: THD+N: SNR: Input Impedance: CMRR: -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 > 80 dB (60Hz)
HEADPHONES
Frequency Response: THD+N: (1 kHz, max. level) SNR: Dynamic Range: Stereo Crosstalk: Max Output Power: Output Impedance: Gain Range: +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) < -100 dB (1kHz at -1 dBFS, 600 ohm load) 500 mW 22 ohms 85 dB
104

TURNTABLE INPUT
Frequency Response: THD+N: SNR: Stereo Crosstalk: Maximum Level: Input Capacitance: 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) < -80 dB (1kHz at -1 dBFS) Professional: 80 mV RMS Consumer: 20 mV RMS 220 pF 47K ohm
DIGITAL I/O
S/PDIF 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 2 MIDI in, 2 MIDI out
ADAT
Firewire MIDI
SYNCHRONIZATION
Internal Crystal Sync: 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 RMS JITTER @ 44.1K (Measured via Audio Precision 2) 44.1 kHz internal Crystal 596ps 44.1 kHz Optical Input 795ps
SMPTE Frame Rates Modes Input Level: Output Level: Input Impedance:
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
105
Specications: 1820 System

GENERAL
Sample Rates 44.1 kHz. 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 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 - PCM1804 (TI/Burr-Brown) DAC - CS4392 (Cirrus Logic) OpAmp - NJM2068M (JRC) 1.1A @ +12V 13W.
Converters & OpAmps
AudioDock Power Use
ANALOG LINE INPUTS

Type Level (software selectable) Servo-balanced, DC-coupled, low-noise input circuitry Professional: +4 dBu nominal, 20 dBu maximum (balanced) Consumer: -10 dBV nominal, 6 dBV maximum (unbalanced) Frequency Response THD + N SNR Dynamic Range Channel Crosstalk Common-mode Rejection Input Impedance +0.0/-0.2 dB, 20 Hz - 20 kHz -102 dB (.0008%) 1kHz at -1 dBFS 111 dB (A-weighted) 111 dB (A-weighted) < -115 dB, (1 kHz signal at -1 dBFS) > 40 dB at 60Hz 10K ohm
ANALOG LINE OUTPUTS

Type Level (software selectable) Balanced, low-noise, 2-pole low-pass differential lter Professional: +4dBu nominal, 20dBu (balanced) Consumer: -10dBV nominal, 6dBV maximum (unbalanced) Frequency Response THD + N SNR Dynamic Range Stereo Crosstalk Output Impedance 106 +0.0/-0.8 dB, 20 Hz - 20 kHz -98 dB (.0006%) 1kHz signal at -1dBFS 112 dB (A-weighted) 112 dB (A-weighted) < -120 dB, 1kHz 560 ohms Creative Professional
MIC PREAMP/LINE INPUT

Type Frequency Response Stereo Crosstalk TFPro combination microphone preamp and line input +0.8/-0.1 dB, 20 Hz - 20kHz < 120 dB, 1kHz
LINE INPUT Gain Range: Max Level: THD+N: Dynamic Range: SNR: Input Impedance: CMRR: -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 > 40 dB (60Hz)
MICROPHONE PREAMP Gain Range: Max Level: THD+N: SNR: Input Impedance: CMRR: -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 > 80 dB (60Hz)
HEADPHONES
Frequency Response: THD+N: (1 kHz, max. level) SNR: Dynamic Range: Stereo Crosstalk: Max Output Power: Output Impedance: Gain Range: +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 (A-weighted) 112 dB (A-weighted) < -100 dB (1kHz at -1 dBFS, 600 ohm load) 500 mW 22 ohms 85 dB
107

TURNTABLE INPUT
Frequency Response: THD+N: SNR: Stereo Crosstalk: Maximum Level: Input Capacitance: 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) < -80 dB (1kHz at -1 dBFS) Professional: 80 mV RMS Consumer: 20 mV RMS 220 pF 47K ohm
DIGITAL I/O
S/PDIF 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 2 MIDI in, 2 MIDI out
ADAT
Firewire MIDI
SYNCHRONIZATION
Internal Crystal Sync: 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 RMS JITTER @ 44.1K (Measured via Audio Precision 2) 44.1kHz Internal Crystal 596ps 44.1 kHz Optical Input 795ps
108

GENERAL
Sample Rates 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 (JRC) 8 channels operational at 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz & 192kHz 1.25A @ +12V 15W.
Converters & OpAmps
WDM Drivers AudioDockM Power Use
ANALOG LINE INPUTS

Type Level (software selectable) Servo-balanced, DC-coupled, low-noise input circuitry Professional: +4 dBu nominal, 20 dBu maximum (balanced) Consumer: -10 dBV nominal, 6 dBV maximum (unbalanced) Frequency Response THD + N SNR Dynamic Range Channel Crosstalk Common-mode Rejection Input Impedance +/- .05dB, 20 Hz - 20 kHz -110 dB (.0003%) 1kHz at -1 dBFS 120 dB (A-weighted) 120 dB (A-weighted) < -115 dB, (1 kHz signal at -1 dBFS) > 40 dB at 60Hz 10K ohm
ANALOG LINE OUTPUTS

