Руководство e mu 1212m

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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 E-MU PCIe Digital Audio Systems…
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  Software Version: 2.20 E-MU World Headquarters E-MU Systems 1500 Green Hills Road Scotts Valley, CA 95066 Europe E-MU Japan Creative Media K K Creative Labs Kanda Eight Bldg., 3F Ballycoolin Business Park 4-6-7 Soto-Kanda Blanchardstown Chiyoda-ku, Tokyo 101-0021 Dublin 15…

• Page 3: Table Of Contents

  Table of Contents 1- Introduction …………..9 Welcome! ………………….. 9 Both Systems Include: ………………11 E-MU 1212m System ………………11 E-MU 1616m System ………………11 Sync Daughter Card ………………11 PatchMIx DSP ………………..12 Notes, Tips and Warnings …………….12 2 — Installation …………..

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  Managing Your Inserts ………………46 Aux Section ………………….. 47 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 Creative Professional…
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  Input ………………….52 Output ………………….52 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 …………….
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  Overview ………………….111 WDM Recording and Playback Behavior …………113 Getting in Sync ………………..114 Useful Information ………………..115 Cables — balanced or unbalanced? …………..115 Balanced Cables ………………115 Unbalanced Cables ………………115 Adapter Cables ………………..116 Creative Professional…
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  1/8” Mini-phone to 1/4” Adapters …………..116 Cinch (RCA) to 1/4” Adapters …………… 116 Digital Cables ………………..116 AES/EBU to S/PDIF Cable Adapter …………..116 Grounding …………………. 117 Phantom Power ………………..117 Appearance Settings in Windows …………..117 Technical Specifications………………118 Internet References…………………
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  Creative Professional…

• Page 9: 1- Introduction

  1- Introduction Welcome! 1- Introduction Welcome! Thank you for purchasing the E-MU 1616 PCIe or 1212 PCIe Digital Audio System. Your computer is about to be transformed into a powerful audio processing workstation. We’ve designed your E-MU digital audio system to be logical, intuitive and above all, to provide you with pristine sound quality.

• Page 10
  (8) Channel ADAT Digital Optical Input (8) Channel ADAT Digital Optical Output (2) Channel S/PDIF Digital Input (2) Channel S/PDIF Digital Output (1) MIDI Input & Output (allows 16 MIDI channels) (2) 24-bit Balanced Line Inputs (2) 24-bit Balanced Line Outputs Creative Professional…

• Page 11: Both Systems Include

  1- Introduction Welcome! Both Systems Include: The E-MU 1010 PCIe Card is the heart of all three systems. Its powerful hardware DSP processor allows you to use over 16 simultaneous hardware-based effects, which place minimal load on your computer’s CPU. The E-MU 1010 PCIe Card also provides eight- channels of ADAT®…

• 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 PCIe x1 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) ý Warning: Please verify that all cables are connected only to the proper components before powering up your system. Creative Professional…

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

  2 — Installation Installing the E-MU 1010 PCIe Card Installing the E-MU 1010 PCIe Card 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.

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

  Turn the MicroDock on by turning the Headphone Volume control. Note: The 1616 MicroDocks cannot be +48V DC Adapter used with older 1010 PCI cards identified by the 1394 FireWire port. 48 VDC The Headphone Volume Control is the Power Switch. 1010 PCIe Card Creative Professional…

• Page 17: Warning: E-Mu 0202 & Microdock

  2 — Installation Connecting the MicroDock ý Warning: The MicroDock has been designed to use readily available and inexpensive standard computer system cables. This makes it easy for you to find replacement cables if your original cable becomes damaged or lost. However, because these standard cables types are used for other purposes, you must use caution to avoid connecting the cables incorrectly.

• Page 18: Software Installation

  When you install the 1616M PCIe 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: Pcie Card & Interfaces

  3 — PCIe Card & Interfaces The E-MU 1010 PCIe Card 3 — PCIe Card & Interfaces The E-MU 1010 PCIe Card The E-MU 1010 PCIe 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 — PCIe Card & Interfaces The MicroDock The MicroDock The MicroDock connects to the E-MU 1010 PCIe 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 — PCIe 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 — PCIe 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…

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  3 — PCIe 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: 1212M System Connections

