4pre ™ User Guide for Windows 1280 Massachusetts Avenue Cambridge, MA 02138 Business voice: (617) 576-2760 Business fax: (617) 576-3609 Web site: www.motu.com Tech support: www.motu.
About the Mark of the Unicorn License Agreement and Limited Warranty on Software TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the terms and conditions of the “click-wrap” license agreement presented to you when you install the software. Using the software or this documentation indicates your acceptance of the terms and conditions of that license agreement. Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation.
Contents Part 1: Getting Started 7 Quick Reference: 4pre Front Panel 8 Quick Reference: 4pre Rear Panel 9 Quick Reference: MOTU Audio Console 11 About the 4pre 15 Packing List and System Requirements 17 Installing the 4pre Software 19 Installing the 4pre Hardware Part 2: Using the 4pre 31 MOTU Audio Console 35 4pre Front Panel Operation 39 Configuring Host Audio Software 45 Reducing Monitoring Latency 51 CueMix FX 75 MOTU SMPTE Console 79 Troubleshooting 3
Part 1 Getting Started
When in mix mode, use the knob to control the jack’s input volume or pan (as indicated by the LEDs, 11) for the currently selected mix. When in trim mode, use the knob and input level meters (7) to calibrate the input signal level. These knobs provide +60 dB and +22 dB of boost, respectively, for the mic (XLR) and instrument (TRS) input jacks. Adjustment can be made in approximately 1 dB increments. All four jacks have preamps, so you can plug in just about anything: a microphone, a guitar or even a synth.
5 4 2 2. These two balanced, quarter-inch jacks serve as the 4pre’s main outputs. You can connect them to a set of powered studio monitors and then control the volume from the front panel volume knob. To hear disk tracks in your audio software on these main outs, assign the disk tracks (and master fader) to these main outs (Main Out 1-2). You can also use the 4pre’s on-board CueMix mixing to monitor live 4pre inputs here as well. 1.
Quick Reference: MOTU Audio Console CHAPTER Click the tabs to access general MOTU interface settings or settings specific to the 4pre (or other connected interface). Determines the clock source for your 4pre. If you’re just using the analog ins and outs, set this to Internal. The other settings are for digital transfers via S/PDIF or synchronization to time code or other audio devices.
CHAPTER 1 About the 4pre Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The 4pre Rear Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The 4pre Front Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-bit and 24-bit recording . . . . . . . . . . . . . . . . . . . . . . . . . . CueMix mixing and effects. . . . . . . . . . . . . . . . . . . . . . . . . . . Host Audio Software. . . . . . . . . . . . . . . . . . .
6 inputs and 8 outputs All 4pre inputs and outputs can be used simultaneously, for a total of 6 inputs and 8 outputs: Connection Input Output Analog 24-bit 96 kHz on bal/unbal TRS - 4 Mic preamps 24-bit 96 kHz on XLR/TRS combo 4 - SPDIF 24-bit 96kHz digital 2 2 Stereo headphones with independent output - 2 Total 6 8 All inputs and outputs are discrete and can be active simultaneously.
computer. This gives you maximum flexibility and compatibility with today’s ever-expanding universe of Mac and Windows computers. The 4pre has the ability to power itself from its FireWire connection to the computer, for convenient, mobile bus-powered operation. Power supply If you do not want the 4pre to draw power from the computer, and AC power is available, you can power the 4pre from any standard 9-18V, 5 watt DC power supply with any polarity (tip positive or negative).
CueMix FX CueMix FX gives you complete control over the 4pre’s CueMix FX on-board mixer, which provides no-latency monitoring, mixing of live inputs through your 4pre. CueMix FX provides many advanced features, such as an accurate instrument tuner and an extensive arsenal of audio analysis tools, including a realtime FFT, spectrogram “waterfall” display, oscilloscope, and phase analysis tools.
CHAPTER 2 Packing List and System Requirements PACKING LIST PLEASE REGISTER TODAY! The 4pre ships with the items listed below. If any of these items are not present in your 4pre box when you first open it, please immediately contact your dealer or MOTU. Please register your 4pre today. There are two ways to register.
