E-Mu 1212m Owner's Manual
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E-Mu 1212m Owner's Manual

E-Mu 1212m Owner's Manual

Digital audio system
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O w n e r ' s M a n u a l
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  • Page 1 O w n e r ’ s M a n u a l O w n e r ’ s M a n u a l...
  • Page 2 Ballycoolin Business Park Scotts Valley, CA 95066 Blanchardstown Dublin 15 IRELAND Asia Pacific, Africa, Middle East E-MU Japan Creative Media K K Creative Technology Ltd Kanda Eight Bldg., 3F 31 International Business Park 4-6-7 Soto-Kanda Creative Resource. Singapore 609921 Chiyoda-ku, Tokyo 101-0021...

  • Page 3: Table Of Contents

    Safety First! ....................14 Connector Types ....................14 Installing the E-MU 1010 PCI Card ................ 15 1212M Owners - Install the 0202 Daughter Card ..........16 Optional Sync Daughter Card Installation.............. 16 Connecting the MicroDock ................... 17 WARNING: E-MU 0202 & MicroDock .............. 17 Software Installation .....................
  • Page 4 Sidechain Diagram ..................47 Pre or Post Fader Aux Sends ................48 Level, Pan, Solo & Mute Controls ............... 49 Main Section......................50 TV Screen & Selectors ..................51 Effect ......................51 Input ......................52 Output ......................52 Creative Professional...
  • Page 5 Auxiliary Effects & Returns ................. 53 Sidechain Diagram ..................53 Sync/Sample Rate Indicators ................53 Output Section ....................54 Main Inserts ....................54 Main Output Fader ..................54 Output Level Meters ..................54 Monitor Output Level ..................54 Monitor Balance Control ................54 Monitor Output Mute ..................
  • Page 6 Sync Daughter Card Supplement ................ 114 SMPTE Conversion ..................114 SMPTE Options ....................114 SMPTE Modes of Operation ................115 Host Mode ....................115 External Mode ..................... 115 Flywheel Mode .................... 115 Flywheel Modes ..................115 Stripe Mode ....................116 Creative Professional...
  • Page 7 Example SMPTE Connection ................116 MIDI Time Code (MTC) ..................117 Word Clock In/Out ..................... 117 Getting in Sync ....................119 Useful Information ....................120 Cables - balanced or unbalanced? ..............120 Balanced Cables ..................120 Unbalanced Cables ..................120 Adapter Cables ....................
  • Page 8 Creative Professional...

  • Page 9: 1- Introduction

    1- Introduction Welcome! Thank you for purchasing the E-MU 1616 PCI, E-MU 1616M PCI, or 1212M PCI 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.
  • Page 10 (2) Turntable Preamp Inputs (with RIAA equalized preamplifier) (1) Stereo Headphone Output (with volume control) (3) Stereo Computer Speaker Outputs (with 1/8” jacks to connect powered speakers) 1212M PCI System Components E-MU 1212M • E-MU 1010 PCI Card • E-MU 0202 I/O Daughter Card •...

  • Page 11: All Systems Include

    Sync Daughter Card The Sync Daughter Card can be purchased as an optional upgrade for the 1616M, 1616 MicroDock and 1212M systems. The Sync Card adds Word Clock in and out for sample-synchronizing outboard digital equipment and SMPTE longitudinal time code in/out for syncing other recording equipment.

  • Page 12: Patchmix Dsp

    Tips describe applications for the topic under discussion. Warnings are especially important, since they help you avoid activities that can cause damage to your files, your computer or yourself. Creative Professional...

  • Page 13: Installation

    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: 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.) Install the E-MU 1010 PCI card in your computer.

  • Page 14: Safety First

    TOSLINK Optical Connector ADAT digital audio devices (or S/PDIF) ADAT Optical Out TOSLINK Optical Connector ADAT digital audio devices (or S/PDIF) Warning: Please verify that all cables are connected only to the proper compo- nents before powering up your system. Creative Professional...

  • Page 15: Installing The E-Mu 1010 Pci Card

    Follow the computer manufacturer’s recommended procedure for opening the case. Remove the metal bracket from one PCI slot. If you have the E-MU 1212M system Note: Some or the Sync Daughter Card you’ll need to remove the bracket from two PCI slots.

  • Page 16: 1212M Owners - Install The 0202 Daughter Card

    2 - Installation 1212M Owners - Install the 0202 Daughter Card 1212M Owners - Install the 0202 Daughter Card Unwrap the 0202 Daughter Card and get Figure 3 ready to install it. Connect the provided ribbon cable between the E-MU 1010 card and the 0202 Daughter card as shown in figure 3.