  1/4″ male to 1/4″ male Powered Speakers (balanced or unbalanced) or… Aux Inputs Integrated Mono 1/4″ male to Amp & Speakers male Cinch (RCA) adapter or… Powered Desktop Speakers Stereo Mono 1/4″ male to Stereo 1/8″ female adapter 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 FilesCreative ProfessionalE-MU PatchMix DSPSession 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…

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  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 FilesCreative ProfessionalE-MU PatchMix DSPEffect 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 to selected, the FX display will read “No Insert.” 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 FilesCreative ProfessionalE-MU 1616E-MU PatchMix DSPEffect 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: Compressor

  Two other important controls are Attack and Release. Attack controls how quickly the gain is turned down after the signal exceeds the threshold. Release controls how fast the gain is returned to its normal setting after the signal has fallen below the threshold Creative Professional…

• Page 69
  5 — Effects Core Effects Descriptions again. An attack setting of about 10 milliseconds will delay the onset of compression long enough to preserve the attack transients in guitar, bass or drums while allowing the sustain portion of the sound to be compressed. Longer release times are generally used to reduce the so called “pumping”…

• Page 70: Distortion

  Sets the output volume of the effect. Range: -60dB to 0dB Post EQ Center Freq. Sets the frequency of the output bandpass filter. Range: 80Hz to 24kHz Post EQ Bandwidth Sets the width of the output bandpass filter. Range: 80Hz to 24kHz Creative Professional…

• Page 71: Flanger

  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.

• Page 72: Freq Shifter

  Sets the number of Hz that will be added or subtracted with every harmonic in the signal. Range: .01Hz to 24kHz Left Direction Sets pitch shift up or down for the left channel. Right Direction Sets pitch shift up or down for the right channel. Creative Professional…

• Page 73: Leveling Amp

  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”…

• Page 74: Lite Reverb

  Range: 0% to 100% Early Reflections Sets the volume of the initial wall reflections. Range: 0% to 100% Reverberance Sets the amount of scattering of the early reflections and the reverberation cloud. Range: 0% to 100% Creative Professional…

• Page 75: Mono Delays — 100, 250, 500, 750, 1500, 3000

  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.

• Page 76: Phase Shifter

  The Rotary incorporates acceleration and deceleration as you switch between the two speeds. Parameter Description Speed Switches between slow or fast rotor speeds with acceleration and deceleration as the speed changes. Creative Professional…

• Page 77: Speaker Simulator

  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%.

• Page 78: Stereo Delays — 100, 250, 500, 750, 1500

  Range: 1 millisecond to 1.5 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 79
  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.

• Page 80: Vocal Morpher

  Adjusts the frequency of Phoneme B up or down 2 octaves in Tuning semitone intervals. Range: -24 semitones to +24 semitones LFO Rate Controls how fast the phonemes morph back and forth. Range: .01Hz to 10Hz LFO Waveform Selects the waveform for the morph: Sinusoid, Triangle, Sawtooth Creative Professional…

• Page 81: Gate

  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.

• Page 82: Parameters

  Gate turns on. However, this is actually implemented by adding a 1 millisecond delay to the signal through the gate. For appli- cations where this additional 1 millisecond latency is a problem, the Lookahead can be turned Off. Creative Professional…

• Page 83: Level Meter

  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.

• Page 84: Reshaper

  Release Level where it remains until the another input transient triggers the next Attack phase. 0 dB Threshold Release Threshold Original Waveform 0 dB Sustain Level Release Level Attack Decay Hold Release Time Time Time Time Reshaped Waveform Creative Professional…

• Page 85
  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.
• Page 86
  Release Curve This parameter selects gain curves exactly as for the Attack Curve parameter, except that the selected curves apply to both the Decay and Release phases of the ADSR. Creative Professional…

• Page 87: Multimode Eq

  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. The Multimode EQ is built from an array of filter sections that can be configured to support: •…

• Page 88: Parameters

  The frequency response of the highpass filter looks something like the diagram below: In this mode, the Highpass filter can have up to a 48dB/octave rolloff slope. The Highpass Rolloff, Highpass Frequency and Highpass Resonance parameters are available for editing the filter response. Creative Professional…

• Page 89: Highpass -> Lowpass

  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.