PACKING LIST AND SYSTEM REQUIREMENTS
CHAPTER 3 Installing the 4pre Software OVERVIEW 2 Power off and disconnect the 4pre. Installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOTU Audio drivers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOTU Audio Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOTU SMPTE Console . . . . . . . . . . . . . . . . . . . . .
MOTU AUDIO DRIVERS ASIO ASIO is an acronym for Audio Streaming Input and Output. The MOTU Audio ASIO driver provides multi-channel audio input and output for applications that support ASIO audio drivers, such as Ableton Live, Avid Pro Tools, Cakewalk SONAR, Cockos Reaper, Propellerhead Reason and Record, Steinberg Cubase and Nuendo, and others. For details about using the 4pre with ASIO, see chapter 7, “Configuring Host Audio Software” (page 39). WDM WDM is an acronym for Windows Driver Model.
CHAPTER 4 Installing the 4pre Hardware OVERVIEW IMPORTANT NOTE BEFORE YOU BEGIN! Here’s an overview for installing the 4pre: Before you begin installing the 4pre (or any buspowered device), take these important precautionary measures to avoid damaging the sensitive electrical components in your computer, the 4pre or other devices being connected: Important note before you begin! . . . . . . . . . . . . . . . . . . .
CONNECT THE 4PRE INTERFACE Your 4pre audio interface is equipped with both a 9-pin FireWire B (400 Mbit/sec) connector and a hi-speed USB2 (480 Mbit/sec) connector, and you can use either port to connect the 4pre to your computer. This gives you maximum flexibility and compatibility with today’s ever-expanding universe of Mac and Windows computers. Type B FireWire ports The 4pre has a FireWire 9-pin Type B port, which provides the most reliable FireWire connection available.
3 In Device Manager, open the Universal Serial Bus Controllers section. 4 Look in the list of USB devices. An Enhanced USB Host Controller Interface (EHCI) represents a USB 2.0 controller. An Open USB Host Controller Interface (OHCI) or Universal USB Host Controller Interface (UHCI) represents a USB 1.1 controller. If you are connecting via high-speed USB 2.0 1 Before you begin, make sure your computer and the 4pre are switched off.
CONNECT AUDIO INPUTS AND OUTPUTS Here are a few things to keep in mind as you are making audio connections to other devices. Mic/instrument inputs Connect a microphone, guitar, keyboard or other analog input to the XLR/TRS combo jack with either a standard mic cable or a balanced cable with a quarter-inch plug. The quarter-inch jacks on inputs 3-4 provide higher impedance suitable for DI guitar input. ☛ Do not connect a +4 (line level) XLR cable to the mic inputs (because of the preamps).
The 4pre on-board mixer also supplies 12dB of digital trim adjustment for the S/PDIF input pair, which can be adjusted from CueMix FX (“Input trim” on page 53). CONNECT AND SYNC S/PDIF DEVICES DAT decks and other devices with S/PDIF digital I/O will sync to the 4pre via the S/PDIF connection itself. Just connect it to the 4pre via the S/PDIF connectors. When the device records a digital audio signal (from the 4pre), it will simply synchronize to the clock provided by the digital audio input from the 4pre.
■ PCI FireWire cards — If you plan to connect the 4pre to a PCI card and run the 4pre under bus power, the PCI card must have a direct connection to the power supply harness inside your computer. This is the same power supply harness to which you connect internal hard drives, CD/DVD drives, etc.
A TYPICAL 4PRE SETUP Here is a typical 4pre studio setup. In this example, no external mixer is needed. All mixing and processing can be done in the computer with audio software, or you can use the 4pre’s CueMix™ nolatency mixer. You can control the 4pre’s four separate mixes from the front panel or from the included CueMix FX software.
CONNECT MULTIPLE MOTU INTERFACES You can daisy-chain up to three MOTU FireWire interfaces on a single FireWire bus, with the restrictions described in the following sections. Most computers have only one built-in FireWire bus (even if it supplies multiple FireWire sockets). Synchronizing multiple interfaces When multiple MOTU interfaces are connected, choose a Master Clock Source from the menu in the General tab (Figure 4-7).