  • Page 17: Connecting The Microdock

    2 - Installation Connecting the MicroDock Secure the card into the slot using one of the screws you placed aside earlier. After all components have been installed and securely fastened, close the computer case. Plug the power cord back into the wall outlet and turn on your computer. Connecting the MicroDock Connect the supplied EDI cable between the 1010 PCI Card and the MicroDock.

  • Page 18: Software Installation

    When you install the 1616 PCI 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.

  • Page 19: Pci Card & Interfaces

    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.

  • Page 20: The 0202 Daughter Card

    DIN connectors on the card. The adapter cables convert the mini-DIN to standard DIN connectors used on most keyboards and synthesizers. Connect MIDI Out to the MIDI In port of your synthesizer and MIDI Out of your synth to MIDI In of the 0202 Daughter Card. Creative Professional...

  • Page 21: The Microdock

    3 - PCI Card & Interfaces The MicroDock The MicroDock The MicroDock connects to the E-MU 1010 PCI card via the EDI cable. The MicroDock provides (4) balanced analog inputs, (2) microphone preamp inputs, The MicroDock is (6) balanced line-level analog outputs, (3) stereo 1/8” outputs for connecting powered completely “hot computer speakers, (2) MIDI inputs, (2) MIDI outputs, a stereo headphone output, pluggable”—...

  • Page 22: Front Panel Connections

    The S/PDIF out can be configured in either Professional or Consumer mode in the Session Settings menu. The MicroDock can also send and receive AES/EBU digital audio through the use of a cable adapter. See “Cables - balanced or unbalanced?” details. Creative Professional...

  • Page 23: Adat Optical Digital Input & Output

    3 - PCI Card & Interfaces The MicroDock ADAT Optical Digital Input & Output The ADAT optical connectors transmit and receive 8 channels of 24-bit audio using the Important: When ADAT type 1 & 2 formats. The word clock contained in the input data stream can be using any type of digital used as a word clock source.

  • Page 24: Digital Connections

    Audio Outs MIDI Sound Module SAMPLE TRIGGERS TRANSPOSE MASTER/GLOBAL SAMPLE MANAGEMENT DIGITAL PROCESSING INC/YES PRESET DEC/NO MULTIMODE PRESET MANAGEMENT PRESET DEFINITION DYNAMIC PROCESING MIDI 2 ENTER VOLUME ESCAPE DRIVE SELECT LOAD SAVE AUDITION TRIGGER MODE MIDI MIDI In Creative Professional...

  • Page 25: Rear Panel Connections

    3 - PCI Card & Interfaces The MicroDock Rear Panel Connections Turntable MIDI Port 48 Volt DC 4 Balanced Line Level Inputs Turntable Inputs (configured as 2 stereo pairs) (tied to line input 2) Ground Connector Power Input Pho no MIDI Cable 48 VDC 6 Balanced Line Level Outputs...

  • Page 26: Computer Speaker Analog Outputs

    MIDI Cable 48 VDC AC Adapter 1010 PCI Card Connect Audio Desktop Powered Speakers to Monitors Desktop 1/8" jacks Speakers Mixer & Speakers * Note: Line Inputs 2L/2R and Phono 2L/2R cannot be used at the same time. Creative Professional...
  • Page 27 3 - PCI Card & Interfaces The MicroDock 5.1 Surround Speaker Connections Center Left Phono Right MIDI Cable 48 VDC Front Front Left Right Rear Rear Front Rear Ctr/Sub Sub-Woofer (with built-in power amps) The 1/8” stereo jacks make it easy to connect to powered surround sound speakers. Only three stereo cables are necessary with many speaker systems (see above).
  • Page 28 3 - PCI Card & Interfaces The MicroDock Creative Professional...

  • Page 29: The Patchmix Dsp Mixer

    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.

  • Page 30: Mixer Window

    Post Fader (both Aux Sends come after the channel fader) or Pre Fader (both Aux Sends come before the channel fader). The Pre-fader option allows you to use either Aux Send as another mix bus, which is unaffected by the channel fader. More Information. Creative Professional...

  • Page 31: E-Mu Icon In The Windows Taskbar

    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.

  • Page 32: The Session

    Toolbar. The following dialog box appears. Select a Template or new Session at the desired sample rate Session Description Add your own comment or note about the Session Check this if you want to edit the New Session. Creative Professional...

  • Page 33: Open Session

    96k, or 176k/192k. 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). There is also a Comment area that you can use to give yourself some clue as to what you were thinking when you created the session.

  • Page 34: Using External Clock

    Use +4 Output setting input by inserting a meter into the first effect location in the strip. Adjust your external equipment outputs for the optimum signal level. See “To Set the Input Levels of a Strip” for details. Creative Professional...
  • Page 35 4 - The PatchMix DSP Mixer The Session Input Level Output Level Settings Settings Optical Optical Input Output Select Select S/PDIF Mic Soft Output Limiting Format On/Off • Inputs +4 or -10 Selects between Consumer level (-10dBV) or Professional level (+4dBu) inputs. (Use the -10dBV setting if your input is too weak.) •...