• Page 90: Band Pass

  Lowpass and Highpass filters. In this mode the rolloff slope on the high and low sides of the cut-band is symmetrical and is limited to a maximum of 24dB/octave.The Resonance is also common to both filter sections . Resonance = 0 Creative Professional…

• Page 91: Rfx Compressor

  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: •…

• Page 92: Parameters

  The fastest Release time is 100 microseconds, useful for some special effects but highly prone to distortion; more typical release times are in the range of 70 milliseconds to 1 second. Release times up to 10 seconds are available for long- term leveling or automatic mixing applications. Creative Professional…

• Page 93: Gain

  5 — Effects Core Effects Descriptions When the Auto-release parameter is in its signal-dependent settings, the Release time shown represents the shortest possible release time. In Auto-release modes the displayed Release time will be automatically extended depending on the dynamics of the input signal.

• Page 94
  Auto Makeup compression at lower Gain parameter. Thus signal levels below the Threshold increase as the Soft Knee depth signal levels to peak and/or Ratio is increased (but see the Gate parameter, below.) limiting at maximum signal level Creative Professional…

• Page 95: Gate

  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.

• Page 96: Auto-Release

  Ratio settings than at lower ones. Uncompressed Waveform Longer Release Short Release Program-Dependent Release With Auto-release turned on, the release time becomes longer after an extended period of compression. Creative Professional…

• Page 97: Max Compression

  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.

• Page 98: Input Mode

  One example would be to place a stereo equalizer ahead of the compressor in order to implement a version of de-essing or “de-booming.” See page 101. Creative Professional…

• Page 99: Example Settings

  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.

• Page 100
  • Threshold: -37dB (adjust according to the sound) • Ratio: -1:1 (Neg. Compression enabled) • Attack: Instantaneous • Release: 200 msec • Gain: +19dB • Soft Knee: Off • Gate: Off • Comp. Lookahead: -24 msec • Auto-release: Off • Max. Compression: Unlimited Creative Professional…

• Page 101: Multimode Eq Settings

  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 andthe Multimode EQ. The Wet/Dry mix on each effect should be set to 100%.

• Page 102: E-Mu Powerfx

  FX Presets Select from the list of preprogrammed effect presets here. Preset Editing Click here to Save, Delete, Rename or Overwrite a User Preset. See the “User Preset Section” for more information Creative Professional…

• Page 103
  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.

• Page 104: Automating E-Mu Powerfx

  • If the sample rate is changed in the middle of a E-MU PowerFX session, E-MU PowerFX plug-ins will be bypassed, since the hardware effects cannot operate at 88kHz, 96kHz, 176.4kHz or 192kHz. Creative Professional…

• Page 105
  5 — Effects E-MU PowerFX E-MU PowerFX Compatibility Chart Extra Application Name Compatible? Note Render Buffers Steinberg Cubase VST 5.1 Steinberg Cubase SX 1 Steinberg Cubase SX 2 Instrument Freeze triggers error if not in render mode. Steinberg Cubase LE Steinberg Cubase SL Steinberg WaveLab 4 Steinberg WaveLab Lite (ver 4)

• Page 106: Rendering Audio With E-Mu Powerfx

  • Pad the beginning (and/or end) of your audio file with silence (.5 to several seconds depending on the file). This action causes the buffer discontinuities to occur before the song begins. Creative Professional…

• Page 107: E-Mu Vst E-Wire

  5 — Effects E-MU VST E-Wire E-MU VST E-Wire 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 compen- sates for system latencies and ensures proper synchronization of audio throughout the VST chain.

• Page 108: E-Delay Compensator

  VST host applica- tions support this automatic compensation. A host will support PowerFX and E-Wire’s plug-in delay compensation if it supports the SetInitialDelay feature of the VST 2.0 specification. Creative Professional…

• Page 109: E-Delay Compensator Use

  5 — Effects E-MU VST E-Wire Currently automatic delay compensation is supported by the Steinberg 2.0 family (Nuendo 2.x, Cubase SX 2.0), Magix Samplitude 7.x, and Sonar (using the Cakewalk VST adapter 4.4.1), but not, unfortunately, by Steinberg Cubase VST 5.1, Cubase LE and Cubasis.

• Page 110: E-Delay Units Parameter

  E-Delay Compensator on the output of the group or bus. • E-MU Digital Audio System and PatchMix DSP must be installed. • E-Wire is compatible with Cubase SX/SL/LE, Cubase VST, Wavelab, and Cakewalk Sonar (via DirectX-VST adapter) among others. 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: Getting In Sync

  A/D — D/A. The external device MUST be set to receive external clock via ADAT or the units will not be synchronized. The E-MU Digital Audio System is the Master and the external A/D — D/A is the Slave. Creative Professional…

• Page 115: Useful Information

  6 — Appendix Useful Information Useful Information Cables — balanced or unbalanced? All inputs and outputs on the E-MU Digital Audio System are designed to use either balanced or unbalanced cables. Balanced signals provide an additional +6dB of gain on the inputs and are recommended for best audio performance, although unbalanced cables are fine for most applications.

