820 1820 Owner’s Manual
E-MU 1820m - 1820 - 1212m PCI Digital Audio System Owner’s Manual © 2003 E-MU Systems All Rights Reserved Software Version: 2.00 E-MU World Headquarters Europe E-MU Systems Creative Labs 1500 Green Hills Road Ballycoolin Business Park Scotts Valley, CA USA Blanchardstown 95066 Dublin 15 IRELAND Asia Pacific, Africa, Middle East Creative Technology Ltd.
Table of Contents 1- Introduction ................................................................. 9 Welcome!.............................................................................................................................. 9 All Systems Include: ......................................................................................................... 9 E-MU 1212M System ..................................................................................................... 10 E-MU 1820 System ...
The AudioDock Front Panel Indicators ........................................................................ 23 The MIDI Input Indicators ......................................................................................... 23 The Clock Source and Sample Rate Indicators ......................................................... 23 The Clock Source LEDs .............................................................................................. 23 The Sample Rate Indicators ............................
Effect ........................................................................................................................... 50 Input ........................................................................................................................... 51 Output ........................................................................................................................ 51 Auxiliary Effects & Returns ......................................................................................
Gain Reduction Meter ................................................................................................ 82 Reshaper ......................................................................................................................... 83 Applications ................................................................................................................ 83 Multimode EQ ...............................................................................................................
- Appendix ................................................................. 117 Sync Daughter Card Supplement .................................................................................... 117 SMPTE Conversion ...................................................................................................... 117 SMPTE Features ........................................................................................................ 117 SMPTE Options ................................................
E-MU 1820M/1820/1212M PCI Digital Audio System
1- Introduction Welcome! 1- Introduction Welcome! Thank you for purchasing the E-MU 1820M, E-MU 1820 or E-MU 1212M digital audio system. Your computer is about to be transformed into a powerful audio processing workstation. We’ve designed this E-MU digital audio system to be logical, intuitive and above all, to provide you with pristine sound quality. All three systems offer 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 XP, Windows XP x64, Windows Vista, Windows Vista x64 The software is not compatible with other versions of Windows. 1. After you have installed your Digital Audio System, turn on your computer.
2 - Installation Software Installation Note About Windows Logo Testing When you install the Digital Audio System drivers, you will see a dialog box informing you either that the driver has not been certified by Windows Hardware Quality Labs (WHQL), or that the driver is signed by Creative Labs, Inc, and you will be asked if you would like to continue with the installation.
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 -10dB to +25dB Gain Insert XLR Plug for Mic Level +20dB to +55dB Gain Signal/Clip Indicators Phantom Power On/Off Input Gain Controls S/PDIF Optical Out MIDI #1 I/O Jacks Headphone Output LED Indicators 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.
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 6 Balanced Line Level Inputs (configured as 3 stereo pairs) 6 Balanced Line Level Outputs (configured as 3 stereo pairs) Turntable Inputs Turntable Ground (tied to line input 3) Monitor Outputs Alternate Outputs (same as outputs 1-4) 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).
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. You must create a strip for each mono or stereo audio input, and for each ASIO stream you wish to use in your software application.
4 - The PatchMix DSP Mixer Mixer Strip Creation Mixer Strip Type Function 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 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.
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. From Left Input To Recording Application To connect an input to your recording software: Add a Host ASIO Insert. 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.
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 54 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 The Order of Effects PatchMix DSP allows you to record your tracks without effects (dry) and monitor with effects enabled (wet). It works like this: If the effect is inserted BEFORE the ASIO send in the signal path, it will get recorded; if the effect is inserted AFTER the ASIO send, it will not be recorded. Recording dry allows you to hear your performance with effect (to get the proper feel), but gives you the flexibility to add or modify effects later during mixdown.
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 Rotary Mono Delay 250 Lite Reverb Phase Shifter Mono Delay 500 RFX Compressor Frequency Shifter Mono Delay 750 Compressor Auto-Wah Mono Delay 1500 Reshaper Vocal Morpher Mono Delay 3000 gate 1-Band Para EQ Stereo Delay 100 Leveling Amp 1-Band Shelf EQ Stereo Delay 250 Chorus 3-Band EQ Stereo Delay 500 Flanger 4-Band EQ Stereo Delay 750 Distortion Multimode EQ Stereo Delay 1500 Speaker Sim Mono Delay 100 DSP
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 64.