Adding additional interfaces with a second FireWire bus Third-party FireWire bus expansion products in the form of a cardbus (“PC card”) adaptor, ExpressCard adaptor or PCI card allow you to add a second FireWire bus to your computer. It may be possible to add additional MOTU FireWire interfaces connected to such a third-party product, depending on the performance of the product and the performance of your host computer.
INSTALLING THE 4PRE HARDWARE
Part 2 Using the 4pre
CHAPTER 5 MOTU Audio Console OVERVIEW ACCESSING THE 4PRE SETTINGS MOTU Audio Console gives you access to basic 4pre hardware settings, such as sample rate, clock source and more. There are several ways to access 4pre settings: Accessing the 4pre settings. . . . . . . . . . . . . . . . . . . . . . . . . . ‘General’ tab Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
‘GENERAL’ TAB SETTINGS Sample Rate Choose the desired Sample Rate for recording and playback. The 4pre can operate at 44.1 (the standard rate for compact disc audio), 48, 88.2, or 96 kHz. If you have a S/PDIF device connected to the 4pre, make sure that it matches the 4pre’s sample rate. ☛ Mismatched sample rates cause distortion and crackling. If you hear this sort of thing, check the sample rate settings in your hardware and here in MOTU Audio Console.
S/PDIF The S/PDIF clock source setting refers to the S/PDIF coaxial input jack on the 4pre. This setting allows the 4pre to slave to another S/PDIF device. Use this setting whenever you are recording input from a DAT deck or other S/PDIF device into the 4pre. It is not necessary in the opposite direction (when you are transferring from the 4pre to the DAT machine). For further details about this setting, see “Connect and sync S/PDIF devices” on page 23.
will make your software respond faster; raising the Samples Per Buffer will make it a little bit slower, but barely enough to notice. Enable Pedal This setting applies to other MOTU audio interfaces, but it does not apply to the 4pre. Monitoring live inputs without plug-in effects As mentioned earlier, CueMix FX allows you to monitor dry, unprocessed live inputs with no delay at all. For complete details, see chapter 8, “Reducing Monitoring Latency” (page 45).
CHAPTER 6 4pre Front Panel Operation OVERVIEW MAIN OUT VOLUME The 4pre offers front-panel mixing via six rotary encoders and a bank of status LEDs. Use the MAIN knob to control the volume of the main outputs (1-2) on the back panel. This knob also controls the volume of the headphone jack below it, which always mirrors the main outs. Push-button rotary encoders . . . . . . . . . . . . . . . . . . . . . . . . Power switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIXING WITH THE FRONT PANEL CONTROLS The 4pre can operate as a mixer, and you can use the knobs on the front panel to control the mix. The mixer combines the signals of all inputs and sends the mixed signal to an output pair, such as the main outs. You can control the relative volume of the inputs, as well as the overall volume of the mix signal on output. Input signals Choosing a mix to control The 4pre front panel controls only one mix at a time.
Controlling pan If a mix is selected and the pan LED is dark, as shown in (Figure 6-3), this indicates that the frontpanel knobs are currently controlling each input’s mix volume. If you wish to control the left-right panning of the input, push and hold the MIX/VOL knob. Doing so causes the pan LED (Figure 6-3) to illuminate. You can now use the knobs to pan each mono input left or right. Like volume, the pan setting for the input can be different for each of the four mixes.
on in the computer. Using the 4pre as a monitor mixer in this fashion is a good way to avoid latency (delay) issues that can arise when using audio software on a computer. See chapter 8, “Reducing Monitoring Latency” (page 45) for more information about dealing with latency. METERING AND ACTIVITY LEDS Using the 4pre as a stand-alone mixer When the 4pre is not connected to a computer, it can operate as a stand-alone mixer, and you can use the front panel to control your mix.
CHAPTER 7 Configuring Host Audio Software OVERVIEW The 4pre provides multi-channel audio input and output for ASIO- and WDM-compatible audio applications, including Ableton Live, Avid Pro Tools, Cockos Reaper, Propellerhead Reason and Record, Steinberg Cubase and Nuendo, Cakewalk SONAR, and others. and outputs will be available to your software, so this is an important step. For complete details see chapter 5, “MOTU Audio Console” (page 31).
