Digital Audio System Owner's Manual Creative Professional 1
E-MU Digital Audio System Owner’s Manual © 2003 E-MU Systems All Rights Reserved Software Version: 1.81 E-MU World Headquarters Europe, Africa, Middle East E-MU Systems Creative Labs 1500 Green Hills Road Ballycoolin Business Park Scotts Valley, CA USA Blanchardstown 95067-0015 Dublin 15 IRELAND 2 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.
Table of Contents 1- Introduction ................................................................. 7 Welcome!.............................................................................................................................. 7 All Systems Include: ......................................................................................................... 7 E-MU 1212M System ....................................................................................................... 8 E-MU 1820 System ..
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 ............................
Effect ........................................................................................................................... 48 Input ........................................................................................................................... 49 Output ........................................................................................................................ 49 Auxiliary Effects & Returns ......................................................................................
E-Delay Compensator Use ......................................................................................... 85 E-Delay Units Parameter ............................................................................................ 85 Grouping Tracks ......................................................................................................... 86 6 - Using High Sample Rates ........................................... 87 Overview..................................................................
1- Introduction Welcome! 1- Introduction Welcome! Thank you for purchasing the E-MU 1820M, E-MU 1820 or E-MU 1212M digital audio system. Your computer is about to be transformed into a powerful audio processing workstation. We’ve designed this E-MU digital audio system to be logical, intuitive and above all, to provide you with pristine sound quality. All three systems offer unprecedented value by providing studio-quality, 24-bit/192kHz multi-channel recording and playback at an astounding price.
1- Introduction Welcome! outputs, virtual (ASIO/WAVE) inputs and outputs and internal hardware effects and buses—no external mixer needed. You can add digital effects, EQs, meters, level controls and ASIO/WAVE sends anywhere you like in the signal chain. Because the effects and mixing are hardware-based, there is no latency when you record.
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.
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 computer’s power off. Unplug the computer’s 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.
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.
2 - Installation Install the Sync Daughter Card or 0202 Daughter Card Install the Sync Daughter Card or 0202 Daughter Card • E-MU 1820M - If you’re planning to use Word Clock. MIDI Time Code or SMPTE sync, unwrap the Sync Daughter Card and get ready to install it. If you don’t need these options or don’t have an empty PCI slot, you can skip these next few steps. • E-MU 0202M - Unwrap the 0202 Daughter Card and get ready to install it. 1.
2 - Installation Install the Sync Daughter Card or 0202 Daughter Card 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).
2 - Installation Install the Sync Daughter Card or 0202 Daughter Card Rubber Feet Four rubber feet were included with the AudioDock. These feet should be used if you’re not going to rack mount the AudioDock. 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.
2 - Installation Software Installation Software Installation Installing the E-MU 1010 Drivers The first time you restart your PC after installing the E-MU 1010 PCI card, you will need to install the PatchMix DSP software and E-MU 1010 PCI card drivers. Windows 2000 or Windows XP The software is not compatible with other versions of Windows. 1. After you have installed your Digital Audio System, turn on your computer. Windows automatically detects the Digital Audio System and searches for device drivers.
2 - Installation Software Installation 16 Creative Professional
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-MU’s powerful E-DSP chip. The powerful hardware DSP on this card leaves more power free on your CPU for additional software plug-ins and other tasks. Connections EDI Connector EXTERNAL Connects to Audio Dock via EDI Cable S/PDIF In/Out ADAT or S/PDIF Optical In/Out Firewire Connects to the AudioDock using the supplied EDI cable.
3 - PCI Card & Interfaces The 0202 Daughter Card Sample Rate Number of Audio Channels 44kHz/48kHz 88.2kHz/96kHz 176.4kHz/192kHz 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.
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.
3 - PCI Card & Interfaces The AudioDock Front Panel Connections Insert 1/4" Plug for Line Level Signal/Clip Indicators -10dB to +25dB Gain A Line B Line Mic S/PDIF Optical Out Phantom Power On/Off Mic Clip Clip -12 dB -12 dB LED Indicators MIDI 48V MIDI 1 CLOCK 1 LCK 44.