• Page 116: Adapter Cables

  This simple adapter cable allows you to receive AES/EBU digital audio via the S/PDIF input on the E-MU 1010 PCIe card or MicroDock. This cable may also work to connect S/PDIF out from the 1010 PCIe card (or MicroDock) to the AES/EBU input of other digital equipment. Creative Professional…

• Page 117: Grounding

  6 — Appendix Useful Information Grounding In order to obtain best results and lowest noise levels, make sure that your computer and any external audio devices are grounded to the same reference. This usually means that you should be using grounded AC cables on both systems and make sure that both systems are connected to the same grounded outlet.

• Page 118: Technical Specifications

  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): -120 dB Channel Crosstalk -79 dB at 60Hz Common-mode Rejection 10K ohm Input Impedance Creative Professional…

• Page 119
  6 — Appendix Technical Specifications Specifications: 1616 PCIe ANALOG LINE OUTPUTS Balanced, low-noise, 2-pole low-pass differential filter, Type AC-coupled CS4398 D/A Converter Professional: +4dBu nominal, 20 dBu maximum Level (software selectable) (balanced) Consumer: -10 dBV nominal, 6 dBV maximum (unbalanced) (20 Hz — 20 kHz): +0.0/-0.06 dB Frequency Response (1kHz, A-weighted): 120 dB…
• Page 120
  • 2 MIDI in, 2 MIDI out MIDI SYNCHRONIZATION 44.1kHz, 48 kHz, 88.2kHz, 96 kHz, 176.4kHz, 192 kHz Internal Crystal Sync: ADAT (44.1kHz — 192kHz) External Sample Rate Sync: Optical S/PDIF (44.1kHz — 96kHz) Coaxial S/PDIF (44.1kHz — 192kHz) Creative Professional…
• Page 121
  6 — Appendix Technical Specifications Specifications: 1212 GENERAL 44.1 kHz. 48 kHz, 88.2 kHz, 96 kHz, 176.4kHz, & 192 kHz from internal crystal or externally supplied Sample Rates clock (no sample rate conversion) 24-bit I/O, 32-bit processing Bit Depth • PCIe base specification 1.1 compliiant •…
• Page 122
  • 1 MIDI in, 1 MIDI out (16 channels) MIDI SYNCHRONIZATION 44.1kHz, 48 kHz, 88.2kHz, 96 kHz, 176.4kHz, 192 kHz Internal Crystal Sync: ADAT (44.1kHz — 192kHz) External Sample Rate Sync: Optical S/PDIF (44.1kHz — 96kHz) Coaxial S/PDIF (44.1kHz — 192kHz) Creative Professional…
• Page 123
  6 — Appendix Technical Specifications Dimensions & Weight MicroDock 2.27 lb / 1.03 kg MicroDock Weight: L: 7.75″ L: 196 mm W: 7.25″ W: 184 mm Dimensions: H: 1.625″ H: 41 mm 1010 PCIe Card 0.30lb / 0.14kg Weight: L: 6.5″ / 165 mm Dimensions: H: 4.0″…

• Page 124: 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://soundonsound.com/forum/ Studio-Central Cafe Forum….http://studio-central.com/phpbb/search.php Sound Card Benchmarking….http://audio.rightmark.org Creative Professional…

• Page 125: 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 126: 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 127: Index

  Index Numerics Auto-Release, RFX compressor 96 Index Auto-Wah 66 Aux Bus 47 Auxiliary Effects Assignment 53 Auxiliary Returns 53 Auxiliary Sends 47 used as extra mix busses 53 Background program, disabling 31 Backward Cymbal Effect 100 Balance Control, monitor 54 Balanced Cables 25, 115 Band Cut Filter 90 Numerics…

