0404
Digital Audio System
Owner's Manual
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Table of Contents
Safety First! ................................................................................................................... 2
Connector Types .............................................................................................................. 2
Installing the E-MU 0404 PCI Card.................................................................................... 3
Install the Sync Card............................................................................................................ 4
Software Installation............................................................................................................ 5
Installing the E-MU 0404 Drivers ............................................................................... 5
Windows 2000 or Windows XP .................................................................................. 5
The E-MU 0404 PCI Card.................................................................................................... 7
DB-9 & DB-15 Connectors .......................................................................................... 7
Analog Breakout Cable .................................................................................................... 7
Mixer Window ................................................................................................................ 12
Mixer Block Diagram ..................................................................................................... 12
Pre Fader or Post Fader .............................................................................................. 12
E-MU Icon in the Windows Taskbar................................................................................. 13
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Open Session .................................................................................................................. 15
Session Settings .............................................................................................................. 16
System Settings ........................................................................................................... 16
I/O Settings ................................................................................................................. 17
Mixer Strip Creation........................................................................................................... 19
Insert Section .................................................................................................................. 21
The Insert Menu ......................................................................................................... 22
Meter Inserts ............................................................................................................... 24
Making the Best Possible Recording ............................................................................. 26
Trim Pot Insert ............................................................................................................ 27
Pre or Post Fader Aux Sends ...................................................................................... 30
Level, Pan, Solo & Mute Controls ................................................................................. 31
Effect ........................................................................................................................... 33
Input ........................................................................................................................... 34
Output ........................................................................................................................ 34
Auxiliary Effects & Returns ............................................................................................ 35
Output Section ............................................................................................................... 36
Main Inserts ................................................................................................................ 36
FX Insert Chains ............................................................................................................. 38
Creating, Renaming & Deleting Categories or Presets ............................................. 39
FX Edit Screen..................................................................................................................... 41
Core Effects and Effects Presets ..................................................................................... 43
List of Core Effects.............................................................................................................. 44
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1-Band Para EQ .............................................................................................................. 45
1-Band Shelf EQ ............................................................................................................. 45
Chorus ............................................................................................................................ 49
Compressor .................................................................................................................... 49
Basic Controls ............................................................................................................. 50
Distortion ....................................................................................................................... 51
Flanger ............................................................................................................................ 52
Leveling Amp .................................................................................................................. 54
Phase Shifter ................................................................................................................... 57
Speaker Simulator .......................................................................................................... 58
Stereo Delays - 100, 250, 550, 750, 1500 .................................................................... 59
Vocal Morpher ................................................................................................................ 61
Automating E-MU PowerFX .......................................................................................... 64
E-MU PowerFX Resource Availability ........................................................................... 64
E-MU PowerFX Compatibility Chart ........................................................................ 65
General Tips for Rendering using E-MU PowerFX ................................................... 66
E-MU VST E-Wire ............................................................................................................... 67
Grouping Tracks ......................................................................................................... 70
Sync Daughter Card Supplement...................................................................................... 71
SMPTE Conversion ........................................................................................................ 71
SMPTE Features .......................................................................................................... 71
SMPTE Options .............................................................................................................. 71
External Mode ............................................................................................................ 72
Flywheel Mode ........................................................................................................... 72
SMPTE Background............................................................................................................ 73
Types of SMPTE .......................................................................................................... 73
Why use SMPTE? ............................................................................................................ 74
Striping SMPTE ............................................................................................................... 74
Other Tips for using SMPTE ...................................................................................... 75
MIDI Time Code (MTC).................................................................................................... 75
Word Clock In/Out............................................................................................................ 76
Getting in Sync................................................................................................................... 78
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Useful Information ............................................................................................................ 79
AES/EBU to S/PDIF Cable Adapter ............................................................................... 79
Digital Cables ................................................................................................................. 79
Grounding ...................................................................................................................... 79
Internet References............................................................................................................. 82
Forums ........................................................................................................................ 82
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1- Introduction
Welcome!
1- Introduction
Welcome!
Thank you for purchasing the E-MU 0404 digital audio system. Your computer is about
to be transformed into a professional quality 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. This system offers unprecedented value by
providing studio-quality, 24-bit/192kHz multi-channel recording and playback at an
astounding price.
E-MU Digital Audio System Components
Inputs & Outputs
E-MU 0404
• E-MU 0404 PCI Card
(2) Ch. S/PDIF Optical In
• Analog Breakout Cable (1/4”)
• Digital Breakout Cable
• E-MU Digital Audio System
Software/Driver Install CD-ROM
• Production Tools Software Bundle
CD-ROM
(2) Ch. S/PDIF Optical Out or
(2) Ch. S/PDIF Coaxial In
(2) Ch. S/PDIF Coaxial Out
(1) MIDI Input & Output (16 ch.)
(2) 24-bit unbalanced Line Inputs
(2) 24-bit unbalanced Line Outputs
• Quick Start Guide
The System Includes:
The E-MU 0404 PCI Card provides 2 line level, unbalanced analog inputs, 2 line level,
unbalanced analog outputs, plus MIDI input and output. This is a finely-tuned audio
interface, using high performance 24-bit/192kHz A/D - D/A converters to deliver an
unbelievable 111dB of dynamic range. Check out the complete specs on page 80.