  • Page 36: Input Mixer Strips

    Strip solo or mute selected channels. Scribble Strips This screen shows a mono strip on the left and Click inside the scribble strip and type a a stereo strip on the right. name of up to eight characters. Creative Professional...

  • Page 37: Mixer Strip Creation

    4 - The PatchMix DSP Mixer Mixer Strip Creation Mixer Strip Creation PatchMix DSP is a dynamically configurable mixer. Each mixer session can contain an Tip: Adding or deleting arbitrary number of strips up to a limit set by the number of available input sources a strip “defragments”...

  • Page 38: Multichannel Wave Files

    3L = C 3R = Sub 3 (Tip = C Ring = Sub) E-DSP WAVE 5/6 Rear Left / Rear Right 2L = RL 2R = RR 2 (Tip = RL Ring = RR) E-DSP WAVE 7/8 Side Left / Side Right Creative Professional...

  • Page 39: Insert Section

    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.

  • Page 40: The Insert Menu

    Right-Click over the Insert section. A pop-up dialog box appears. Select “Insert Send/Return (Physical Output and Input)” from the list of options. The following dialog box appears. Creative Professional...

  • Page 41: Asio Direct Monitor Send/Return

    4 - The PatchMix DSP Mixer Mixer Strip Creation If the source or Input destination you want to use is not available in the To Physical Output Insert list, they are probably Send/Return From Physical Input already being used elsewhere. Check the Panning input Strips, Inserts and Fader...

  • Page 42: Meter Inserts

    You want the input signal level to drive the 24-bit ADCs into their optimum range without clipping. A reading of 0dB on an input meter indicates signal clipping. Level --12dB Each bar of the meter equals 1dB. The yellow bars begin at -12dB below full scale. Creative Professional...

  • Page 43: To Set The Input Levels Of A Strip

    4 - The PatchMix DSP Mixer Mixer Strip Creation The insert meters are also useful to monitor incoming digital signals such as ADAT, ASIO or S/PDIF to make sure the mixer is receiving a proper signal level. They’re also great for troubleshooting, since you can place them virtually anywhere in the mixer. To Insert a Meter Right-Click on an Insert location of the mixer strip.

  • Page 44: Trim Pot Insert

    A/D converters in order to get maximum resolution and signal-to-noise ratio from the converters. The phase invert switch inverts the polarity of the signal. It is generally used to correct for balanced lines and mics that are wired backwards. Creative Professional...

  • Page 45: Test Tone/Signal Generator Insert

    4 - The PatchMix DSP Mixer Mixer Strip Creation To Add a Trim Pot Insert Right-Click over any of the Insert sections. A pop-up dialog box appears. Select Insert Trim Control from the list of options. A Trim Pot insert appears in the insert location.

  • Page 46: Managing Your Inserts

    Click on the Effect (in the Insert section) and select Effect in the TV display. Click the Solo button. Method #2 Right-Click over the Effect you want to Solo (in the Insert section). A pop-up dialog box appears. Select Solo Insert from the list of options. Creative Professional...

  • Page 47: Aux Section

    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.

  • Page 48: Pre Or Post Fader Aux Sends

    Input Post-Fader Aux Send Volume Fader & Mute affects both Aux Send Levels Fader Mute Send Return Amount Amount Side Chain Aux Bus 1 Send Return Amount Amount Side Chain Aux Bus 2 Main / Monitor Bus Output Creative Professional...

  • Page 49: Level, Pan, Solo & Mute Controls

    4 - The PatchMix DSP Mixer Mixer Strip Creation Level, Pan, Solo & Mute Controls The Pan control comes before the Level Control and Aux Sends in the signal flow. On stereo strips Pan Controls we use an unconventional pan section with two pan pots –...

  • Page 50: Main Section

    There is a stereo peak meter that indicates the signal strength for the main mix. The Monitor section has a volume, balance, and a mute control to cut off the monitor output. Creative Professional...

  • Page 51: Tv Screen & Selectors

    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.

  • Page 52: Input

    (or break) a connection. The Host Output screen displays and allows you to view the Host (ASIO or WAVE) outputs of the mixer. See “Insert Section” for information on how to connect the inserts. Creative Professional...

  • Page 53: Auxiliary Effects & Returns

    4 - The PatchMix DSP Mixer Main Section Auxiliary Effects & Returns The section immediately below the TV Screen is where you assign the Auxiliary Effects. The Wet/Dry mix In a traditional mixing console, auxiliary effects sends are used to send part of the setting in the effect should signal to outboard effect devices, then return the effected signal back into the mix using normally be set to 100%...