3 - PCI Card & Interfaces The AudioDock The AudioDock Front Panel Indicators MIDI CLOCK 1 LCK 44.1 2 EXT 48 SMPTE 96 192 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 reflect the current settings in the Session Settings Window. See System Settings.
3 - PCI Card & Interfaces The AudioDock Rear Panel Connections Turntable Inputs Turntable Ground 6 Balanced Line Level Inputs (configured as 3 stereo pairs) 1L 1R 2L 2R 3L (tied to line input 3) 3R 3L Phono 3R Gnd Alternate Outputs (same as outputs 1-4) 1 L/ R 2 L/ R 3 L/R 4 L/R Out In Card Monitor Out 1L 1R 2L 2R 3L 3R 6 Balanced Line Level Outputs (configured as 3 stereo pairs) 4L 4R Monitor Outputs In MIDI 2 Out MIDI Port 2 In/Out Connect to E-MU 1010 Card Line Level An
3 - PCI Card & Interfaces The AudioDock Computer Speaker Analog Outputs These stereo mini-phone (3.5mm) jacks duplicate line level outputs 1-4 with a lower output level to accommodate consumer speakers. These line level outputs are designed to interface easily with powered speakers.
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.
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.
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 session’s current sample rate and whether it’s set to internal or external clock.
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. f Restore Defaults: Always try this option first if PatchMix is crashing or if you are having any other strange audio problems.
4 - The PatchMix DSP Mixer The Session The Session The current state of the PatchMix DSP mixer (fader settings, effects routings…everything!) 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.
4 - The PatchMix DSP Mixer The Session You can now select one of the factory template sessions. The factory templates are preprogrammed with specific setups such as audio recording or mixing. The selector tabs categorize Template Sessions into three groups based on sample rate, 44.1kHz/48kHz, 88.2kHz/96kHz, and 176.4kHz/192kHz. You can create your own templates by simply copying or saving sessions into the “Session Templates” folder (Program Files\Creative Professional\E-MU PatchMix DSP\Session Templates).
4 - The PatchMix DSP Mixer The Session The System Settings include the following: • Internal/External Clock Selects between internal or external word clock source as the master clock source for the system • Sample Rate Selects the sample rate when using internal clock. Your choices are: 44.1kHz, 48kHz, 88.2 kHz, 96kHz, 176.4kHz, 192kHz. • External Clock Source (ext. clock only) Select from: ADAT, S/PDIF, or Word Clock (Sync card only) as an external sample clock source.
4 - The PatchMix DSP Mixer The Session I/O Settings You can set the level (-10dBV or +4 dBu) for each pair of analog outputs and the input gain setting for each pair of analog inputs. An output setting of +4 provides the most output and is compatible with professional audio gear. Balanced output cables provide a +6dB hotter signal than unbalanced cables when used with balanced inputs. Do NOT use balanced cables unless your other gear has balanced inputs.
4 - The PatchMix DSP Mixer The Session • Inputs +4 or -10 Selects between Consumer level (-10dBV) or Professional level (+4dBu) inputs. (Use the -10dBV setting if your input is too weak.) • Outputs +4 or -10 Selects between Consumer level (-10dBV) or Professional level (+4dBu) outputs. (The +4 dBu setting outputs a hotter level.) • PCI Card Optical Input Selects between ADAT or optical S/PDIF for the 1010 PCI card ADAT Input. The coaxial S/PDIF input is disabled when S/PDIF optical is selected.
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 Effects, EQ, External/Host Sends & Returns can be inserted into the signal path. • Pan Controls These controls position the signal in the stereo sound field. • Aux Sends Used to send the signal to sidechain effects or to create separate mixes.
4 - The PatchMix DSP Mixer Mixer Strip Creation Mixer Strip Creation PatchMix DSP is a dynamically configurable mixer. Each mixer session can contain an arbitrary number of strips up to a limit set by the number of available input sources and available DSP resources. To Add a New Strip: 1. Click on the “New Mixer Strip” button. See Overview of the Mixer 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.
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.