The PCI card contains a powerful hardware DSP processor which allows you to use over
16 simultaneous hardware-based effects, which place minimal load on your computer’s
CPU. The E-MU 0404 PCI Card also provides a S/PDIF stereo digital input and output
with either optical or coaxial connections. A built-in MIDI interface allows you to
connect external MIDI instruments or keyboards directly to your computer.
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) inputs and outputs and internal hardware effects and buses—no
external mixer needed. You can add digital effects, EQs, meters, level controls and ASIO
sends anywhere you like in the signal chain.
Because the effects and mixing are hardware-based, there is no latency when you record.
You can even record a dry signal while monitoring yourself with effects! Mixer setups
can be saved and instantly recalled for specific purposes such as recording, mixdown,
special effect setups or general computer use.
E-MU Digital Audio System
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1- Introduction
Notes, Tips and Warnings
Optional Sync Daughter Card
The optional Sync Daughter Card adds Word Clock in and out for sample-synchro-
nizing outboard digital equipment, SMPTE longitudinal time code in/out for syncing
other recording equipment and a separate MIDI Time Code output port on the Sync
Card eliminates timing problems caused by combining MTC with MIDI performance
data.
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:
Notes, Tips and Warnings
Items of special interest are presented in this document as notes, tips and warnings.
E 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.
f 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.
8
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2 - Installation
Setting Up the Digital Audio System
2 - Installation
Setting Up the Digital Audio System
Prior to installing the hardware, take a few moments to enter the 18-digit serial number
of the E-MU 0404 PCI Card. This number can help EMU Customer Service troubleshoot
any problems you may encounter—by writing the numbers down now, you’ll avoid
having to open your computer to find it later on.
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 0404 PCI card in your computer. Go there.
3. Install the optional Sync Card (if you have one). Go there.
4. Attach the Analog and Digital breakout cables to the rear of the 0404 card.
5. Install the PatchMix DSP software onto your computer.
6. Connect audio, MIDI and synchronization cables between the Digital Audio System
and your other gear.
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 2000 - SP 4, Windows XP - 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
view.asp?articleid=q108020
• Multiple Digital Audio System sound cards are currently not supported.
Please read the following sections as they apply to your system as you install the E-MU
0404, paying special attention to the various warnings they include.
E-MU Digital Audio System
1
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2 - Installation
Setting Up the Digital Audio System
Safety First!
ꢀ As you install
hardware components,
observe the following
general precautions to
avoid damage to your
equipment and yourself.
• To avoid possible permanent damage to your hardware, make sure that all
connections are made to the E-MU 0404 PCI card with the host computer’s power
off. Unplug the computer’s power cable to make sure that the
computer is not in sleep mode.
• Take care to avoid static damage to any components of your system. Internal
computer surfaces, the E-MU 0404 PCI board and the interfaces are susceptible to
electrostatic discharge, commonly known as “static.” Electrostatic discharge can
damage or destroy electronic devices. Follow these procedures when handling
electronic devices in order to minimize the possibility of causing electrostatic
damage:
• Avoid any unnecessary movement, such as scuffing your feet when handling
electronic devices, since most movement can generate additional charges of static
electricity.
• Minimize the handling of the PCI card. Keep it in its static-free package until needed.
Transport or store the board only in its protective package.
• When handling a PCI card, avoid touching its connector pins. Try to handle the
board by its edges only.
• Before installing a PCI card into your computer, you should be grounded. Use a
ground strap to discharge any static electric charge built up on your body. The
ground strap attaches to your wrist and any unpainted metal surface within your
computer. If you don’t have a ground strap, you can ground yourself by touching
the metal case of another piece of grounded equipment.
• Before connecting a cable to your interface or between PCI cards, touch the
connector sleeve of the cable to the sleeve of the jack to which you’ll be connecting
the cable in order to discharge any static build-up.
Connector Types
These connector types are used to connect the E-MU 0404 hardware components. They
will be referred to by the name shown in the first column of the following chart:
Name
Description
Connects
DB-15 Digital
DB-9 Analog
1/4” Jacks
Digital Cable Connector
Analog Cable Connector
1/4” Breakout Cable
RCA Connector
0404 PCI card and Digital I/O
0404 PCI card and Analog I/O
2 channel analog input/output
S/PDIF digital audio devices
S/PDIF digital audio devices
S/PDIF In
S/PDIF Out
S/PDIF Optical In
RCA Connector
TOSLINK Optical Connector S/PDIF digital audio devices
S/PDIF Optical Out TOSLINK Optical Connector S/PDIF digital audio devices
2
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2 - Installation
Installing the E-MU 0404 PCI Card
Installing the E-MU 0404 PCI Card
Note: This installation is very simple, but if you are not familiar with the installation
of computer peripherals and add-in boards, please contact your authorized E-MU
Systems dealer or an approved computer service center to arrange for the installation.