If you are slaving the 4pre and your host software to SMPTE time code, follow the directions in “Syncing to SMPTE time code” on page 78. ☛ In order to use the 4pre’s direct SMPTE sync (and sample-accurate sync) feature, the host audio software must support the ASIO 2 or 3 sampleaccurate positioning protocol. Cubase and Nuendo support this protocol; for other software, check with its documentation.
Cubase and Nuendo In Cubase or Nuendo, go to the Device Setup window. Click the VST Audio System item in the Devices list and choose MOTU Audio ASIO from the ASIO Driver menu as shown below in Figure 7-3. Activate the inputs and outputs within Cubase or Nuendo as usual. Reason and Record In Propellerhead Reason or Record, go to the Preferences window, choose Audio preferences from the menu and choose MOTU Audio ASIO from the Audio Card Driver menu as shown below in Figure 7-5.
SONAR In Cakewalk SONAR, you can use the MOTU ASIO driver or the MOTU WDM driver. Note that when using ASIO, only one audio interface may be selected for use in SONAR. Using the MOTU ASIO driver 1 Go to SONAR’s Preferences. 2 In the Audio preferences section, choose Playback and Recording. 3 Choose ASIO as the Driver Mode, as shown below. Figure 7-8: Enabling inputs and outputs in SONAR. Using the MOTU WDM driver 1 Go to SONAR’s Preferences.
5 Check the 4pre inputs and outputs that you wish to use and uncheck the ones you don’t, as shown in Figure 7-7 on page 42. Other audio settings in SONAR There are a few other settings in SONAR that impact 4pre operation: 1 In the Audio preferences section, choose Driver Settings. Sound Forge In Sony Sound Forge, go to the Preferences window, click the Audio tab, and then choose MOTU Audio from the Audio device type menu.
Mix1 1-2 return bus In your host audio software audio input menus, you’ll see an 4pre input called Mix1 Return 1-2. This is a stereo feed from the 4pre that matches its main outs (Mix 1). This can be used, for example, to record a final stereo mix for reference and archiving purposes. ☛ Warning: the Mix1 Return 1-2 return inputs can cause feedback loops! DO NOT assign this input to a track assigned to the 4pre main outs.
CHAPTER 8 Reducing Monitoring Latency OVERVIEW Monitoring latency is that slight delay you hear when you run an input signal through your host audio software. For example, you might hear it when you drive a live mic input signal through an amp modeling plug-in running in your audio sequencer.
MONITORING LIVE INPUT computer-based effects processing. Instead, input is routed directly to an output. See “CueMix hardware monitoring” later in this chapter for details on how to use CueMix with your audio software, or with the included CueMix FX software. There are two ways to monitor live audio input with an 4pre: 1) through the computer or 2) via the 4pre’s CueMix hardware mixer.
ADJUSTING THE AUDIO I/O BUFFER A buffer is a small amount of computer memory used to hold data. For audio interfaces like the 4pre, buffers are used for the process of transferring audio data in and out of the computer. The size of the buffers determines how much delay you hear when monitoring live inputs through your audio software: larger buffers produce more delay; smaller buffers produce less.
Lower latency versus higher CPU overhead The buffer setting has a large impact on the following things: ■ Patch thru latency ■ The load on your computer’s CPU ■ Possible distortion at the smallest settings ■ How responsive the transport controls are in your audio software The buffer setting presents you with a trade-off between the processing power of your computer and the delay of live audio as it is being patched through your software.
Using the CueMix FX application If your host audio software does not support direct hardware monitoring, you run the 4pre’s CueMix FX application side-by-side with your host software and manage your monitor mix in CueMix FX. For complete details, see chapter 9, “CueMix FX” (page 51).
REDUCING MONITORING LATENCY
CHAPTER 9 CueMix FX OVERVIEW CueMix FX is a cross-platform software application that provides graphic, on-screen control for the 4pre’s mixing features. Essentially, it gives you on-screen control of the 4pre’s front panel mixing controls. CueMix FX also provides many advanced audio analysis tools, including a tuner and oscilloscope. CueMix FX can be used independently of host audio software, or together with it.