  • Page 54: Output Section

    This button completely cuts off the monitor output and provides a convenient way to instantly kill all sound without having to re-adjust the monitor level later. When the telephone rings, just hit the monitor mute to cut the noise. Creative Professional...

  • Page 55: Effects

    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.

  • Page 56: Fx Insert Chains

    Select a category folder where your preset will be placed, and enter a new preset name for your FX Chain. Select a folder where your new preset will be placed, then type in a new preset name and click OK. Your preset is now saved. Creative Professional...

  • Page 57: The Order Of Effects

    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;...

  • Page 58: Importing And Exporting Core Fx Presets And Fx Insert Chains

    To Import FX Category Folders This option imports complete category folders of FX Chains into the E-MU PatchMix DSP folder (normally located here: “C:\Program Files\Creative Professional\E-MU PatchMix DSP\Effect Presets”). If the name of an imported FX preset exactly matches a preset you already have, a number will be appended to end of the imported preset name.

  • Page 59: Fx Edit Screen

    5 - Effects FX Edit Screen FX Edit Screen Click on an FX Insert to display the parameters for that effect. If an insert effect is not Note: Effects have selected, the FX display will read “No Insert”. to be placed into an insert location before you can Most effects have a wet/dry mix parameter to control the ratio of effect-to-plain signal.

  • Page 60: User Preset Section

    Select the desired insert effect, highlighting it. The effect parameters appear in the TV screen. Click on the Edit button. A pop-up menu appears. Select New. A pop-up dialog box appears asking you to name the new preset. Name the preset and click OK. Your new preset is now saved. Creative Professional...

  • Page 61: Core Effects And Effects Presets

    Core Effects and Effects Presets The Core Effects cannot be removed or copied. Effect presets (stored in “C:\Program Hint: You can open Files\Creative Professional\E-MU 1616\E-MU PatchMix DSP\Effect Presets”) can be the effects presets with copied, e-mailed or shared like any other computer file.

  • Page 62: List Of Core Effects

    3-Band EQ 1-Band EQ Stereo Delay 1500 1-Band EQ Compressor Mono Delay 250 Compressor Mono Delay 1500 Compressor Chorus Mono Delay 250 Chorus Mono Delay 1500 Auto-Wah Flanger 4-Band EQ 3-Band EQ Total Effects Total Effects Total Effects Creative Professional...

  • Page 63: Core Effects Descriptions

    5 - Effects Core Effects Descriptions Core Effects Descriptions 1-Band Para EQ This single band parametric equalizer is useful +15dB when you just want to boost or cut a single range of frequencies. For example, if you just Boost want to brighten up the lead vocal a bit, you Width might choose this EQ.

  • Page 64: 3-Band Eq

    Sets the amount of cut (-) or boost (+) of the low frequency shelf. Range: -24dB to +24dB Low Corner Freq. Sets the frequency where the signal begins getting cut or boosted with the Low Gain control. Range: 50Hz to 800Hz Creative Professional...

  • Page 65: 4-Band Eq

    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.

  • Page 66: Auto-Wah

    Range: 10ms to 1000ms Sweep Range Controls the amount of “wah” sweep. Range: 0% to 100% Center Frequency Sets the initial bandpass filter frequency. Range: 80Hz to 2400Hz Bandwidth Sets the width of the bandpass filter. Range: 1Hz to 800Hz Creative Professional...

  • Page 67: Chorus

    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.

  • Page 68: Basic Controls

    Sets the ratio of input signal level to output signal level, or “how much” compression will be applied. Range: 1:1 to ×:1 Post Gain Amplifies the signal after it has been compressed to bring up the volume. Range -60dB to +60dB Creative Professional...

  • Page 69: Distortion

    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.

  • Page 70: Flanger

    Range 05 to 100% LFO Waveform Selectable between Sine or Triangle wave. LFO L/R Phase Controls the stereo width by adjusting the phase difference between the left and right sweeps. Range: -180° to +180° Creative Professional...

  • Page 71: Freq Shifter

    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”...

  • Page 72: Leveling Amp

    Post Gain Amplifies the signal after it has been compressed to bring up the volume. Range 0dB to 36dB Creative Professional...

  • Page 73: Lite Reverb

    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.

  • Page 74: Mono Delays - 100, 250, 500, 750, 1500, 3000

    Range: 1 millisecond to 3 seconds Feedback Sets the amount of delayed signal that will be recirculated through the delay line. Range: 0% to 100% High Freq. Rolloff Damps high frequencies in the feedback path. Range: 0% to 100% Creative Professional...

  • Page 75: Phase Shifter

    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.

  • Page 76: Speaker Simulator

    2 x 12 Combo Modeled from an American, 1960’ s era, 2-speaker combo amplifier. 4 x 12 Combo Modeled from an American, 1960’ s era, 4-speaker amplifier set. Metal Stack 1 & 2 Modeled from a modern era, power amplifier stack. Creative Professional...