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 Core Effects Descriptions Gate This stereo noise gate is useful both for background noise reduction applications and also for special effects. The gate uses an envelope follower and threshold detector to turn on its output when the input signal is above the turn-on threshold, and shut down its output when the signal falls below the shut-off threshold.
5 - Effects Core Effects Descriptions Parameters Threshold When the input signal rises above the level set by the Threshold parameter, the Gate is triggered to turn on and go from its maximum gain reduction level up to 0dB gain. The turn-on threshold is adjustable anywhere between -70dB and 0dB (below the PatchMix nominal operating point of -12dBFS.
5 - Effects Core Effects Descriptions Level Meter This meter represents the input signal level in dB, and is in fact the output of the Gate's envelope follower. Since the envelope follower is driven by the greater of the left or right channel, this monophonic meter represents the greater of the two input signals. Gain Reduction Meter This meter shows the value in dB of the gate control signal which is used to boost or attenuate the input signal.
5 - Effects Core Effects Descriptions Reshaper The Reshaper effect is a special purpose dynamics modification program, designed to “resculpt” the amplitude envelope of an audio signal. The effect uses an envelope follower and threshold detector to drive an ADSR-type gain stage, which can impose new attack, decay, sustain and release profiles on the signal's original envelope.
5 - Effects Core Effects Descriptions Attack, Decay and Release times are all adjustable, and the shape of each of these segments is selectable between exponential, linear, or logarithmic. An additional Hold Time can be used to extend the Sustain phase past the point where the signal has passed the Release Threshold.
5 - Effects Core Effects Descriptions Parameter Description Release Threshold This parameter controls the level in dB below the Attack Threshold at which the Release phase of the ADSR will begin. Attack Retrigger By default, when the value of this parameter is Disabled, the Reshaper's ADSR engine will wait until at least the Release phase of a cycle before restarting a new Attack phase.
5 - Effects Core Effects Descriptions Multimode EQ The Multimode EQ is a flexible stereo filter that is capable of implementing a range of powerful filter topologies. It is useful both for utility EQ applications and also for special effects.
5 - Effects Core Effects Descriptions Parameters While the Multimode EQ has many parameters applicable to the various possible configurations of channels and filters, it selectively enables or hides parameters depending on their applicability to the current configuration. As a result, not all of the parameters listed below appear on-screen at the same time.
5 - Effects Core Effects Descriptions Highpass -> Lowpass In this mode, the Lowpass and Highpass filters are connected in series and both sets of Lowpass and Highpass parameters are exposed and independently editable to create the overall filter response. The maximum rolloff slope of each filter is limited to 24dB/ octave in this mode. In Highpass -> Lowpass mode, the effect does not place any limitations on the Frequency parameters of one filter relative to the other.
5 - Effects Core Effects Descriptions However, when the Highpass Freq parameter is lower than the Lowpass Freq parameter, the combined filter response is basically flat, since the passbands of each filter combine to admit the entire spectrum. An exception occurs when there is resonance added to the filters - you'll hear the resonant peaks as increased gain above the otherwise flat spectral response.
5 - Effects Core Effects Descriptions RFX Compressor The RFX Compressor is a full-featured stereo compressor effect which features the standard parameters available on most compressors as well as a collection of additional advanced parameters that are useful for more sophisticated applications and special effects: • Threshold, Ratio, Attack and Release w/gain metering • Auto-makeup gain • Adjustable soft knee • Adjustable lookahead/delay • Noise gate (downward expander) • Compressor “tail” expansion • Prog
5 - Effects Core Effects Descriptions The wide dynamic range of the RFX Compressor aside, it's generally a good idea to maintain the hottest signal levels possible without clipping at the input to any audio processor. Parameters Threshold Threshold sets the input signal level above which dynamic range compression takes place. Everything above the threshold will be brought down in volume. The compression threshold ranges from -0 to -60dB, relative to full scale (0dBFS) input.
5 - Effects Core Effects Descriptions Gain Sets the compressor's output gain in dB, from +60dB boost to-60dB cut. This control follows all of the other elements in the compressor's signal path, so positive gain boost can be used to make up for the gain reduction normally applied to signals above the compression threshold. Alternatively, negative gain cut can be used to make up for the gain increase that is applied to signals below the threshold in Soft Knee mode.