Many inputs to one output pair It might be useful to think of each mix as some number of inputs all mixed down to a stereo output pair. CueMix FX lets you choose which inputs to include in the mix, and it lets you specify the level and pan for each input being fed into the mix. Each mix is independent Each mix has its own settings. Settings for one mix will not affect another. For example, if an input is used for one mix, it will still be available for other mixes.
WORKING WITH A MIX Each mix has the following components: ■ A stereo output with master fader ■ Name ■ Master mute (to enable/disable the entire mix) ■ Any number of mono or stereo inputs ■ Pan, volume, mute and solo for each input Viewing a mix To view a mix, choose it from the Mix menu (Figure 9-1). The menu shows all mixes by name, followed by the audio interface’s output pair that it corresponds to. Naming a mix Click the mix name to edit its text.
Input pan The pan knob (Figure 9-1) for each input pans the input across the mix’s stereo outputs. If the input itself is grouped as a stereo pair, two forms of panning control are provided: SHORTCUTS Balance Balance works like the balance knob on some radios: turn it left and the right channel dims, turn it right and left channel dims. But the left channel always stays left and the right channel stays right.
Control room Talkback mic Main outs Outs 3-4 ( mic input) Live room Headphone distribution amp Listenback mic Figure 9-2: Typical hardware setup for Talkback and Listenback. Talkback / Listenback mic input Choose the audio input to which your Talkback and/or Listenback mic is connected, as shown below: Talkback mic input engaged. To completely silence all other CueMix audio, turn them all the way down. Attenuation only occurs when talkback or listenback is engaged.
Controlling Talkback and Listenback volume To control the volume of the Talkback and/or Listenback mics, adjust their input fader in CueMix FX. This fader controls the volume of the input, regardless of which bus mix is being displayed in the CueMix FX window. In other words, once an input has been designated as a Talkback or Listenback input, its fader becomes global for all CueMix buses.
DEVICES MENU If you are working with more than one MOTU audio interface product, this menu displays all interfaces that are currently on line. Choose any device from the menu to edit its settings using the CueMix FX software. Below each device are five signal analysis tools: FFT Analysis, Oscilloscope, X-Y Plot, Phase Analysis, and the Tuner. Choose one to open its window. For details on these features, see the following sections. FFT Analysis / spectrogram . . . . . . . . . . . . . . . . . . . . . . . . .
Choosing a channel to display The FFT window follows the currently chosen Scope channels (Figure 9-1 on page 52). View controls You can show and hide the FFT display and spectrogram as desired using the View controls (Figure 9-7). Pause button Figure 9-7: View controls ☛ The Show EQ controls item is for other MOTU audio interfaces and is grayed out for the 4pre.
In Min/Max mode, Min and Max set the lowest and highest displayed frequencies (in Hertz). Vertical controls (amplitude axis) The Vertical controls (Figure 9-7) operate similarly to the Horizontal controls, except that they configure the y-axis (amplitude). In Zoom/Offset mode, Zoom sets the display zoom from 1x to 100x, and Pos sets the center amplitude of the graph. In Min/Max mode, Min and Max set the smallest and largest displayed amplitude.
View controls The View controls (Figure 9-11) provide several options for the oscilloscope display. Horizontal controls (time axis) The Horizontal controls (Figure 9-12) configure the value range of the x-axis (time). Click and drag the values up or down to set them, or double-click to return to the default value. Pause button View menu There are two modes for the controls: Zoom/Offset and Min/Max. To change the mode, use the Horizontal control menu (Figure 9-12).
Waveform Recognition The Waveform Recognition option searches through new audio data looking for a waveform which most resembles that which was previously displayed. The region where this takes place is a small window around the line marking time equals zero, denoted by the extra vertical graph lines surrounding it. There are two kinds of waveform recognition available: Type I and Type II. Figure 9-13: Waveform Recognition menu Type I recognition provides the most stable display of the waveform.
Magnitude is enabled, the trigger will look for both +0.500 and -0.500. You will see a second blue line appear in the display when Magnitude is enabled to denote the second value. Holdoff Holdoff defines a time interval during which the oscilloscope does not trigger. The most recent trace will be displayed during that period. When the period is over, the trigger is “re-armed’, i.e. it will begin looking for the criteria again.