ꢁ To install the 0404 PCI card into your computer
1. Make sure that the power switch on your computer is off.
IMPORTANT: Unplug the power cord from the wall outlet!
2. Touch a metal plate on your computer to ground yourself and to discharge any
static electricity.
3. Follow the computer manufacturer’s recommended procedure for opening the case.
4. Remove the metal bracket from any available PCI slot. If you are installing a Sync
E Note: Some
computer cases don’t use
screws to secure PCI
cards. In this case, follow
the instructions that
came with your
Card as well, remove the bracket from two adjacent PCI slots. See figure 1 below.
Figure 1
Figure 2
computer.
PCI Slots
(may no
ISA Slots
on your
t be pr
compute
esent
r)
5. Align the E-MU 0404 PCI 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 0404 card into the slot. Make sure that the gold finger
connector of the card is aligned with the PCI bus connector on the motherboard
before you insert the card into the PCI 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.
8. Attach the Analog and Digital breakout cables to the rear of the 0404 card.
9. Connect your audio cables to the breakout cables.
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2 - Installation
Install the Sync Card
Install the Sync Card
1. Unwrap the Sync Card if you have one and get ready to install it.
2. Connect the ribbon cable provided with the kit between the E-MU 0404 card and
the Sync Daughter Card as shown in figure 3. The cable is keyed so it cannot be
incorrectly inserted. Seat the connectors firmly in the sockets and arrange the cable
neatly.
3. Align the Sync Card with the slot and press gently but firmly down into the slot as
shown in figure 2 on the preceding page.
4. Do not force the Sync Card into the slot. Make sure that the connector of the card is
aligned with the PCI bus connector on the motherboard before you insert the card
into the PCI slot. If it doesn’t fit properly, gently remove it and try again.
5. Secure the card into the slot using one of the screws you placed aside earlier.
Figure 3
SyncDaughter
Card
4
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2 - Installation
Software Installation
Software Installation
Installing the E-MU 0404 Drivers
The first time you restart your PC after installing the E-MU 0404 PCI card, you will need
to install the PatchMix DSP software and E-MU 0404 PCI card drivers.
Windows 2000 or Windows XP
The software is not compatible with other versions of Windows.
1. After you have installed your audio card, turn on your computer. Windows
E Serial Number -
During the registration
process, you will be asked
to enter your serial
automatically detects your audio card and searches for device drivers.
2. When prompted for the audio drivers, click the Cancel button.
3. Insert the E-MU software Installation CD into your CD-ROM drive. If Windows
AutoPlay mode is enabled for your CD-ROM drive, the CD starts running automati-
cally. If not, from your Windows desktop, click Start->Run and type d:\setup.exe
(replace d:\ with the drive letter of your CD-ROM drive). You can also open the CD
and double-click Setup.exe.
number. The serial
number is located on the
back of the box and on
the 0404 PCI Card.
4. The installation splash screen appears. Follow the instructions on the screen to
complete the installation.
5. Choose “Continue Anyway” when you encounter the “Windows Logo Testing”
warning screen. See note below for more information.
6. When prompted, restart your computer.
Note About Windows Logo Testing
When you install the Digital Audio System drivers, you will see a dialog box that
informs you that the driver has not passed Windows Logo testing.
The Digital Audio System drivers are not signed because the driver does not support
some of the consumer audio features that the Microsoft driver signing program
requires, most notably Digital Rights Management.
However, the Digital Audio System drivers have been rigorously tested using the
same test procedures that a signed driver requires, and it passes in all important
categories, including those that measure the relative stability of the driver. So, it is
perfectly safe to install these drivers on your computer.
Uninstalling all Audio Drivers and Applications
At times you may need to uninstall or reinstall some or all of the audio card's applica-
tions and device drivers to correct problems, change configurations, or upgrade
outdated drivers or applications. Before you begin, close all audio card applications.
Applications still running during the uninstallation will not be removed.
1. Click Start -> Settings -> Control Panel.
2. Double-click the Add/Remove Programs icon.
3. Click the Install/Uninstall tab (or Change or Remove Programs button).
4. Select the E-MU 0404 PCI card entry, or the application entry and then click the
Add/Remove (or Change/Remove) button.
5. In the InstallShield Wizard dialog box, select the Remove option.
6. Click the Yes button. Restart your computer when prompted.
7. You may now re-install existing or updated E-MU 0404 PCI card device drivers or
applications.
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2 - Installation
Software Installation
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3 - PCI Card & Interfaces
The E-MU 0404 PCI Card
3 - PCI Card & Interfaces
The E-MU 0404 PCI Card
The E-MU 0404 PCI card contains E-MU’s powerful E-DSP chip which leaves more
power free on your CPU for additional software plug-ins and other tasks. Bit depth is
controlled by your recording or audio application. The 0404 PCI card always sends and
receives 24-bit audio.
DB-9 & DB-15 Connectors
Connects the analog and digital breakout cables to the 0404 PCI card. Connect the 1/4”
Analog Breakout Cable to the DB-9 connector and the Digital Breakout Cable to the
DB-15 connector.