Type Level (software selectable) Balanced, low-noise, 2-pole low-pass differential lter Professional: +4dBu nominal, 20dBu (balanced) Consumer: -10dBV nominal, 6dBV maximum (unbalanced) Frequency Response THD + N SNR Dynamic Range Stereo Crosstalk Output Impedance E-MU Digital Audio System +0.0/-0.35 dB, 20 Hz - 20 kHz -105 dB (.0006%) 1kHz signal at -1dBFS 120 dB (A-weighted) 120 dB (A-weighted) < -120 dB, 1kHz 560 ohms 109

DIGITAL I/O
S/PDIF 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)
ADAT
Firewire MIDI
SYNCHRONIZATION
Internal Crystal Sync: 44.1kHz, 48 kHz, 88 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 RMS JITTER @ 44.1K (Measured via Audio Precision 2) 44.1 kHz Internal Crystal 596ps 44.1 kHz Optical Input 795ps
Dimensions & Weight

AUDIODOCK
Complete Product Weight: AudioDock Weight Alone: Dimensions: 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
1010 PCI Card

Weight: Dimensions: 0.30lb / 0.14kg L: 6.7" / 170.2mm
0202 Daughter Card

Weight: Dimensions: 0.25lb / 0.10kg L: 5.04" / 128mm
110
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 & Audio Recording ................................http://www.midiworld.com MIDI & Audio Recording ................................http://www.synthzone.com ASIO, Cubase & Digital Audio........................http://www.steinberg.net Cubase Users Group ........................................http://www.groups.yahoo.com/group/ cubase/messages
Forums
Unofcial E-MU Forum ............................http://www.productionforums.com/emu/ E-MU Newsgroup (Yahoo) .......................http://groups.yahoo.com/group/e-mu_1820/ KVR Forum.................................................http://www.kvr-vst.com/forum/search.php Driver Heaven Forum ...............................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&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. If your 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.
111
Declaration of Conformity
Trade Name: Model No.: E-MU Systems EM8810 & EM8820 EM8810, EM8830 & EM8840 EM8810, EM8830 & EM8841 E-MU Systems 1500 Green Hills Road, Scotts Valley, CA 95066 U.S.A.
Responsible Party: Address:
This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device 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 modications 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: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. 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
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 & 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 & 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.
113
114
Index Numerics
Index
B
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
0202 Daughter Card 18 1010 PCI Card 17 1-Band Para EQ 61 1-Band Shelf EQ 61 1-Time Jam Sync, SMPTE 94 3-Band EQ 62 48 Volt Phantom Power 20, 102 4-Band EQ 63 88kHz/96kHz Sample Rate 87 96kHz Sample Rate 87
C
Category create new preset 55 delete effects 55 rename effects 55 CDs, playing 34 Chorus 65 using freq. shifter 69 Clicks & Pops, in the audio 17, 98 Clipping Indicators 20 Clock, external 24, 30 Comb Filter 68 Compressor 65 Connecting, AudioDock 13 Connectors, interface 10 Core Effects descriptions 61 listing 60 Core FX Presets, importing/exporting 56
A
A/D - D/A Converter Type 1212 system 109 1820 system 106 1820M system 103 ADAT Optical at 96kHz & 192kHz 87 connection example 100 input/output connector 17 AES/EBU to S/PDIF Adapter 101 Analog I/O 0202 Daughter Card 18 AudioDock 22 Appearance, improving 102 ASIO direct monitor 39 send 36 Attack, compressor 66 AudioDock front panel indicators 21 inputs/outputs 19 installing power connector 13 rack mounting 14 Automating PowerFX 80 Auto-Wah 64 Aux Bus 44 Auxiliary Effects Assignment 50 Auxiliary Returns 50 Auxiliary Sends 44 used as extra mix busses 50
D
Damping, high frequency 71, 76 Decay Time, lite reverb 71 Decay Time, reverb 76 Delete folder 55 FX user preset 59 mixer strip 35 Diffusion 76 Digital Cables 102 Digital Interface, S/PDIF 17 Direct Sound Source 34 Distortion 67 Doppler, effect using Rotary 73 Drivers, installing 15 Drop-frame, SMPTE 95 DVD, playing in 5.1/7.1 surround 35 Dynamic Range 103, 106, 109
E
Echo, creating 72 E-Delay Compensator 84 Edge, distortion 67 EDI Connector 17, 23
115
Index F
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 & FX Insert Chains 56 External Clock 24, 30, 98, 100 External Mode, SMPTE 94 External Sync Source 30 Extra Buffers 79
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 & specifications 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 & 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
F
Factory Templates 29 Firewire Connector 18 Flanger 68 Flywheel Mode, SMPTE 94
116
Index J
types 36 Installing disk drive power cable 13 E-MU 0202 daughter card 12 E-MU 1010 PCI card 11 rubber feet 14 sync cables 24 sync daughter card 12 Interface ADAT 17 EDI 23 MIDI 18, 20, 23, 24 required cable 10, 23 S/PDIF 17, 20 SMPTE 24, 93 word clock 98 Invert, polarity 42
J
Jitter Spec 1212 system 110 1820 system 108 1820M system 105
L
Label, scribble strip 46 Latency, monitoring without 39 LED clock source 21 green 20 MIDI activity 21 red 20 sample rate indicator 21 Level Fader 46 Leveling Amp 70 Levels, setting input 40 LFO flanger 68 phase shifter 73 vocal morpher 77 Limiter 66 Line Level input/output audiodock 22 I/O daughter card 18 Lite Reverb 71 Loss of Sync 21 Low Frequency Damping 76 Low Frequency Decay Factor, lite reverb 71
M
Main bus 47 inserts 51
output fader 51 section 47 Master return level 47 send level 47 volume control 51 Meter insert 40 main output 51 setting input levels using 40 Microphone Preamps 20 MIDI I/O jacks 0202 Daughter Card 18 AudioDock 20, 23 input indicator 21 jacks 20, 23 settings 30 time code 98 Mini-Phone Outputs 23 Mixer block diagram 26 overview 25 strip 33 aux send 44 fader 46 insert 36 label 46 mute button 46 new 34 solo button 46 type 34 viewing 25 Mixer Strip add new 34 delete 35 type 34 Monitor balance control 51 mix 47 mute 47 output 22 level control 51 mute 51 Mono Delays 72 MTC 98 enabling 30, 98 to SMPTE Conversion 93 Multichannel WAVE Files 35 Mute mixer strip 46 monitor 47
117
Index N
N
New mixer strip 34 session 27, 28 Notes, Tips & Warnings 8
select user 58
Q
Quarter-Frame Messages 98
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
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 & 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
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 turntable 22 Pre-Delay, compressor 66 Pre-Fader Aux Sends 47 Preset create new 58 delete 59 overwrite effects 59 rename effects 59
118
Index T
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 & 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 Sound channel chart 35 playback 35 Sync Daughter Card, description 24 Sync/Sample Rate Indicators 50 Synchronization ADAT example 100 source 30 System Settings 29
U
Unbalanced Cables 102 User Preset, effect 58
V
Vocal Morpher 77 Volume Control 33
W
Wah-Wah 64 WDM Recording & 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
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 & Jacks 101 Turntable Inputs 22 Tutorial Getting in Sync 100 Making the Best Possible Recording 41 Setting up & using E-Wire 84 Setting up & using PowerFX 79 Using External Sends & Returns 38 TV Screen 47, 48
119
Index Z
Notes
120