• Page 128
  71 Ground Lug, turntable 25 frequency shifter 72 Grounding 117 gate 81 leveling amp 73 lite reverb 74 Hardware DSP 118, 121 mono delays 75 Headphone Amp Specs 120 multimode eq 87 Headphone Output 23 order of 57 Creative Professional…
• Page 129
  Index Headphones, using with the 0202 20 Help System 31 Label, scribble strip 49 High Frequency Damping, stereo reverb 79 Latency, monitoring without 41 High Frequency Decay Factor, lite reverb 74 LED indicators 22 High Frequency Rolloff Level Fader 49 mono delays 75 Level Meter, gate effect 83 stereo delays 78…
• Page 130
  Release Time, gate effect 82 fader, main 54 Release, compressor 68 level Render Mode 103 line 25 Requirements for Installation 13 meters 54 Reshaper 84 monitor 54 Reverb, envelope 74, 79 routing display 52 Reverberation 79 section 54 RFX Compressor 91 Creative Professional…
• Page 131
  Index RJ45 Connector 16 Specifications Robot Voice Effects, creating 78 1212M System 121 Rotary, effect 76 1616M System 118 Rubber Feet, installing on Audio Dock 18 Stereo Delays 78 Rumble Filter, using multimode filter 87 Stereo Reverb 79 Strip add new 37 input type 36 S/MUX 111 mixer 36…
• Page 132
  WDM Recording & Playback Behavior 113 Wet/Dry Mix, effects 59 White Noise Generator 45 Window Appearance Settings 117 Windows Media Player 37 multichannel sound playback 38 Windows Taskbar, E-MU icon 31 Windows Vista 18 Windows XP 18 XLR Connector 22 Zero-Latency Monitoring 41 Creative Professional…

E-MU 1616m / 1212m PCIe

Digital Audio System

Table of Contents

1- Introduction

Welcome!

1- Introduction

Welcome!

Thank you for purchasing the E-MU 1616m PCIe or 1212m PCIe Digital Audio System. Your computer is about to be transformed into a powerful audio processing workstation. We’ve designed your E-MU digital audio system to be logical, intuitive and above all, to provide you with pristine sound quality. These systems offer unprecedented quality and value by providing studio-class, 24-bit/192kHz multi-channel recording and playback to any PCIe card bus equipped PC.

1616m PCIe System Components

E-MU 1616m PCIe

•E-MU 1010 PCIe Card

•MicroDockm

•EDI (E-MU Digital Interface Cable)

•+48VDC AC Adapter

•MIDI Breakout Cable

•Digital Audio System Software/Driver Installation CD-ROM

•Production Tools Software Bundle CD-ROM

•Quick Start Guide

Inputs & Outputs

(8) Channel ADAT Digital Optical Input

(8) Channel ADAT Digital Optical Output

(2)Channel S/PDIF Digital Input

(2)Channel S/PDIF Digital Output

(2)MIDI Inputs & Outputs (allows 32 MIDI channels)

(4)24-bit Balanced Line Inputs

(6)24-bit Balanced Line Outputs

(2)Microphone/Line Preamp Inputs (with +48V phantom power)

(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)

1- Introduction

Welcome!

1212m PCIe System Components

E-MU 1212m

•E-MU 1010 PCIe Card

•E-MU 0202 I/O Daughter Card

•0202 I/O Card Cable

•(2) MIDI Adapter Cables

•Digital Audio System Software/Driver Installation CD-ROM

•Production Tools Software Bundle CD-ROM

•Quick Start Guide

Inputs & Outputs

(8) Channel ADAT Digital Optical Input

(8) Channel ADAT Digital Optical Output

(2) Channel S/PDIF Digital Input

(2) Channel S/PDIF Digital Output

(1)MIDI Input & Output (allows 16 MIDI channels)

(2)24-bit Balanced Line Inputs

(2) 24-bit Balanced Line Outputs

1- Introduction

Welcome!

Both Systems Include:

The E-MU 1010 PCIe Card is the heart of all three systems. Its powerful hardware DSP processor allows you to use over 16 simultaneous hardware-based effects, which place minimal load on your computer’s CPU. The E-MU 1010 PCIe Card also provides eightchannels of ADAT® optical digital input and output, as well as a S/PDIF stereo digital input and output.

The PatchMix DSP mixer application is included in all the systems. PatchMix DSP delivers unmatched flexibility in routing your audio between physical inputs and 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, they don’t add latency when you record. You can even record a dry signal while monitoring yourself with effects! (See “The Order of Effects” on page 57.) Mixer setups can be saved and instantly recalled for specific purposes such as recording, mixdown, jamming, special effect setups, playing games, watching DVDs, or general computer use.