Analog Breakout Cable
The 0404 PCI card provides one pair of 24-bit unbalanced analog inputs and one pair
of 24-bit unbalanced analog outputs. The analog breakout cable is designed to accom-
modate 1/4” plugs. Use 1/4” to RCA adapter cables to connect to consumer audio gear.
Note: You may have to combine adapters to connect desktop computer speakers. An
adapter with two male 1/4” phone plugs to 1/8” stereo female adapter is available
directly from E-MU Systems. (Call 1-888-372-1372, Mon-Fri, 9AM-6PM, Central Time)
The outputs can feed any line level input such as a mixing board, the auxiliary input on
your stereo, or a set of powered speakers. They are not designed to drive headphones
directly. Use a mixer, home stereo receiver, or headphone amplifier to monitor with
headphones.
Analog Output Connections
To Mixer
Inputs
Analog
Breakout
Cable
Mixer &
Powered Speakers
1/4" male to 1/4" male
(balanced or unbalanced)
or...
L
Out
R
Aux Inputs
Integrated
Amp & Speakers
Mono 1/4" male to
male Cinch (RCA) adapter
or...
Powered
Desktop
Speakers
Stereo
Mono 1/4" male to
Stereo 1/8" female adapter
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3 - PCI Card & Interfaces
The E-MU 0404 PCI Card
The inputs can be connected to any line level stereo signal from keyboards, CD-players,
cassette decks, etc. Use 1/4” to RCA adapter cables to connect to consumer audio gear.
Analog Input Connections
Analog
Breakout
Cable
Audio Component
Mixer/Preamp
Electronic Keyboard
L
Microphone
(must be pre-amped)
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EMULATOR
R
Electric Instrument
Instr. Preamp
Digital Breakout Cable
S/PDIF Digital Audio Input & Output
RCA phono jacks are the standard coaxial connectors
used for S/PDIF (Sony/Philips Digital InterFace)
connections. A single jack carries two channels of
digital audio. The E-MU 0404 receives digital audio
data with word lengths of up to 24-bits. Data is
always transmitted at 24-bits.
ANALOG
Connect to
Analog
Breakout Cable
S/PDIF digital I/O allows you to receive and/ or
transmit of digital data from external digital devices
such as a DAT, external analog-to-digital converters or
external signal processors equipped with digital
inputs and outputs.
DIGITAL
Connect to
Digital
Breakout Cable
S/PDIF can also be transmitted and received via the
TOSLINK optical connectors on the Digital Breakout
Cable. Optical connections have certain advantages
such as immunity to electrical interference and
ground loops. Make sure to use high quality glass
fiber light pipes for connections longer than 1.5
meters.
The optical S/PDIF and RCA coaxial S/PDIF Inputs
cannot be used simultaneously, however BOTH
S/PDIF Outputs are available simultaneously
(carrying the same signal). See System Settings.
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3 - PCI Card & Interfaces
The E-MU 0404 PCI Card
The S/PDIF out can be configured as either Professional or Consumer mode in the
Session Settings menu. The 0404 PCI card can be connected to AES/EBU digital audio
details.
The S/PDIF input and outputs are usable at the 44.1kHz, 48kHz and 96kHz sample
rates. The word clock contained in the input data stream can be used as a word clock
ꢀ Important: When
using any type of digital
I/O such as S/PDIF, you
MUST sample sync the
two devices or clicks and
pops in the audio will
result. See Using External
Clock
Digital Connections
Out
Portable
Digital Recorder
Digital
Breakout Cable
In
Optical
DAT or CD
Any Digital Audio Device with S/PDIF
Out
In
S/PDIF
(Optical)
Out
In
Coaxial
Audio out
MIDI Keyboard
In
S/PDIF
(Coax)
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Out
EMULATOR
In
Audio out
MIDI Sound Module
MIDI
SAMPLE
TRIGGERS
ABC
TRANSPOSE
MASTER/GLOBAL
SAMPLE MANAGEMENT
DIGITAL PROCESSING
INC/YES
DEC/NO
ENTER
DEF
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O
1
2
Out
PRESET
GHI
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JKL
5
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MULTIMODE
PRESET MANAGEMENT
PRESET DEFINITION
DYNAMIC PROCESING
VOLUME
PRS
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TUV
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WXY
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ESCAPE
DRIVE SELECT
LOAD
SAVE
AUDITION
TRIGGER MODE
QZ
0
MIDI In
MIDI
MIDI (Musical Instrument Digital Interface) is a standard specification for networking
two or more devices together. Connect MIDI Out to external MIDI instruments and
connect MIDI In to a controller such as a MIDI keyboard.
Unlike S/PDIF, the MIDI cable does not carry audio data. In its most basic application,
MIDI tells a synthesizer when to start and stop playing specific notes. MIDI also carries
other information such as how hard the note was played, what sound to play, the
channel volume and many other commands. The most important thing to remember is
that MIDI contains CONTROL information, not the sound itself.
Information on the MIDI cable can be assigned to any one of sixteen channels so that
different musical lines can be assigned to play specific sounds or MIDI instruments.