  • Page 77: Stereo Delays - 100, 250, 500, 750, 1500

    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.
  • Page 78 Range: 0% to 100% High Freq. Damping Sets the rate at which high frequencies die away. Range: -10.0 to +3.0 damping factor Low Freq. Damping Sets the rate at which low frequencies die away. Range: -10.0 to +3.0 damping factor Creative Professional...

  • Page 79: Vocal Morpher

    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.

  • Page 80: Gate

    Gate Delay Lookahead Envelope Follower/ Threshold Detector Release Threshold Max Gain Reduction The Gate behaves exactly as a straight wire, except when activated by a signal level below the Threshold (with Lookahead Off). Creative Professional...

  • Page 81: Parameters

    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.) One of the keys to the smooth operation of the Gate is that the input Threshold level...

  • Page 82: Level Meter

    The most-leftward gain shutoff value achieved by the Gain meter is set by the Max Gain Reduction parameter (values from -70dB to -infinity are off the meter.) The speed with which the Gain signal decays from 0dB to the shutoff value can be observed to change according to the Release time parameter. Creative Professional...

  • Page 83: Reshaper

    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.
  • Page 84 This parameter allows additional time to be added onto the Sustain phase after the input signal falls below the Release Threshold before transitioning to the Release phase. This extension of the Sustain phase is useful for altering the tail dynamics of the sound. Creative Professional...
  • Page 85 5 - Effects Core Effects Descriptions Parameter Description Attack This parameter is adjustable in milliseconds to allow the Reshaper to Lookahead/ either “look ahead” and advance (negative values) or “delay” Delay (positive values) the response of the envelope detector relative to the dynamics of the input signal.

  • Page 86: Multimode Eq

    • Pseudo-stereo Effect - apply slightly different EQ to left and right channels to broaden the spread of a mono signal • Cross-over - left and right channels split a mono signal between highpass and lowpass with a sharp transition region. Creative Professional...

  • Page 87: Parameters

    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.

  • Page 88: Highpass -> Lowpass

    In Highpass || Lowpass mode, the effect does not place any limitations on the Freq parameters of one filter relative to the other. In normal use, the Highpass Freq parameter will be higher than the Lowpass Freq parameter, creating a bandcut-type response: Creative Professional...

  • Page 89: Band Pass

    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.

  • Page 90: Rfx Compressor

    The RFX Compressor does not have the input gain control that is found on some compressors. These are typically used to align the input signal range to the compression threshold. Instead, we've allowed the RFX Compressor's Threshold Creative Professional...

  • Page 91: Parameters

    5 - Effects Core Effects Descriptions parameter to operate over an exceptionally large range of 0-60dB so that it can be “steered” to the appropriate range of the input signal. The output Gain parameter also operates - either manually or automatically - over the unusually large range of -60dB to +60dB in order to renormalize the compressor's output for the next stage of the signal path.

  • Page 92: Gain

    1:Ratio at the upper Threshold. Both the Soft Knee depth and the Ratio will affect the particular shape of the knee: shallower depths and higher Ratios will create a sharper knee, while greater depths and lower ratios create a softer knee. Creative Professional...
  • Page 93 5 - Effects Core Effects Descriptions Soft Knee (Varying the Soft Knee Threshold) 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. Compres- sion is 1:1 (no compression) at the Knee Threshold and smoothly transforms into the selected compression ratio at the Compression Threshold.

  • Page 94: Gate

    At positive values, the signal path delay is zero; instead, a delay of up to 50 milli- seconds is inserted into the sidechain path containing the level detector. This delay can be used intentionally to cause the compressor to miss signal peaks, retaining the Creative Professional...

  • Page 95: Auto-Release

    5 - Effects Core Effects Descriptions “punch” and “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 applica- tions where the normal envelope of a signal is being creatively manipulated to achieve special effects.

  • Page 96: Max Compression

    -3:1 -2:1 results in an output signal that -1.5:1 actually gets quieter as the input signal rises above the threshold. -1:1 This action can be useful for applications like ducking and for other special effects. -80dB Creative Professional...

  • Page 97: Input Mode

    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.

  • Page 98: Example Settings

    • Threshold: -37dB (adjust according to the sound) • Ratio: 2:1 or 3:1 • Attack: Instantaneous • Release: 30 msec • Gain: 0dB • Soft Knee: Off • Gate: Off • Comp. Lookahead: -5 msec • Max. Compression: Unlimited Creative Professional...
  • Page 99 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.

  • Page 100: Multimode Eq Settings

    • Threshold: -32dB (adjust to control amount of de-essing) • Ratio: 2.5:1 • Attack: Instantaneous • Release: 40 msec • Gain: 0dB • Soft Knee: Off • Gate: Off • Comp. Lookahead: -20 msec • Auto-release: Off • Max. Compression: Unlimited Creative Professional...