E-MU 1212m System

The E-MU 1212m includes the 0202 Daughter Card, which provides 2 line level, balanced analog inputs, 2 line level, balanced analog outputs, plus MIDI input and output. This is no-compromise audio interface, using ultra-high performance 24-bit/192kHz A/D — D/A converters to deliver an unbelievable 120dB dynamic range.

S/PDIF and ADAT on the 1010 PCIe card are NOT ACTIVE when the MicroDock is connected.

1- Introduction

Welcome!

PatchMIx DSP

PatchMix DSP offers unmatched flexibility in routing your audio between physical inputs/outputs, virtual (ASIO/WAVE) inputs/outputs, internal hardware effects and buses. No external mixer is 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, you can record using effects with near zero-latency. You can even record a dry signal while monitoring yourself with effects! (See “The Order of Effects” on page 57.) Mixer setups can be saved and instantly recalled for specific purposes such as recording, mixdown, jamming, special effect setups, playing games, watching DVDs, or general computer use.

You’ll want to keep up with the latest software and options for your E-MU digital audio system. You can find all of this, plus other helpful information, at the E-MU Website: http://www.emu.com.

Notes, Tips and Warnings

Items of special interest are presented in this document as notes, tips and warnings.

Notes provide additional information related to the topic being discussed. Often, notes describe the interaction between the topic and some other aspect of the system.

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.

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 PCIe x1 card in your computer. Go there.

3.Install the 0202 Daughter Card (if applicable). Go there.

4.Connect the MicroDock (if applicable).

5.Install the PatchMix DSP software onto your computer.

6.Connect audio, MIDI and synchronization cables between the E-MU system and your other gear.

7.After Software Installation, click on the E-MU icon in the Windows SysTray to open PatchMix DSP, then click the ? in the upper right corner to open the complete operation manual.

Notes for Installation

•IF AT ANY TIME DURING THIS INSTALLATION YOU SEE NO RESPONSE: Use the Alt-Tab feature to select other applications. One of them may be the Microsoft Digital Signature warning. It is possible for this warning to appear behind the installation screen.

•Make sure you have the latest Windows Service Packs from Microsoft® (Windows® XP — SP 2 or higher, Vista® — SP 1 or higher).

•Disable onboard sound and uninstall all other sound cards. (If you wish to try using multiple sound cards in your system, do so after you have confirmed that your E-MU Digital Audio System is operating normally.)

•InstallShield “IKernel Application Error” on Windows XP: When installing this software on Windows XP, you may be confronted with a “kernel error” at the very end of installation. This is an issue with the InstallShield program, which is what we use to install software on your computer. Please do not be alarmed by this, as the error is innocuous.

•To read more about this error, and obtain instructions on how to avoid getting the message, please visit this website: http://support.installshield.com/kb/view.asp?articleid=q108020

•Multiple Digital Audio System sound cards are not supported.

System Requirements

•Intel® or AMD® processor operating at 1GHz or faster

•Intel, AMD or 100% compatible motherboard and chipset

•Windows XP SP2 or higher, Windows Vista SP1 or higher

•512 MB RAM

•500 MB free hard disk space for full installation

•Available PCIe 1.1 compliant slot (1 PCIe and 1 backplane slot required for 1212)

•XVGA Video (1024 x 768)

•CD-ROM drive required for software installation

•Headphones, amplified speakers, or audio sound system

As you install hardware components, observe the following general precautions to avoid damage to your equipment and yourself.

2 — Installation

Installing the E-MU 1010 PCIe Card

Installing the E-MU 1010 PCIe Card

Note: Some computer cases don’t use screws to secure PCIe cards. In this case, follow the instructions that came with your computer.

5.Align the E-MU 1010 PCIe card with the slot and press gently but firmly down into the slot as shown in figure 2.

6.Do not force the E-MU 1010 PCIe card into the slot. Make sure that the gold finger connector of the card is aligned with the PCIe x1bus connector on the motherboard before you insert the card into the PCIe slot. If it doesn’t fit properly, gently remove it and try again.

7.Secure the card into the slot using one of the screws you placed aside earlier.