4 - The PatchMix DSP Mixer Mixer Strip Creation Insert Section The Insert Section is next in line. PatchMix DSP effects can be selected from the Effects Palette and dropped into the insert locations. See “The Effects Palette”. Any number of effects can be inserted in series. The Inserts also have the unique ability to patch into ASIO/WAVE and external equipment. ASIO/WAVE Sends, External Sends and External Send/Returns can be dropped into the insert section to route the signal anywhere you want.
4 - The PatchMix DSP Mixer Mixer Strip Creation The Insert Menu Right-Clicking over the insert section brings up a pop-up selection box containing various insert options to help you control and manage your inserts. 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.
4 - The PatchMix DSP Mixer Mixer Strip Creation Input To Physical Output From Physical Input Insert Send/Return Panning Fader 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. Aux 1 Bus Aux 2 Bus 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.
4 - The PatchMix DSP Mixer Mixer Strip Creation ASIO Direct Monitor Send/Return This type of insert send breaks the signal at the insert point and sends it out to the selected ASIO Host Input destination (such as Cubase or Sonar). A return source signal is also selected which returns the signal to the channel strip from an ASIO Host Output. The ASIO Direct Monitor Send/Return is unique in that it utilizes ASIO 2.0 zero-latency monitoring.
4 - The PatchMix DSP Mixer Mixer Strip Creation Meter Inserts Keeping track of signal levels is important in any audio system, be it analog or digital. You want to keep the signal levels running as close to maximum in order to achieve high resolution and low noise. On the other hand, you don’t want the signal level so high as to cause clipping. To help you maintain optimum signal levels, we have included Peak Level Meters, which can be dropped into any insert location.
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.
4 - The PatchMix DSP Mixer Mixer Strip Creation Trim Pot Insert The Trim Pot Insert allows you to adjust the level of a signal in an insert location. The trim pot provides up to ±30dB of gain or attenuation and a phase inverter. The trim pot also has a built-in stereo peak meter after the control. Gain/Attenuation Phase Invert 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.
4 - The PatchMix DSP Mixer Mixer Strip Creation 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. f Tip: Select the Insert and press the Delete key to delete the plug-in from the strip. 3. The insert(s) are deleted from the insert chain.
4 - The PatchMix DSP Mixer Mixer Strip Creation Aux Section The Auxiliary Sends tap the signal from the channel strips and sum them together before sending the mix to the Auxiliary Effects section. In a traditional mixing console, aux sends are used to send part of the signal to outboard effect devices, then return the effected signal back into the mix using the effect returns.
4 - The PatchMix DSP Mixer Mixer Strip Creation 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.
4 - The PatchMix DSP Mixer Mixer Strip Creation 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 flow. On stereo strips we use an unconventional pan section with two pan pots – one for the left part of the signal and one for the right part of the signal. This feature allows you to independently position both sides of the stereo signal.
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 Main Insert Section Master Aux Return Amounts Sync & Sample Rate Indicators 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.
4 - The PatchMix DSP Mixer Main Section 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 display—Effect, Inputs or Outputs. Effect Select the Effect display view in the main section, then click on an Effect Insert to display the effect parameters.
4 - The PatchMix DSP Mixer Main Section Input Selecting the Input display view shows a graphic representation of the PatchMix DSP Mixer inputs. This screen is only a display, unlike the Effects and Outputs screens, which allow you to make routing changes. Input routing changes are made by adding mixer strips. See Mixer Strip Creation. The input routings are divided into two categories: Physical Inputs and Host Inputs. Select either category by clicking on the Physical or Host button.
4 - The PatchMix DSP Mixer Main Section 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.
4 - The PatchMix DSP Mixer Main Section Output Section Clip Indicators Main Output Level Fader Sync/Sample Rate Indicators Main Insert Section Monitor Mute Monitor Balance Output Level 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.
4 - The PatchMix DSP Mixer Main Section 52 Creative Professional
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 don’t place any load on your host computer.
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.
5 - Effects The Effects Palette 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.
5 - Effects The Effects Palette Importing and Exporting Core FX Presets and FX Insert Chains These utilities make it easy to import or export your FX Presets and FX Insert Chains. You can share presets with your friends or download new presets from the Internet. 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”).
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.