  • Page 101: E-Mu Powerfx

    5 - Effects E-MU PowerFX E-MU PowerFX The hardware-accelerated effects of the E-MU Digital Audio System can also be used as E-MU PowerFX are VST inserts in Cubase. E-MU PowerFX allow you to use PatchMix DSP effects from not available at 88.2kHz, within Cubase with minimal load on your CPU.
  • Page 102 If you are using Cubase VST 5.1, you will have to insert an E-Delay Compensator into any other audio tracks to keep them time-aligned. Simply insert an E-Delay Compensator plug-in into the same insert location you used for E-MU PowerFX on any other audio tracks. That’s it. Creative Professional...

  • Page 103: Automating E-Mu Powerfx

    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 Steinberg Cubasis other VST effect. When “Write Automation” is activated in Cubase, control changes does not have the control made in the PowerFX window during playback will be recorded on a special automation feature.
  • Page 104 1024) Sony Acid 4 Sony Vegas 5 Sony SoundForge 7 Power FX crashes when launched. Adobe Audition 1.5 Audio distortion & immediate lockup. FruityLoops Studio 4.5 Ableton Live 3.5 Distortion when FX parameters are changed. Cakewalk Sonar 3 Creative Professional...

  • Page 105: Rendering Audio With E-Mu Powerfx

    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.

  • Page 106: E-Mu Vst E-Wire

    Strip configured for E-Wire E-Wire bridges the gap between hardware I/O and the VST world. The E-Wire VST plug-in sends audio to a strip containing the desired effect. An ASIO Send routes the audio back to E-Wire VST. Creative Professional...

  • Page 107: E-Delay Compensator

    5 - Effects E-MU VST E-Wire To Setup and use E-Wire: Setup PatchMix DSP Open PatchMix DSP application. Insert an ASIO Input mixer strip into PatchMix DSP. (Alternately, you can select “New Session”, select “E-Wire Example” and skip to step 6.) Mute the strip or turn the Fader all the way down.

  • Page 108: E-Delay Compensator Use

    An E-Delay Compensator should be used when unprocessed audio tracks are played alongside tracks using a PowerFX or E-Wire plug-in. Simply insert an E-Delay Compensator into each track that doesn’t use a PowerFX or E-Wire send. Creative Professional...

  • Page 109: E-Delay Units Parameter

    5 - Effects E-MU VST E-Wire E-Delay Units Parameter The Units value in the E-Delay dialog box should be set for the number of times you send ASIO down to the PatchMix DSP mixer and back in a single track. A single PowerFX insert chain with any number of effects only requires one delay unit because there was only one trip to the hardware and back.
  • Page 110 5 - Effects E-MU VST E-Wire Creative Professional...

  • Page 111: Appendix

    6 - Appendix Using High Sample Rates 6 - Appendix Using High Sample Rates Overview When operating at 176.4k or 192k sample rates, the mixer functionality and number of I/O channels are slightly reduced. The number of ADAT channels also decreases at the 88k/96k and 176/192k sample rates (due to the bandwidth limitations of the optical components).
  • Page 112 - - - - - - - - Line 1 Line 2 Line 3 (output) - - - - - - - - - - - - - - - - - - - - - - - - S/PDIF Total Creative Professional...

  • Page 113: Wdm Recording And Playback Behavior

    6 - Appendix Using High Sample Rates WDM Recording and Playback Behavior WDM recording and playback is supported at all PatchMix sample rates. The behavior of the driver with respect to PatchMix sample rate is described below. When PatchMix and the WDM audio content (.WAV file format, playback and record settings in WaveLab.

  • Page 114: Sync Daughter Card Supplement

    PatchMix DSP mixer becomes visible. Pressing the SMPTE button brings up the SMPTE window. SMPTE Flywheel Mode Start Striping Current Time Start Time • Off • Continuous Flywheel • Fixed •1-time Jam Amount SMPTE Frame Stop Output Word Clock Output SMPTE Status/ Source Termination Rate Settings Striping Level Error Indicators Creative Professional...

  • Page 115: Smpte Modes Of Operation

    6 - Appendix Sync Daughter Card Supplement Sets the transmitted frame rate when striping SMPTE. Mode (fps) Edit this field to set the start time in hours:minutes:seconds:frames for SMPTE Striping striping SMPTE. Initiates SMPTE Time Code generation at the SMPTE output beginning at Stripe Button the time set in the striping display.

  • Page 116: Stripe Mode

    The Sync Card should not be used as both the SMPTE and word clock master. Word Clock is generated by the Digital Audio System and NOT by the software application (such as Cubase). SMPTE is not locked to Word Clock inside the Sync Card—they are completely independent. Creative Professional...