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Digital Audio System

E-MU Digital Audio System

Software Version: 1.81

E-MU Digital Audio System

3 - PCI Card & Interfaces ................................................. 17

4 - The PatchMix DSP Mixer ............................................. 25

6 - Using High Sample Rates ........................................... 87

Index ............................................................................ 115

E-MU Digital Audio System

All Systems Include:

E-MU 1212M System

E-MU 1820 System

E-MU 1820M System

Notes, Tips and Warnings

2 - Installation Setting Up the Digital Audio System

your other gear.

Notes for Installation

E-MU Digital Audio System

2 - Installation Setting Up the Digital Audio System

Card/External S/PDIF In S/PDIF Out ADAT Optical In 1394

CAT5 Connector RCA Connector RCA Connector

2 - Installation Installing the E-MU 1010 PCI Card

Installing the E-MU 1010 PCI Card

IMPORTANT: Unplug the power cord from the wall outlet!

the slot as shown in gure 2.

E-MU Digital Audio System

s t ot sen ) Sl pre ter A be pu IS not com r ay ou (m n y o

2 - Installation Install the Sync Daughter Card or 0202 Daughter Card

Install the Sync Daughter Card or 0202 Daughter Card

Sync Daughter Card

0202 Daughter Card

2 - Installation Install the Sync Daughter Card or 0202 Daughter Card

E-MU 0202 & AudioDock

AudioDock Owners only

Power Converter Cable

E-MU 1010 PCI Card

connector is keyed and can only be inserted one way.

E-MU Digital Audio System

2 - Installation Install the Sync Daughter Card or 0202 Daughter Card

Rack Mounting the AudioDock

2 - Installation Software Installation

Windows 2000 or Windows XP

complete the installation.

warning screen. See the note below for more information.

Uninstalling all Audio Drivers and Applications

Note About Windows Logo Testing

E-MU Digital Audio System

2 - Installation Software Installation

3 - PCI Card & Interfaces The E-MU 1010 PCI Card

3 - PCI Card & Interfaces

Connects to Audio Dock via EDI Cable S/PDIF In/Out

S/PDIF Digital Audio Input & Output

ADAT or S/PDIF Optical In/Out Firewire

ADAT Optical Digital Input & Output

E-MU Digital Audio System

3 - PCI Card & Interfaces The 0202 Daughter Card

Sample Rate 44kHz/48kHz 88.2kHz/96kHz 176.4kHz/192kHz

The 0202 Daughter Card

Left / Right Line Inputs

Left / Right Line Outputs