5 - Effects FX Edit Screen Method #2 1. Right-click over the Insert Effect you want to Solo (in the Insert section). A pop-up menu appears. 2. Select “Solo Insert” from the list of options. The other Insert Effect names in the strip will “gray-out” to indicate that they are bypassed. 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.
5 - Effects FX Edit Screen 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 confirm 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.
5 - Effects List of Core Effects List of Core Effects Stereo Reverb Frequency Shifter Mono Delay 750 Lite Reverb Auto-Wah Mono Delay 1500 Compressor Vocal Morpher Mono Delay 3000 Leveling Amp 1-Band Para EQ Stereo Delay 100 Chorus 1-Band Shelf EQ Stereo Delay 250 Flanger 3-Band EQ Stereo Delay 500 Distortion 4-Band EQ Stereo Delay 750 Speaker Sim Mono Delay 100 Stereo Delay 1500 Rotary Mono Delay 250 Phase Shifter Mono Delay 500 DSP Resource Usage There are two main factors whic
5 - Effects Core Effects Descriptions Core Effects Descriptions 1-Band Para EQ 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 Boost Width Gain + Cut -15dB Center Frequency Parameter Description Gain Sets the amount of cut (-) or boost (+) of the selected frequency band.
5 - Effects Core Effects Descriptions 3-Band EQ This versatile equalizer provides two shelving filters at the high and low ends of the frequency range and a fully parametric band in the center. Up to ±24 dB of boost or cut is provided for each band. Low Shelf Corner Freq. Boost + Cut +24dB Gain Mid Band - High Shelf Corner Freq. E Note: The Wet/Dry Mix control on an equalizer should normally be set to 100% wet or unpredictable results may occur.
5 - Effects Core Effects Descriptions 4-Band EQ This 4-band equalizer provides two shelving filters at the high and low ends of the frequency range and two fully parametric bands in the center. Up to ±24 dB of boost or cut is provided for each band. Note: The Wet/Dry Mix control on an equalizer should normally be set to 100% wet or unpredictable results may occur. For more information about setting up a parametric EQ, see page 62.
5 - Effects Core Effects Descriptions Auto-Wah This effect creates the sound of a guitar wah-wah pedal. The “Wah” filter sweep is automatically triggered from the amplitude envelope of the input sound. Auto-wah works well with percussive sounds such as guitar or bass. The Auto-Wah is a bandpass filter whose frequency can be swept up or down by an envelope follower, which extracts the volume contour of the input signal.
5 - Effects Core Effects Descriptions 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).
5 - Effects Core Effects Descriptions Basic Controls The three main controls of a compressor are the Ratio control, the Threshold control and the Gain control. If the signal falls below the Threshold, no processing will take place. Signals exceeding the Threshold will have gain reduction applied as set by the ratio control. This important control allows you to dial in the range of amplitudes you want to tame.
5 - Effects Core Effects Descriptions Parameter Description Attack Time Controls how quickly the gain is turned down after the signal exceeds the threshold. Range .1ms to 500ms Release Time Controls how fast the gain is returned to its normal setting after the signal has fallen below the threshold. Range: 50ms to 3000ms Pre-Delay Allows the use of slower attack times without missing signal peaks. Range: 0ms to 3 ms Input Meter Allows you to monitor the strength of the input signal.
5 - Effects Core Effects Descriptions Flanger A flanger is a very short delay line whose output is mixed back together with the original sound. Mixing the original and delayed signals results in multiple frequency cancellations known as a comb filter. Since the flanger is a type of filter, 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.
5 - Effects Core Effects Descriptions Freq Shifter This unusual effect is sometimes called “spectrum shifting” or “single sideband modulation”. Frequency shifting shifts every frequency in the signal by a fixed number of Hz which causes the harmonics to lose their normal relationship. The more common pitch shifter, in contrast, preserves the harmonic relationships of the signal and so is better suited to creating “musical” harmonies. This isn’t to say that the frequency shifter can’t be used musically.
5 - Effects Core Effects Descriptions Leveling Amp The first compressors developed in the 1950’s were based on a slow-acting optical gain cells which were able to control the signal level in a very subtle and musical way. This effect is a digital recreation of the leveling amps of yesteryear. The leveling amp uses a large amount of “lookahead delay” to apply gentle gain reduction. Because of this delay, the leveling amp is not suitable for applications which require realtime monitoring of the signal.