5 - Effects Core Effects Descriptions Soft Knee (Varying the Soft Knee Threshold) 0dB Threshold: -20dB Ratio = 4:1 -20dB Knee Threshold -10dB Threshold -20dB Threshold -30dB -80dB This diagram shows the effect of varying the Soft Knee Threshold. Compression is 1:1 (no compression) at the Knee Threshold and smoothly transforms into the selected compression ratio at the Compression Threshold. The upward arrow shows the additional gain added to signals below the Threshold.
5 - Effects Core Effects Descriptions Gate This parameter enables automatic gain reduction on signals that fall from 1 to 120dB below the Threshold point (or Soft Knee threshold, if enabled.) This can act effectively as a “noise gate” on low-level signals that have been boosted by the action of the Gain or Soft Knee parameters. The gating action follows a somewhat soft-kneed contour of its own so that turn-on and turn-off at the gate threshold is not too abrupt.
5 - Effects Core Effects Descriptions “bite” of signal attacks while subsequently compressing the sustained portions of the sound. In general, both positive and negative values of this parameter are useful for applications where the normal envelope of a signal is being creatively manipulated to achieve special effects. Auto-Release This parameter causes the effective Release time to be extended automatically based on the dynamics of the input signal.
5 - Effects Core Effects Descriptions Max Compression This parameter is used to limit the amount of gain reduction that the compressor can apply. The limit is set as a maximum number of dB of gain reduction, from 3dB to UNLIMITED. Max. Compression 0dB Max. Comp. = 6dB Max. Comp. = 15dB -30dB Max. Comp. = 24dB Threshold: -30dB Ratio = 4:1 -80dB This feature emulates the phenomenon of the compression “tail” found in the gain curves of some classic analog compressor/limiters.
5 - Effects Core Effects Descriptions The diagram above shows the gain curves using a Threshold at -30dB and a range of negative compression ratios. At just past 1:INFINITE, the setting of 1:-100 causes input signals approaching 0dB to be only slightly decreased below -30dB. In contrast, the compression ratio of 1:-1 causes a 2dB gain reduction for each 1dB of additional input signal level, resulting in an output signal level that is folded down over the Threshold.
5 - Effects Core Effects Descriptions Example Settings Here we have provided a few examples to show the varied uses of this useful tool. Bear in mind that these examples are simply starting points and that you will undoubtedly need to fine tune the parameters to fit the program material and to suit your own taste. Increase Drum Punch: Adjust the Threshold control to control the amount of compression. • • • • • • • • Threshold: Adjust so that all hits are being compressed.
5 - Effects Core Effects Descriptions Vocal Compression/Spoken Word: This setup compresses the entire dynamic range of the vocal. Whenever there is a signal present, there is some compression taking place. • Threshold: Adjust so that the first bar of the meter comes on even on soft passages. • Ratio: 2:1 • Attack: 0.1 msec • Release: 100 msec • Gain: Set to compensate for lost gain. • Soft Knee: Off • Gate: Off • Comp. Lookahead: 0 msec • Auto-release: Off • Max.
5 - Effects Core Effects Descriptions Creating a De-esser: A de-esser reduces the sibilance or “sss” sound in a vocal part. The sidechain feature of the RFX Compressor makes it possible to create a effective de-esser using the compressor and the Multimode EQ. The Wet/Dry Mix on each effect should be set to 100% The idea is to boost the high frequency content going to the sidechain (R input) so that the compressor will turn down the volume in the presence of sibilance.
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.
5 - Effects E-MU E-Wire VST 110 Creative Professional
6 - Using High Sample Rates Overview 6 - Using High Sample Rates Overview When operating at 88.2k, 96k, 176.4k and 192k sample rates, the mixer functionality and number of I/O channels are reduced. These changes are summarized in the following tables. All S/PDIF inputs and outputs are disabled at 176.4kHz and192kHz. The number of ADAT channels also decreases at the 88.2k/96k and 176.4k/192k sample rates (due to the bandwidth limitations of the optical components). When using 88.2kHz, 96kHz, 176.
6 - Using High Sample Rates Overview Input/Output - 88.2 kHz/96 kHz ADOCK ADAT enabled 4 Chan. 4 Chan. or… ADOCK Line In 2 & 3 enabled 4 Chan. 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.