  • Page 117: Midi Time Code (Mtc)

    6 - Appendix MIDI Time Code (MTC) MIDI Time Code (MTC) MIDI time code is basically SMPTE time code adapted to the world of MIDI. MTC MTC and SMPTE do specifies “absolute” location information in hours:minutes:seconds:frames, just like NOT synchronize at the SMPTE.
  • Page 118 E-MU 1010 CARD SYNC CARD Word Clock Termination ON This diagram shows the proper way to connect word clock if you don’t have a multi-output word clock generator. The last device in a Word Clock chain should have Termination ON. Creative Professional...

  • Page 119: Getting In Sync

    6 - 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.

  • Page 120: Useful Information

    Unbalanced cables are more prone to hum and interference than balanced cables, but the shorter the cable, the less hum and noise is introduced into the system. Creative Professional...

  • Page 121: Adapter Cables

    6 - Appendix Useful Information Adapter Cables 1/8” Mini-phone to 1/4” Adapters To connect headphones with an 1/8” (mini-phone) plug to the headphone jack on the MicroDock, you need a 1/8” to 1/4” adapter. These handy devices are available at electronic department stores everywhere.

  • Page 122: Grounding

    To Improve the Appearance Settings: Open the Windows Control Panel. (Start, Settings, Control Panel). Select System. Select the Advanced Settings tab. Under Visual Effects, select Adjust for Best Performance. Click OK. Creative Professional...

  • Page 123: Technical Specifications

    6 - Appendix Technical Specifications Technical Specifications Specifications: 1616 PCI System GENERAL 44.1 kHz. 48 kHz, 96 kHz, 192 kHz from internal crystal Sample Rates or externally supplied clock (no sample rate conversion) 24-bit I/O, 32-bit processing Bit Depth PCI 2.2 compliiant Form Factor: Universal Keyed, Short PCI Card PCI Specification 3.3V I/O, 5V Tolerant...
  • Page 124 (A-weighted, 1kHz, min. gain: 118 dB Dynamic Range: (A-weighted, min. gain): 118 dB SNR: (1kHz at-1dBFS): -105 dB (.0006%) THD+N: MICROPHONE PREAMP 1.5 Kohm Input Impedance: +6 dbV (8.2dBu) Max Level: (20Hz-20kHz, 150 ohm, unweighted): -129.5 dBu EIN: Creative Professional...
  • Page 125 6 - Appendix Technical Specifications Specifications: 1616 PCI System (A-weighted, min. gain): 119 dB Signal-To-Noise Ratio: (1kHz at -1dBFS, min gain): -110dB (.0003%) THD+N: (20Hz - 20kHz, gain +40dB): ±0.08 dB Frequency Response: +48V Phantom Power: 5dB max compression (software selectable) Soft Limiter: HEADPHONE AMP Linear power amplifier...
  • Page 126 ADAT (44.1kHz - 192kHz) External Sample Rate Sync: Optical S/PDIF (44.1kHz - 96kHz) Coaxial S/PDIF (44.1kHz - 192kHz) 24, 25, 30 drop-frame, 30 non-drop SMPTE to MTC, MTC to SMPTE Conversion SMPTE/LTC/MTC: (via optional Sync Daughtercard) SMPTE Striping Flywheel/Jam/Regenerate Creative Professional...
  • Page 127 6 - Appendix Technical Specifications Specifications: 1616 PCI System GENERAL 44.1 kHz. 48 kHz, 88.2kHz, 96 kHz, 176.4kHz & 192 kHz from internal crystal or externally supplied clock Sample Rates: (no sample rate conversion) 16 or 24-bit I/O, 32-bit processing Bit Depths: PCI 2.2 compliiant Form Factor: Universal Keyed, Short PCI Card...
  • Page 128 (1kHz at-1dBFS): -102 dB (.0008%) THD+N: MICROPHONE PREAMP 1.5 Kohm Input Impedance: +6 dbV (8.2dBu) Max Level: (20Hz-20kHz, 150 ohm, unweighted): -127 dBu EIN: (A-weighted, min. gain): 112.5 dB Signal-To-Noise Ratio: (1kHz at -1dBFS, min gain): -103 dB (.0007%) THD+N: Creative Professional...
  • Page 129 6 - Appendix Technical Specifications Specifications: 1616 PCI System +48V Phantom Power: 5dB max compression (software selectable) Soft Limiter: HEADPHONE AMP Linear power amplifier CS4392 D/A Converter: 85 dB Gain Range: 50 mW Maximum Output Power: 22 ohms Output Impedance: (20Hz - 20kHz): +0.0/-0.07 dB Frequency Response: (A-weighted): 112 dB...
  • Page 130 (Measured via Audio Precision 2) 44.1 kHz Optical Input 795ps ANALOG LINE INPUTS Servo-balanced, DC-coupled, low-noise input circuitry Type AK5394A A/D Converter Professional: +4 dBu nominal, 20 dBu maximum (balanced) Level (software selectable) Consumer: -10 dBV nominal, 6 dBV maximum (unbal- anced) Creative Professional...
  • Page 131 6 - Appendix Technical Specifications Specifications: 1212 System (20Hz - 20kHz): +/- 0.05 db Frequency Response (1kHz, A-weighted): 120 dB Dynamic Range (A-weighted): 120 dB Signal-to-Noise Ratio (1kHz at -1dBFS): -110 dB (.0003%) THD + N (1kHz at -1dBFS): -115 dB Channel Crosstalk 10K ohm Input Impedance...
  • Page 132 ADAT (44.1kHz - 192kHz) Optical S/PDIF (44.1kHz - 96kHz) External Sample Rate Sync: Coaxial S/PDIF (44.1kHz - 192kHz) 24, 25, 30 drop-frame, 30 non-drop SMPTE to MTC, MTC to SMPTE Conversion SMPTE/LTC/MTC: (via optional Sync Daughtercard) SMPTE Striping Flywheel/Jam/Regenerate Creative Professional...
  • Page 133 6 - Appendix Technical Specifications Dimensions & Weight MicroDock 2.27 lb / 1.03 kg MicroDock Weight: W: 7.25" H: 1.625" L: 7.75" Dimensions: W: 184 mm H: 41 mm L: 196 mm 1010 PCI Card 0.30lb / 0.14kg Weight: L: 6.7" / 170.2mm Dimensions: 0202 Daughter Card 0.25lb / 0.10kg...