To adjust the left and right edges of the measurement area, click and drag the blue bars in the graph, or click and drag the blue numbers in the upper left or right corners. To reset them to the default value, double-click the numbers. Information about the measured area is displayed at the center of the top ruler: the duration (in seconds and samples), the approximate frequency, and the scientific note name. If the measured area is long enough, the approximate beats per minute (bpm) is displayed.
screen, try raising the Holdoff level. Once the transient is settled in the display and fairly stable, you may need to adjust the horizontal position to center it in the display. These settings are depicted in the example in Figure 9-16. You can also pause the display at any time and adjust the horizontal bounds to locate a transient. Clip detection You can use the Oscilloscope to detect clipping in a digital audio signal.
X-Y PLOT The X-Y Plot window (Figure 9-17) graphs the amplitude of a stereo audio signal on a twodimensional grid. For each unit of time (i.e. each sample), the amplitude of the left channel is displayed on the xaxis and the amplitude of the right channel is displayed on the y-axis. A thick white vertical line marks where left channel amplitude equals zero; a thick white horizontal line marks where right channel amplitude equals zero (Figure 9-17, below).
Choosing a channel to display The X-Y Plot follows the currently chosen Scope channels (Figure 9-1 on page 52). View controls The View controls (Figure 9-18) provide several options for the X-Y Plot display. Color/Grayscale In Color mode (Figure 9-18) the most recently displayed audio data is shown in red, which fades to yellow, green and then finally blue, before disappearing. In Grayscale mode, data is first shown in white and then fades to gray.
Persistence The Persistence controls (Figure 9-21) affect the appearance of data from when it is first displayed until it disappears from the grid. Using the X-Y Plot The X-Y Plot helps you “see” the width of the stereo field of a mix.
PHASE ANALYSIS The Phase Analysis window (Figure 9-23 on page 68) graphs frequency versus phase difference versus amplitude of a stereo signal on either rectangular or polar coordinates. In rectangular coordinates, the vertical axis represents frequency, and the horizontal axis represents the phase of the left channel minus the phase of the right channel (measured in radians).
Line/Scatter Choose either Line or Scatter from the menu in the View section (Figure 9-24) to plot each data point as either a single pixel or as a continuous line that connects each frequency data point to the next, as shown below in Figure 9-19. Rectangular/Polar Choose either Rectangular or Polar from the menu in the View section (Figure 9-24) to control how audio is plotted on the Phase Analysis grid.
Horizontal and vertical controls The Horizontal and Vertical controls (Figure 9-28) let you scale each axis of the grid and offset its zero point. Click and drag the values up or down to set them, or double-click to return to the default value. There are two modes for the controls: Zoom/Offset and Min/Max. To change the mode, use the menu shown in Figure 9-28. Figure 9-28: Setting the Horizontal or Vertical control modes. In Zoom/Offset mode, Zoom scales the axis. Pos moves the zero line.
outside the critical frequency range of the instrument being recorded, you can avoid phase problems among the mic signals. Tuning PA systems The Phase Analysis window can also be used to troubleshoot and tune PAs and sound reinforcement systems by placing microphones in strategic locations, comparing the two signals in the Phase Analysis grid and looking for phase issues at various locations.
TUNER Detected frequency Meter Meter value greater uncertainty. The color of the segments changes gradually from green (in tune) to yellow, orange, and red (progressively further out of tune). Meter value: difference between the detected note and the detected frequency, in cents. Arrows: the direction in which the detected Detected note Arrow Reference frequency The Tuner window is an accurate and easy to use tuner. Opening the Tuner Each MOTU audio interface has its own Tuner window.