To connect more than one MIDI instrument to the 0404 PCI card, the MIDI Thru port
on your synthesizer can be used. MIDI Thru carries an exact copy of the data on the
synthesizer’s MIDI input port. To find more information about MIDI, see page 75.
MIDI Sound Module
MIDI Cable
MIDI Thru
MIDI In
MIDI In
Out
Using MIDI Thru
MIDI Sound Module
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3 - PCI Card & Interfaces
The Sync Daughter Card Option
The Sync Daughter Card Option
The Sync Daughter card option adds word clock in and out, SMPTE (LTC) in and out
and an additional MIDI output for transmitting MIDI Time Code (MTC). MIDI Time
Code is a special rendering of SMPTE that can be transmitted over MIDI cables. For
additional information about SMPTE, please refer to SMPTE Background.
Synchronization is a basic technique needed for connecting multiple pieces of
equipment. Word Clock, S/PDIF or S/PDIF optical are all industry standard methods of
synchronizing digital equipment together at the system sample rate. The master clock
mation.
Recording equipment can also be synchronized so that two audio recorders or an audio
and video recorder can lock together as a single machine. SMPTE and MTC sync are used
because they convey absolute time information. Word clock, or S/PDIF sync only
synchronize the sample rate and unlike SMPTE and MTC, do not convey song position
information. In a synchronized system, there is usually one MASTER machine, and one
or more SLAVES. When the master starts, the others will follow (chase).
The Sync Daughter card is also a format converter. It converts incoming SMPTE time
code to MIDI Time Code (MTC) and passes this information to the host computer to be
used by a sequencer or audio recorder application. When your computer application is
the “Master”, the Sync Daughter card converts MTC into SMPTE and sends it out to
another SMPTE device.
Connecting Cables to the Sync
Daughter Card
The Sync Daughter Card contains Word Clock
inputs and outputs for clock signals used in a
studio where a common sample rate reference is
In
required to keep multiple pieces of digital
equipment running together. This is referred to
as “house clock” or “house sync,” and is set to
the actual sample rate of the system. Use a cable
with BNC connectors to connect incoming clock
signals to the Word Clock In jack on the Sync
Daughter card. Connect the Word Clock Out to
your other digital equipment to use the Sync
Daughter Card as the Master Word Clock source.
See Word Clock In/Out.
Word Clock
Out
In
SMPTE
Out
The Sync Daughter Card provides SMPTE (LTC)
sync in and out on two 1/4” phone jacks. LTC
can be recorded onto an unused audio track on
an analog or digital recorder and then fed back
into the SMPTE input to synchronize your
computer sequencer/recorder. See SMPTE
Background for more information.
MTC Out
MIDI Time Code is also output whenever MTC
is being generated by the host application
(sequencer or audio recorder). A special cable
converts the mini DIN to a standard MIDI jack.
Daughter Card.
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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 then adds a few new tricks of its own. PatchMix DSP
greatly simplifies audio operations such as ASIO/WAVE routing, volume control,
stereo panning, equalization, effect processing, effect send/return routing, main
mix and monitor control, without getting in the way of your other software. It’s
easy and it works…beautifully!
ꢁ To Invoke the PatchMix DSP Mixer
1. Left-click once on the E-MU icon
on the Windows System Tray. The PatchMix
f Click on the buttons
and knobs in the mixer
screen below to jump to
the description of the
control.
DSP mixer window appears.
Overview of the Mixer
ASIO Strip
Physical Input Strips
Toolbar
Add New
Strip
Display
Select
Delete
Strip
“TV”
Screen
Channel
Insert
Section
Pan
Controls
Aux
Sends
Volume
Fader
Solo/Mute
Buttons
Monitor
Volume/Balance
/Mute Controls
User
Definable
Scribble Strip
Main
Inserts
Current
Session
Name
Main Mix
Output Volume
& Meters
WAVE Strip
Controls Windows Source Audio
(Direct Sound, Windows Media, etc.)
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4 - The PatchMix DSP Mixer
Overview of the Mixer
Mixer Window
The Mixer consists of four main sections.
Application Toolbar
Main Section
Lets you manage sessions and show/hide the various views.
Controls all the main levels, aux buses, and their inserts. This sec-
tion also has a “TV” which shows parameters for the currently
selected effect and the input/output patchbay. It also shows the
session’s current sample rate and whether the Digital Audio System
is set to internal or external clock.
Mixer Strips
This section is located to the left of the Main Section and shows all
the currently instantiated mixer strips. Mixer strips can represent
Physical analog/digital inputs, or Host inputs such as ASIO or
Direct Sound. Mixer strips can be added or deleted as necessary.
This section can be resized by dragging the left edge of the frame.
Effects Palette
This popup window is invoked by pressing the FX button in the
toolbar. Iconic representations of all effects presets are shown here,
organized by category. From this window, you can drag and drop
effect presets into the insert slots available on the mixer strips and
main section aux buses and main inserts.
A simplified diagram of the mixer is shown below.