  • Page 134: Internet References

    Forums Unofficial E-MU Forum ......http://www.productionforums.com/emu/ KVR Forum ..........http://www.kvr-vst.com/forum/ Driver Heaven Forum......http://www.driverheaven.net/search.php?s MIDI Addict Forum ........ http://forum.midiaddict.com/search.php Home Recording Forum ......http://homerecording.com/bbs/ search.php?s=d866b60193933eb726660e7b d90dfb27 Sound-On-Sound Forum ....... http://sound-on-sound.com/forum/ Studio-Central Cafe Forum....http://studio-central.com/phpbb/search.php Sound Card Benchmarking....http://audio.rightmark.org Creative Professional...

  • Page 135: Declaration Of Conformity

    6 - Appendix Internet References Declaration of Conformity E-MU Systems Trade Name: EM8850 Model No.: EM8870 EM8871 E-MU Systems Responsible Party: 1500 Green Hills Road, Address: Scotts Valley, CA 95066 U.S.A. This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

  • Page 136: Compliance Information

    This product has been tested and found compliant with the limits set out in the EMC Directive for using connection cables shorter than 3 meters (9.8 feet). Notice If static electricity or electromagnetism causes data transfer to discontinue midway (fail), restart the application or disconnect and connect the Firewire cable again. Creative Professional...

  • Page 137: Index

    Category create new preset 57 delete effects 57 rename effects 57 A/D Converter CDs, playing 37 1212M 130 Chorus 67 1616 127 using freq. shifter 71 1616M 123 Clicks & Pops, in the audio 19, 23, 117 AC3 Passthrough 23...
  • Page 138 Index overview 55 palette 55 D/A Converter phase shifter 75 1212M 131 placing into an insert location 39 1616 128 preset 1616M 124 create new 60 Damping, high frequency 73, 78 delete 61 Decay Time, lite reverb 73 overwrite 61...
  • Page 139 Index Hardware DSP 123, 130 Jitter Spec Headphone Amp Specs 125, 129 1616 system 130 Headphone Output 23 1616M system 123 Headphones, using with the 0202 20 Help System 31 High Frequency Damping, stereo reverb 78 Label, scribble strip 49 High Frequency Decay Factor, lite reverb 73 Latency, monitoring without 41 High Frequency Rolloff...
  • Page 140 61 session 31, 32 select user 60 at 176k/192k 111 Punch Enhancement user effect preset 60 reshaper effect 83 Noise Gate 80 using gate effect 80 Notes, Tips & Warnings 12 Punch Reducer, using reshaper effect 83 Creative Professional...
  • Page 141 Robot Voice Effects, creating 77 send/return insert 51 Rotary, effect 75 Specifications Rubber Feet, installing on Audio Dock 18 1212M System 130 Rumble Filter, using multimode filter 86 1616 System 127 1616M System 123 Start Time, SMPTE 115 S/MUX 111...
  • Page 142 WDM Recording & Playback Behavior 113 Wet/Dry Mix, effects 59 White Noise Generator 45 Window Appearance Settings 122 Windows Media Player 37 Windows Media Player, multichannel 38 Windows Taskbar, E-MU icon 31 Word Clock In/Out 117 XLR Connector 22 Zero-Latency Monitoring 41 Creative Professional...

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