5 - Effects Core Effects Descriptions Lite Reverb Reverberation is a simulation of a natural space such as a room or hall. The Lite Reverb algorithm is designed to simulate various rooms and reverberation plates while using fewer DSP resources than the Stereo Reverb. Up to five Lite Reverbs can be used at once. Decay time defines the time it takes for the reflected sound from the room to decay or die away. The diagram below shows a generalized reverberation envelope.
5 - Effects Core Effects Descriptions Mono Delays - 100, 250, 500, 750, 1500, 3000 A delay line makes a copy of the incoming audio, holds it in memory, then plays it back after a predetermined time. The delay number refers to the maximum delay time that can be produced by the delay line. The six lengths, from 100 ms to 3 seconds, allow you to make the most efficient use of the effect memory resource. Long delays produce echoes, short delays can be used for doubling or slapback effects.
5 - Effects Core Effects Descriptions Phase Shifter A phase shifter produces a fixed number of peaks and notches in the audio spectrum which can be swept up and down in frequency with a low frequency oscillator (LFO). This creates a swirly, ethereal sound with harmonically rich sound sources of a type of pitch shift with simpler sounds. The phase shifter was invented in the 1970’s and the characteristic sound of this device evokes emotions of that musical era.
5 - Effects Core Effects Descriptions Speaker Simulator The Speaker Simulator provides realistic guitar speaker responses and is designed for use with guitar, bass or synthesizer. Twelve popular guitar amp 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 Description British Stack 1 & 2 Modeled from a British 8-speaker high power amplifier stack.
5 - Effects Core Effects Descriptions Stereo Delays - 100, 250, 500, 750, 1500 The Stereo Delays are true stereo delay lines in that the left and right channels are kept entirely separate from each other. The delay number refers to the maximum delay time that can be produced by the delay lines. The five different lengths, from 100 ms to 1.5 seconds, allow you to make the most efficient use of the effect memory resource.
5 - Effects Core Effects Descriptions Stereo Reverb Reverberation is a simulation of a natural space such as a room or hall. The stereo reverb algorithm is designed to simulate various halls, rooms and reverberation plates. Decay time defines the time it takes for the reflected sound from the room to decay or die away. The diagram below shows a generalized reverberation envelope. Early Reflections Late Reverb Time After a short pre-delay period, the echoes from the closest walls or ceiling are heard.
5 - Effects Core Effects Descriptions 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.
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 are not available at 96kHz and 192kHz sample rates.
5 - Effects E-MU PowerFX Parameter Description Preferences 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.
5 - Effects E-MU PowerFX Automating E-MU PowerFX E-MU PowerFX can be automated in Cubase LE (or other recording host) just like any other VST effect. When “Write Automation” is activated in Cubase LE, control changes made in the PowerFX window during playback will be recorded on a special “Audio Mix” track located at the bottom of the Arrange Window. When “Automation Read” is activated, the recorded control changes will be played back. Steinberg Cubasis does not have the control automation feature.
5 - Effects E-MU PowerFX E-MU PowerFX Compatibility Chart Application Name Compatible? Note Render Extra Buffers Steinberg Cubase VST 5.
5 - Effects Rendering Audio with E-MU PowerFX Rendering Audio with E-MU PowerFX Rendering (sometimes called Export) is a mixdown process performed by the host application, which creates a new digital audio file from a multitrack 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.
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.
5 - Effects E-MU E-Wire VST 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.
5 - Effects E-MU E-Wire VST Currently automatic delay compensation is supported by the Steinberg 2.0 family (Nuendo 2.x, Cubase SX 2.0, Cubase LE 2.0,), Magix Samplitude 7.x, and Sonar (using the Cakewalk VST adapter 4.4.1), but not by Steinberg Cubase VST 5.1 and Cubasis. The E-Delay Compensator utility plug-in is used to manually compensate for the transfer delay for hosts that DO NOT support plug-in delay compensation.