2 — Installation

Connecting the MicroDock

ý Warning: The MicroDock has been designed to use readily available and inexpensive standard computer system cables. This makes it easy for you to find replacement cables if your original cable becomes damaged or lost. However, because these standard cables types are used for other purposes, you must use caution to avoid connecting the cables incorrectly. DO NOT connect the supplied EDI cable to the Ethernet or network connector on your computer. Doing so may result in permanent damage to either your computer, the E-MU 1010 PCIe card, or the MicroDock.

WARNING: E-MU 0202 & MicroDock

If you have both the E-MU 0202 I/O card and the MicroDock, DO NOT connect both to the E-MU 1010 PCIe card. They cannot be used together.

Serial Number — During the registration process, you will be asked to enter your 18-digit serial number. The serial number is located on the back of the box and on the 1010 PCIe Card.

3 — PCIe Card & Interfaces

The 0202 Daughter Card

At the 96kHz or 192kHz sample rates, the industry standard S/MUX interleaving scheme is used for ADAT input and output. S/MUX uses additional ADAT channels to achieve the required bandwidth. See the chart below or go here for additional information.

The 0202 Daughter Card

The 0202 Daughter card is the companion card for E-MU 1010 systems which don’t include the MicroDock. The 0202 Daughter card provides one pair of 24-bit balanced analog inputs and one pair of 24-bit balanced analog outputs, plus MIDI in and out.

MIDI In/Out

The MIDI input and output port can be assigned in your specific MIDI application. Connect the MIDI adapter cable that came with your 0202 Daughter card to the miniDIN connectors on the card. The adapter cables convert the mini-DIN to standard DIN connectors used on most keyboards and synthesizers. Connect MIDI Out to the MIDI In port of your synthesizer and MIDI Out of your synth to MIDI In of the 0202 Daughter Card.

Phantom Power Caution: Some microphones (notably ribbon types) cannot tolerate phantom power and may be damaged. Check the specifications and requirements of your microphone before using phantom power.

3 — PCIe Card & Interfaces

The MicroDock

Front Panel

Analog Connections

Use the 3-pin XLR jack for Low Impedance microphones.

Use the center

Phone Jack for High Impedance instruments such as electric guitar or bass.

3 — PCIe Card & Interfaces

The MicroDock

Computer Speaker Analog Outputs

These stereo mini-phone (3.5mm) jacks duplicate line level outputs 1-3 with a lower output level to accommodate consumer speakers. These line level outputs are designed to interface easily with powered speakers.

MIDI 1 & 2 In/Outs

MIDI input and output ports allow you to interface any type of MIDI equipment such as keyboards, effect units, drum or guitar controllers (anything with MIDI). The MIDI drivers were installed when you installed your PatchMix DSP software and the MIDI ports will appear in your system control panel under “Sounds and Audio Devices.”

There are two completely independent sets of MIDI input and output ports on the MicroDock, which can be assigned in your specific MIDI applications.

Connect the MIDI breakout cable to the D-connector on the MicroDock. Connect MIDI Out to the MIDI In port of your synthesizer and MIDI Out of your synth to MIDI In of the MicroDock MIDI cable.

EDI Connector (Card)

Connects the MicroDock to the E-MU 1010 PCIe card using a CAT5-type computer cable. The cable supplied with the MicroDock is specially shielded to prevent unwanted RF emissions.

Mixer

&

Speakers

* NOTE: Line Inputs 2L/2R and Phono 2L/2R cannot be used at the same time.

3 — PCIe Card & Interfaces

The MicroDock

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). The 1/8” jacks duplicate the 1/4” outputs. The 1/8” jacks and the 1/4” jacks can be used simultaneously.

You can connect the 1/8” stereo jacks to your surround speakers and connect the 1/4” outputs to your other gear for music creation. (Yes, they can both be connected at the same time.) When you want to monitor in surround, simply open the 5.1 Session and turn on your surround speakers.

The chart below shows how to connect the outputs for 5.1 surround sound playback.

Multichannel WAVE to Surround Sound Speaker Channels

(using the factory 5.1 DVD Playback Session)

Choose one of the DVD 5.1 Sessions, then set up your DVD application to use multichannel WAV for audio.

4 — The PatchMix DSP Mixer

PatchMix DSP

4 — The PatchMix DSP Mixer

PatchMix DSP

4 — The PatchMix DSP Mixer

Overview of the Mixer

Mixer Window

The Mixer consists of four main sections.

A simplified diagram of the mixer is shown below.

IMPORTANT: Study this diagram to understand how the PatchMix DSP Mixer works.