Input
Input
Mixer Block Diagram
Post-Fader Strip
Pre-Fader Strip
Insert
Chain
Insert
Chain
Panning
Fader
Meter
Aux
Effects
MUTE
Send
Amount
Return
Amount
Aux 1
Aux 2
Aux 1
Aux
Bus 1
Insert
Chain
Monitor
Out
Aux 2
Send
Amount
Return
Amount
Aux
Bus 2
MUTE
Insert
Chain
Fader
Main Bus
Effects
Monitor
Level
MUTE
Insert
Chain
Main Bus
Main
Level
Main
Out
Pre Fader or Post Fader
When creating a new Mixer Strip, you have the option for the Aux Sends to be 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.
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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 up the following window.
Right-Click Here
Opens the PatchMix DSP Mixer.
Calls the PatchMix DSP help system.
f Restore Defaults:
Always try this option
first if PatchMix is
crashing or if you are
having any other
Disables the splash screen that appears at
boot-up.
When unchecked, FX are not loaded until
needed, resulting in faster computer boot.
strange audio problems.
Restores the default PatchMix DSP and
driver settings.
Closes the PatchMix DSP background
program, disabling use of all audio I/O
from the E-MU hardware. Open the Patch-
Mix DSP application to start audio again.
f Click the buttons in
the toolbar to learn about
their function.
The Toolbar
New
Session
Save
Session
“About”
PatchMix DSP
Session
Settings
Open
Session
Sync
Settings
Show/Hide
Effects
Global
Prefs
New Session
Calls up the “New Session” dialog box. New Session.
Open Session
Calls up the standard “Open” dialog box, allowing you to
open a saved Session.
Save Session
Calls up the standard “Save” or “Save As…” dialog boxes,
allowing you to save the current Session.
Show/Hide Effects
Session Settings
Global Preferences
Sync Settings
Toggle button that shows or hides the FX palette.
Calls up the Sessions Settings window. Session Settings.
Calls up the Global Preferences window.
Calls up the SMPTE window. (if Sync Card is installed)
About PatchMix DSP
Right-Click on the E-MU logo to view the “About
PatchMix DSP” screen, which provides the software and
firmware version numbers and other information.
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4 - The PatchMix DSP Mixer
The Session
The Session
The current state of the PatchMix DSP mixer (fader settings, effects routings…every-
thing!) can be saved as a Session. Whenever you create or modify a mixer setup, all you
have to do is Save it to be able to recall it at a later time.
Before you begin using PatchMix DSP, you need to set it up to be compatible with the
other software applications you may be running. The most important consideration is
your system sample rate. PatchMix DSP and any applications or other digital gear you
are using must be set to the same sample rate. PatchMix DSP can run at 44.1kHz,
48kHz, 88.2kHz, 96kHz, 176.4 kHz or 192kHz sample rates, but the effect processors
are only available at the 44.1kHz or 48kHz rates.
When you start a new PatchMix DSP Session, the first choice you make is to select the
sample rate. Once set, you can only easily switch between 44.1kHz and 48kHz. You
cannot switch between 44/48kHz and 88k/96k/176k/192k. With a change to these
high sample rates, you must start a new session.
You can also set up an external sync source, thereby obtaining the sample rate from
some other device or application. External sync can be obtained from either S/PDIF
input or the Sync Daughter Card (word clock). If the session is set at 44.1kHz or 48kHz
and the external source is coming in at 96kHz, the Sync Indicator will be extinguished
(off), but PatchMix will attempt to receive the external data. if the Sync Indicator is Off,
the two units are NOT sample locked and you should correct this condition to avoid
intermittent clicks in the audio. Always check for the presence of the “LOCKED”
indicator whenever you are using a digital interface.
ꢀ Important: When
using any form of digital
input, you MUST
synchronize the Digital
Audio System to the
external digital device.
PatchMix DSP comes with several session templates to choose from so when you create
a new session you can either create a “blank” session based around a designated sample
rate, or select from a list of template starting points.
In a PatchMix DSP session the number of strips in the mixer is dynamically config-
up to a maximum number determined by available DSP resources and available inputs.
New Session
You create a new session by clicking the “New Session” button in the PatchMix DSP
main 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.
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4 - The PatchMix DSP Mixer
The Session
You can now select one of the factory template sessions. The factory templates are pre-
programmed 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 Files\Creative Professional\Digital Audio
System\E-MU PatchMix DSP\Session Templates).
The “Session Path” allows you to choose the destination for your Session. The default
location is in the “My Sessions” folder within the “My Documents” folder.
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.
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.
f Saving a session
“defragments” the effect/
DSP resources. If you
have used all your effects
and need another, try
saving the session.
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.
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4 - The PatchMix DSP Mixer
The Session
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.
The System Settings include the following choices:
E
Note: if set to
“External” without an
external clock present,
PatchMix DSP defaults to
the internal 48kHz clock
rate.
• Internal/External Clock
• Sample Rate
Selects between internal or external clock source as the
master clock source for the system
Selects the sample rate when using internal clock.