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 ADOCK 2 Chan. or… Microphone & ADAT Input enabled ADOCK 2 Chan. 2 Chan. or… Line Input 1 & ADAT Input enabled ADOCK 2 Chan. 2 Chan. or… Line Inputs 1 & 3 enabled ADOCK 2 Chan. 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.
6 - Using High Sample Rates Overview Example: Selecting a 176/192k Session The possible input configurations are selected by choosing a session template containing the desired I/O from the New Session window. Once you have selected one of the three session types, you will not be able to change to another type without starting a new session. 1. Select New Session from the PatchMix DSP toolbar. 2. Choose the 176k/192k tab. 3. Select the Template that meets your requirements and click OK.
6 - Using High Sample Rates Overview 116 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. Cables - balanced or unbalanced? All inputs and outputs on the E-MU Digital Audio System are designed to use either balanced or unbalanced cables.
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 138 Creative Professional
Index Numerics Index Auto-Wah 66 Aux Bus 46 Auxiliary Effects Assignment 52 Auxiliary Returns 52 Auxiliary Sends 46 used as extra mix busses 52 B Numerics 0202 Daughter Card 20 1010 PCI Card 19 1-Band Para EQ 63 1-Band Shelf EQ 63 1-Time Jam Sync, SMPTE 118 3-Band EQ 64 48 Volt Phantom Power 22, 126 4-Band EQ 65 88kHz/96kHz Sample Rate 111 96kHz Sample Rate 111 A A/D - D/A Converter Type 1212 system 133 1820 system 130 1820M system 127 ADAT Optical at 96kHz & 192kHz 111 connection example 124 input/outp
Index E Distortion 69 Doppler, effect using Rotary 75 Drivers, installing 17 Drop-frame, SMPTE 119 Drum Punch 98 Ducker 97 DVD, playing in 5.1/7.
Index I I IEEE 1394 20 Importing Core FX & FX Insert Chains 58 Increase Drum Punch 98 Input display 51 level line 24 setting 42 specs 127, 130, 133 reduction at high sample rates 111, 112, 113 type mixer strip 35 red color 35 Insert add effect 38 add send 39 add send/return 39, 40, 41 bypass 45, 59 delete 45 menu 39 meter 42 mixer strip 38 solo 45, 59 types 38 Installing disk drive power cable 15 E-MU 0202 daughter card 14 E-MU 1010 PCI card 13 rubber feet 16 sync cables 26 sync daughter card 14 Interface
Index N Mixer block diagram 28 overview 27 strip 35 aux send 46 fader 48 insert 38 label 48 mute button 48 new 36 solo button 48 type 36 viewing 27 Mixer Strip add new 36 delete 37 type 36 Monitor balance control 53 mix 49 mute 49 output 24 level control 53 mute 53 Mono Delays 74 MTC 122 enabling 32, 122 to SMPTE Conversion 117 Multichannel WAVE Files 37 Multimode Filter 90 Mute mixer strip 48 monitor 49 N Neg Compression, RFX compressor 96 New mixer strip 36 session 29, 30 at 176k/192k 115 Noise Gate 80
Index S Red Strip 35 Reducing Noise 126 Release Curve, reshaper effect 85 Release Time, gate effect 81 Release, compressor 68 Render Mode 102 Reshaper 83 Reverb, envelope 73, 78 Reverberation 78 RFX Compressor 90 RJ45 Connector 15 Robot Voice Effects, creating 77 Rotary, effect 75 Rubber Feet, installing on Audio Dock 16 Rumble Filter, using multimode filter 86 S S/MUX 111 S/PDIF cables 126 inputs and outputs 19 optical 22 S/PDIF to AES/EBU Adapter 125 Sample Rate 96kHz & 192kHz 111 indicator LEDs 23 sett
Index U Tutorial Create a De-esser 100 Create a Ducker 97 Getting in Sync 124 Making the Best Possible Recording 43 Setting up & using E-Wire 107 Setting up & using PowerFX 102 Using External Sends & Returns 40 TV Screen 49, 50 U Unbalanced Cables 126 User Preset, effect 60 V Vocal Morpher 79 Volume Control 35 W Wah-Wah 66 WDM Recording & Playback Behavior 115 Wet/Dry Mix, effects 59 Windows Media Player 36 Windows Media Player, multichannel 37 Windows Taskbar, E-MU icon 29 Word Clock In/Out 26, 122 X