5 - Effects E-MU E-Wire VST In practical use, however, you’ll probably never need to use more than one E-Wire VST on a single track since PowerFX effects can be placed in series. We have included this feature “just in case” you need it. Here’s one more example of how to use the E-Delay Compensator with different numbers of PowerFX/E-Wire sends on each track. The delay compensation on each track must equal the track with the maximum number of PowerFX/E-Wire sends. See the diagram below.
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.
6 - Using High Sample Rates Overview Input/Output - 88.2 kHz/96 kHz A Line B Line Mic Mic Clip Clip -10 dB -10 dB MIDI 48V MIDI 1 CLOCK 1 LCK 44.1 2 EXT 48 ADOCK SMPTE 96 192 IN OUT S/PDIF Line Mic - +30 dB +60 dB -10 dB +20 dB +30 dB +60 dB -10 dB +20 dB In Out Out ADAT enabled 1L 2L 1R 3L 2R 3R 4 Chan. Sr L / R L/R Gnd 3L Phono 3R Ctr/ Sub 4 Chan.
6 - Using High Sample Rates Overview E-MU 1820 System at 176.4kHz or 192kHz (1010 PCI Card & AudioDock) At the highest sample rate you have 4 inputs and 10 output channels. There are four possible input configurations when using the E-MU 1820 system at 176.4kHz or 192kHz. Each of the three options provides four input channels.
6 - Using High Sample Rates Overview Microphone & Line 3 Input enabled A Line B Line Mic ADOCK Mic Clip Clip -10 dB -10 dB MIDI 48V MIDI 1 CLOCK 1 LCK 44.1 2 EXT 48 SMPTE 96 192 IN OUT S/PDIF Line Mic - +30 dB +60 dB -10 dB +20 dB 1L 2L 1R +30 dB +60 dB -10 dB +20 dB 3L 2R In 3R Out Out 3L Phono 3R Sr L/ R L/R Gnd Ctr / Sub 2 Chan.
6 - Using High Sample Rates Overview WDM Recording and Playback Behavior WDM recording and playback is supported at all PatchMix sample rates. The behavior of the driver with respect to PatchMix sample rate is described below. When PatchMix and the WDM audio content (.WAV file format, playback and record settings in WaveLab. etc.
6 - Using High Sample Rates Overview 92 Creative Professional
7 - Appendix Sync Daughter Card Supplement 7 - Appendix Sync Daughter Card Supplement SMPTE Conversion One of the main functions of the Sync Daughter Card is to convert SMPTE (LTC) to 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.
7 - Appendix Sync Daughter Card Supplement Mode (fps) Sets the transmitted frame rate when striping SMPTE. SMPTE Striping Edit this field to set the start time in hours:minutes:seconds:frames for striping SMPTE. Stripe Button Initiates SMPTE Time Code generation at the SMPTE output beginning at the time set in the striping display. Stop Button Stops SMPTE striping. This button also stops SMPTE when One-Time Jam Sync has been initiated. Flywheel Mode Selects one of the four Flywheel modes.
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.
7 - Appendix SMPTE Background time! (A one hour program would actually be 59 minutes and 56.4 seconds long.) Drop frame was designed to correct this time difference. In 30 Drop Frame, every minute except 00-10-20-30-40-50 have the first two frames, 00 and 01, “dropped”, hence the name drop-frame. Why use SMPTE? SMPTE sync, although well over 30 years old, has the advantage of being able to be recorded as an audio track.
7 - Appendix SMPTE Background 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.
7 - Appendix MIDI Time Code (MTC) MIDI Time Code (MTC) MIDI time code is basically SMPTE time code adapted to the world of MIDI. MTC specifies “absolute” location information in hours:minutes:seconds:frames, just like SMPTE. There are two main kinds of messages in MTC: Full-frame messages and Quarter-frame messages. Full-frame messages are ten bytes long and are sent when SMPTE start, stops, or relocates.
7 - Appendix Word Clock In/Out Digital Device 1 Digital Device 3 Digital Device 2 Digital Device 4 House Sync Generator 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.
7 - Appendix Getting in Sync Getting in Sync Whenever you connect external digital audio devices together, you need to be aware of how they are synchronized to each other. Simply connecting digital out to digital in doesn’t guarantee that two digital devices are synced, even if audio is being passed. Unless you have set one to be the Master and the other a Slave, they are probably NOT synchronized and the quality of your audio will suffer. S/PDIF and ADAT are two commonly used digital audio formats.