Your choices are: 44.1kHz, 48kHz, 88.2kHz, 96kHz,
176.4kHz, 192kHz
• External Clock Source
Select from S/PDIF or the Word Clock (Sync card only) as
(ext. clock only)
an external sample clock source.
Using External Clock
Whenever you are connecting two or more devices using digital I/O such as S/PDIF, one
of the digital devices MUST supply the master clock to the others. This master clock runs
at the system sample rate and can be distributed using a dedicated cable (word clock) or
embedded into a data stream such as S/PDIF. Common symptoms of unsynced
digital audio include, random clicks or pops in the audio or failure of the digital stream
to be recognized. Always check for the presence of the “LOCKED” indicator
whenever you are using a digital interface.
If an External Clock is interrupted or switched after the Session has been created (except
between 44.1k <-> 48k), the “LOCKED” indicator will extinguish and PatchMix will
attempt to receive the external data. The two units are NOT sample locked however, and
you should correct this condition to avoid intermittent clicks in the audio.
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4 - The PatchMix DSP Mixer
The Session
I/O Settings
The 0404 PCI card is optimized for signal levels of -10dBV (consumer standard) for the
analog inputs and outputs. -10dBV levels are compatible with most consumer audio
gear.
Setting correct input and output levels is important! You can measure the level of an
input by inserting a meter into the first effect location in the strip. Adjust your external
for details.
E-MU 0404
Optical Input
Select
S/PDIF
Output
Format Select
(SetsS/PDIF-AES
status bit, but
doesn’t affect
level.)
The optical digital TOSLINK input and output on the Digital Breakout Cable can be
used to transmit and receive stereo S/PDIF.
• PCI Card S/PDIF Input
• S/PDIF Output Format
Selects between coaxial or optical S/PDIF input. S/PDIF
out is always transmitted on both the coaxial and
optical outputs.
Selects between S/PDIF or AES/EBU format for S/PDIF.
This sets the S/PDIF-AES status bit, but does not affect
the signal level.
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4 - The PatchMix DSP Mixer
Input Mixer Strips
Input Mixer Strips
PatchMix DSP Line Input Mixer Strips are mono. The WAVE and S/PDIF strips are stereo.
Each input mixer strip can be divided into four basic sections.
• Insert Section
• Pan Controls
• Aux Sends
Effects, EQ, External/Host Sends and Returns can be inserted into the signal path.
This control positions the signal in the stereo sound field.
Used to send the signal to sidechain effects or to create separate mixes.
• Volume Control Controls the output level of the channel.
Input Type
Mono/Stereo
Input Type
f The Input Type will
turn RED if the input is not
available.
The very top of the strip is labeled
mono or stereo and displays the type
of the assigned input. Input mixer
strips can be added as desired and can
be configured to input the following:
f Physical input strips
are shown with BLUE text.
• Physical input
(Analog/SPDIF)
f Host input strips are
shown with WHITE text.
• Host Input
(Direct Sound, WAV, ASIO source)
Insert Section
Inserts
You can drag and drop effects from the
Effects Palette or Right-click to insert a
Physical or ASIO Send or Send/Return
A Peak Meter, Trim Control or Test
Signal can also be inserted by Right-
clicking.
f To learn how to record
monophonic inputs in
stereo, see page 72.
Pan Controls
Aux Sends
Pan Controls
These controls allow to you position
the channel in the stereo sound field.
Dual controls on stereo strips allow
you to position each side indepen-
dently.
Channel
Volume
Control
Aux Sends
These controls send the signal to
sidechain effect processors such as
reverb and delay. They can also be used
to create separate mixes for the artist or
for recording.
Mute/Solo
Buttons
Volume Control
Controls the output level of the strip
into the main/monitor mix bus.
Scribble Strip
Mute/Solo Buttons
These convenient buttons allow you to
solo or mute selected channels.
This screen shows a mono strip on the left and a
stereo strip on the right.
Scribble Strips
Click inside the scribble strip and type
a name of up to eight characters.
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4 - The PatchMix DSP Mixer
Mixer Strip Creation
Mixer Strip Creation
PatchMix DSP is a dynamically configurable mixer. Each mixer session can contain an
arbitrary number of channel strips up to a limit set by the number of available input
sources and available DSP resources.
ꢁ To Add a New Strip:
2. The Assign Mixer Strip Input Dialog appears:
3. Select the desired input to the mixer strip from the following choices:
f CDs & MP3s: The
WAVE 1/2 strip is used
to playback CDs,
Windows Media Player,
and Direct Sound.
• Physical Source:
Stereo analog or digital card input (Analog or S/PDIF)
Streaming audio from an ASIO software application.
Window sound sources—WAVE, Direct Sound, WDM, CD
• Host - ASIO Source input
• Host - WAVE input
E 2 channels of
WAVE recording and
4 channels of
multichannel WAVE
playback are supported.
Mixer Strip Type
Function
Physical: PCI Card Analog
Physical: PCI Card S/PDIF
HOST SOURCE
24-bit monophonic analog input.
2 channel digital audio from the S/PDIF input.
Function
• Classic MME
• DirectSound
• Direct WDM /
Kernel Streaming (KS)
Host ASIO Output Source 2 channel digital audio from an ASIO source (software app).