Here is a summary of Configurations menu operations: 3 Type in a name, choose a preset slot and click OK. Configurations Menu item Saving a hardware preset as a CueMix FX configuration To save a hardware preset as a CueMix FX configuration: What it does Create New Lets you name and save a new configuration, which appears at the bottom of the Configurations menu. Save Overwrites the current configuration (checked in the list at the bottom of the menu) with the current settings in CueMix FX.
that is not currently being displayed, CueMix FX will jump to the appropriate tab to display the control you are adjusting. Share surfaces with other applications When the Share surfaces with other applications menu command is checked, CueMix FX releases the control surface when you switch to another application. This allows you to control your other software with the control surface. Here’s a simple way to understand this mode: the control surface will always control the front-most application.
CHAPTER 10 MOTU SMPTE Console OVERVIEW MOTU SMPTE CONSOLE The 4pre can resolve directly to SMPTE time code via any analog input, without a separate synchronizer. The 4pre can also generate time code via any analog output. The 4pre provides a DSPdriven phase-lock engine with sophisticated filtering that provides fast lockup times and subframe accuracy.
and switch to the incoming frame rate, except that it cannot distinguish between 30 fps and 29.97 fps time code, or 23.976 and 24 fps time code. So if you are working with either of these rates, make sure you choose the correct rate from this menu. READER SECTION The Reader section (on the left-hand side of the window in Figure 10-1) provides settings for synchronizing the 4pre to SMPTE time code. Status lights The four status lights (Tach, Clock, Address and Freewheel) give you feedback as follows.
U Y L OT N A M PA TI M EN CO FID N CO The 4pre cannot freewheel address without clock. Therefore, the Freewheel Address setting will always be lower than or equal to the Freewheel Clock setting, and both menus will update as needed, depending on what you choose. The ‘Infinite’ freewheel setting The Infinite freewheel setting in the Freewheel Clock menu causes the 4pre to freewheel indefinitely, until it receives readable time code again. To make it stop, click the Stop Freewheeling button.
SYNCING TO SMPTE TIME CODE Use this setup if you have: The 4pre system can resolve directly to SMPTE time code. It can also generate time code, under its own clock or while slaving to time code. Therefore, the 4pre can act both as an audio interface and as a SMPTE time code synchronizer to which you can slave other devices. You can use the 4pre to slave your audio software to SMPTE as well, via sampleaccurate sync (if your host software supports it).
CHAPTER 11 Troubleshooting Things seems like they are working fine, but the 4pre then just drops off line, and the computer can’t see it anymore. This is a common symptom when the problem is that the 4pre is not getting enough power when it is being powered over the Firewire bus. Check the power source for the 4pre. Make sure that the power connection meets the requirements outlined in “Power options” on page 23.
TECHNICAL SUPPORT If you are unable, with your dealer’s help, to solve problems you encounter with the 4pre system, you may contact our technical support department in one of the following ways: ■ Tech support hotline: (617) 576-3066 (Monday through Friday, 9 am to 6 pm EST) ■ Tech support 24-hour fax line: (617) 354-3068 ■ Online support: www.motu.com/support Please provide the following information to help us solve your problem as quickly as possible: The serial number of the 4pre system.
1394 connector 8, 12, 20, 21 24-bit recording 13 4-pin FireWire 23 4pre connecting multiple interfaces 26 expansion 26 installing 19 power switch 35 rear panel overview 11 SMPTE setting 33 summary of features 11 tab 31 6-pin FireWire 23 828 connecting to 4pre 26 896mk3 connecting to 4pre 26 A Ableton Live 39, 41 Analog inputs/outputs 8 making connections to 22 trim 53 Application follows control surface 73 ASIO 14, 18 SONAR 42 Audio sample rate 32 Audio Setup software 17, 31 Avid Pro Tools 40 B Balance 54
Master Clock Source 32 Master fader mix busses 53 Mic/guitar inputs trim 53 Mic/instrument inputs 8, 22 connecting 25 overview 12 phantom power 7 Mix 1 Return 1-2 44 Mix bus level meter 53 mute 53 Mix1 return includes computer output 56, 57 MME driver 9, 18 Monitoring 46 Mono button 53 MOTU ASIO driver 18 MOTU Audio Console 31 MOTU Audio Setup 9, 17, 31 MOTU SMPTE Setup 75 Multiple interfaces 26 N Nuendo 14, 31, 39 clock source 39 Mac OS X 41 phones 40 sample rate 39 O Optimization 48 OS X audio software