Pre Fader or Post Fader

When creating a new Mixer Strip, you have the option for the Aux Sends to be placed

Post Fader (both Aux Sends come after the channel fader) or Pre Fader (both Aux

Sends come before the channel fader). The Pre-fader option allows you to use either

Aux Send as another mix bus, which is unaffected by the channel fader.

More Information.

4 — The PatchMix DSP Mixer

E-MU Icon in the Windows Taskbar

E-MU Icon in the Windows Taskbar

Restore Defaults: Always try this option first if PatchMix is crashing or if you are having any other strange audio problems.

Click the buttons in the toolbar to learn about their function.

Important: When using any form of digital input, you MUST synchronize the Digital Audio System to the external digital device (S/PDIF/ADAT).

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.

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, 44.1k/48k, 88k/ 96k, or 176k/192k.

You can create your own templates by simply copying or saving sessions into the “Session Templates” folder (Program FilesCreative ProfessionalE-MU PatchMix DSPSession 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.

Selecting a Session at 176.4kHZ or 192kHz

When operating at 176.4k or 192k sample rates, the number of I/O channels are slightly reduced. At these high sample rates you must select one of three types of sessions each containing a different I/O configuration. Please see page 111 for details.

Open Session

To Open a saved session, click on the Open Session button. A dialog box appears allowing you to choose one of your saved Sessions to open. Choose one of your saved sessions and click on the Open button.

Save Session

To Save a session, click on the Save Session button. A Save dialog box appears allowing you to choose a location in which to save the current Session. The “My Sessions” folder is chosen by default.

Get in the habit of saving the session whenever you have created a special mixer setup. This will make your life much easier as you can recall a setup for many different audio modes such as: recording, mixing, special ASIO routings, etc.

Session Settings

System Settings

Pressing the Session Settings button on the toolbar brings up the System Settings window shown below. Click the tabs to select System or I/O options.

4 — The PatchMix DSP Mixer

The Session

Input Level

4 — The PatchMix DSP Mixer

Input Mixer Strips

Input Mixer Strips

PatchMix DSP Input Mixer Strips are stereo except for the MicroDock Mic/Line inputs. Each input mixer strip can be divided into four basic sections.

•Host refers to a computer application such as Cubase.

•Physical refers to a hardware input or output such as an output jack.

To Add a New Strip:

1.Click on the New Mixer Strip button. See “Overview of the Mixer”. The New Mixer Strip Input Dialog appears:

Physical

Sources

ASIO

Sources

2.Select the desired input to the mixer strip from the following choices:

•Physical Source: Analog or digital input (Analog, ADAT, S/PDIF)

•Host — ASIO Source input: Streaming audio from an ASIO software application.

•Host — WAVE input: Window sound sources — WAVE, WDM, CD

See “Pre or Post Fader Aux Sends” on page 48.

4 — The PatchMix DSP Mixer

Mixer Strip Creation

Insert Section

You have to create an ASIO strip or ASIO Send in order to activate these ASIO channels in your software.

Working with Inserts

The Inserts are one of most powerful features of the PatchMix DSP system as they allow you to configure the mixer for a wide variety of applications.

To Add an Effect to an Insert Location:

1.Press the FX button. The effects palette appears.

2.The effects are organized into categories. Click on a folder to open it.

3.Select the effect you want, drag it over the insert section, then drop it into an insert location. The signal flows from top to bottom in the inserts.

4.The order of effects can completely change how the effects sound. To rearrange the order of effects or inserts, simply drag and drop them into the desired order.

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 MIc/Line A

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. (An “ASIO Send” becomes an input on your recording application, a “Physical Out” goes to a pair of output jacks. the signal also continues down the strip to the Aux Sends and main mixer outputs.)

1.Right-Click over the Insert section. A pop-up dialog box appears.

2.Select Insert Send (to ASIO/WAVE or physical output) from the list of options. The following dialog box appears.

3.Choose one of the Send Outputs. Click on a destination to select it.

4.Click OK to select the output or Cancel to cancel the operation.

To Add a Send/Return Insert:

This type of insert send breaks the signal at the insert point and sends it out to the selected destination such as an external effect processor. A return source signal is also selected which returns the signal to the channel strip after processing.

1.Right-Click over the Insert section. A pop-up dialog box appears.

2.Select “Insert Send/Return (Physical Output and Input)” from the list of options. The following dialog box appears.