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.
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.
7 - Appendix Technical Specifications Technical Specifications Specifications: 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) Bit Depth 16 or 24-bits Hardware DSP 100MIPs custom audio DSP. PCI Bus-Mastering DMA subsystem reduces CPU usage. Zero-latency direct hardware monitoring with effects.
7 - Appendix Technical Specifications Specifications: 1820M System MIC PREAMP/LINE INPUT Type TFPro™ combination microphone preamp and line input Frequency Response +0.8/-0.1 dB, 20 Hz - 20kHz Stereo Crosstalk < 120 dB, 1kHz LINE INPUT Gain Range: -12 to +28 dB Max Level: -17 dbV (19.2 dBu) THD+N: -100 dB (.001%), 1 kHz at -1 dBFS Dynamic Range: 107 dB (A-weighted, min. gain) SNR: 107 dB (A-weighted, min.
7 - Appendix Technical Specifications Specifications: 1820M System TURNTABLE INPUT RIAA equalized phono input Frequency Response: +/-0.5 dB, 50 Hz - 20 kHz THD+N: -76 dB (.
7 - Appendix Technical Specifications Specifications: 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) Bit Depth 16 or 24-bits Hardware DSP 100MIPs custom audio DSP. PCI Bus-Mastering DMA subsystem reduces CPU usage.
7 - Appendix Technical Specifications Specifications: 1820 System MIC PREAMP/LINE INPUT Type TFPro™ combination microphone preamp and line input Frequency Response +0.8/-0.1 dB, 20 Hz - 20kHz Stereo Crosstalk < 120 dB, 1kHz LINE INPUT Gain Range: -12 to +28 dB Max Level: -17 dbV (19.2 dBu) THD+N: -94 dB (.002%), 1 kHz at -1 dBFS Dynamic Range: 100 dB (A-weighted, min. gain) SNR: 100 dB (A-weighted, min.
7 - Appendix Technical Specifications Specifications: 1820 System TURNTABLE INPUT RIAA equalized phono input Frequency Response: +/-0.5 dB, 50 Hz - 20 kHz THD+N: -76 dB (.
7 - Appendix Technical Specifications Specifications: 1212 System 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) Bit Depth 16 or 24-bits Hardware DSP 100MIPs custom audio DSP. PCI Bus-Mastering DMA subsystem reduces CPU usage.
7 - Appendix Technical Specifications Specifications: 1212 System 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) ADAT • 8 channels, 24-bit @ 44.1/48 kHz • 4 channels, 24-bit @ 96 kHz • 2 channels, 24-bit @ 192 kHz Firewire 400 IEEE 1394a port (6-pin) Compatible with DV cameras or HDs MIDI 1 MIDI in, 1 MIDI out (16 channels) SYNCHRONIZATION Internal Crystal Sync: 44.
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.
7 - Appendix Internet References Declaration of Conformity Trade Name: E-MU Systems Model No.: EM8810 & EM8820 EM8810, EM8830 & EM8840 EM8810, EM8830 & EM8841 Responsible Party: E-MU Systems Address: 1500 Green Hills Road, Scotts Valley, CA 95066 U.S.A. This device complies with Part 15 of the FCC rules.
7 - Appendix Internet References 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.
7 - Appendix Internet References 114 Creative Professional
Index Numerics Index B Numerics C 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 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
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 7
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
Index N select user 58 N New mixer strip 34 session 27, 28 Notes, Tips & Warnings 8 O OpAmp Type 1212 system 109 1820 system 106 1820M system 103 Optical Cables 102 Output fader, main 51 level line 22 meters 51 monitor 51 SMPTE 94 reduction at high sample rates 89 routing display 49 section 51 P Palette, effects 53 Pan 46 Pan Controls 33 Parametric EQ, setting up 62 PatchMix DSP, disabling 27 Peak Meters 40 Phantom Power 20 description 102 Phase Invert 42 Phase Shifter 73 Phattening, using chorus 65 Pho
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
Index Z Notes 120 Creative Professional