From software application
ASIO: 1/2, 3/4, 5/6, 7/8, 9/10, 11/12, 13/14, 15/16 … 31/32
Host Windows Source
From Windows
Direct Sound, WDM, Windows Media
(Sound generated or handled by Windows.)
WAVE 1/2 - Default stereo source such as game sound, CD
player, beep sounds, etc.
ꢀ 192kHz/96kHz DVD-
Audio disks are
WAVE 3/4 - Additional WDM channels
protected against digital
copying. Most DVD-
Audio disks contain
duplicate 48kHz audio
tracks which will play
back on the 0404.
4. Select Pre-Fader Aux Sends or leave the box unchecked for Post-Fader Aux Sends.
5. Click OK to create a new strip or Cancel to cancel the operation.
ꢁ To Delete a Mixer Strip:
1. Click the top of the mixer strip you wish to delete. A red border appears around the
strip, indicating that it is selected.
2. Click on the Delete Mixer Strip button or right-click and choose Delete, or use the
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4 - The PatchMix DSP Mixer
Mixer Strip Creation
Multichannel WAVE Files
The 0404 supports 2 channels of WAVE recording and 4 channels of multichannel
WAVE playback. The WAVE channels are available for the following types of WDM
devices:
• Classic MME
• DirectSound
• Direct WDM / Kernel Streaming (KS)
DirectSound and the WDM/KS interfaces allow up to four channels of Wave Out while
the classic MME interface only exposes 2 channels.
The WAVE channels operate at all sample rates. For additional information about WDM
behavior at high sample rates, see page 43.
192kHz/96kHz DVD-Audio disks are protected against digital copying. Most DVD-
Audio disks contain duplicate 48kHz audio tracks which will play back on the 0404.
Select DirectSound as the output format when using Windows Media Player and other
DVD player applications.
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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
effects can be inserted in series.
The Inserts also have the unique ability to patch into ASIO/WAVE and external
equipment. Special inserts, ASIO/WAVE Sends, External Sends and External Send/
Returns can be dropped into the insert section to route the signal anywhere you want.
The Insert/Patch Bay is incredibly flexible. Want to send the strip to your audio recorder?
Simply insert an ASIO send into the insert section and select the ASIO pair you want.
That’s it! That input is available in your ASIO software.
f You have to create an
ASIO strip or ASIO Send in
order to activate these
ASIO channels in your
software.
The following types of inserts can be selected.
Reverb, EQ, Compressor, Flanger, etc. using PatchMix DSP’s effects which
do not load your CPU.
Hardware Effect
ASIO Send
Splits off the signal and sends to an ASIO host input such as a software
audio recorder or anything that uses ASIO.
Sends the signal to a selected ASIO host input, then returns a selected
ASIO host output to the chain. Use for recording with “Direct Monitoring”
ASIO Direct
Monitor
Sends the signal to a selected external output, then returns it to the chain
via a physical input.
Ext. Send/Return
External Send
Peak Meter
Peak meters allow you to monitor the signal level anywhere in the
chain. See “Meter Inserts”.
You can insert a gain control with up to 30 dB of gain or attenuation. A
peak level meter and phase inverter are also included.
See “Trim Pot Insert”.
Trim Pot
This special insert outputs a calibrated sine wave or noise source, which
can be used to track down audio problems.
Test Tone
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.
ꢀ Problem: You are not
able to select analog
return when using the
Send/Return Inserts.
ꢁ To Add an Effect to an Insert Location:
1. Press the FX button. The effects palette appears.
Reason: The 0404
Digital Audio System only
supports Stereo I/O in
the Send/Return Insert
section. The analog
inputs on the 0404 are
mono.
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.
4. To rearrange the order of effects, simply drag and drop them into the desired order.
Note: The Physical Output & Input option is “grayed-out” when using the default
Session
Reason: The 0404 Digital Audio System has only 4 physical inputs and 4 physical
outputs. The Send/Return option is grayed-out because all the physical I/O resources
available for send/return have been used in this Session. If S/PDIF I/O is not being used
elsewhere, it becomes available in the Send/Return list.
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4 - The PatchMix DSP Mixer
Mixer Strip Creation
The Insert Menu
Right-Clicking over the insert section brings up a pop-up selection box containing
various insert options to help you control and manage your inserts.
ꢁ To Add a Send Insert:
This type of insert send splits the signal at the insert point and sends it out to the selected
destination. (An “ASIO Send” becomes an input on your recording application, a
“Physical Out” goes to a pair of output jacks. 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 other)” from the list of options. The
following dialog box appears.
Input
To ASIO, WAV or
Physical Output
Insert
Send
Panning
Fader
Aux 1 Bus
Aux 2 Bus
Main Output Bus
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” from the list of options. The following dialog box
appears.
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4 - The PatchMix DSP Mixer
Mixer Strip Creation
Input
ꢀ If the source or
destination you want to
use is not available in the
list, they are probably
already being used
Insert
Send/Return
To Physical Output
From Physical Input
Panning
elsewhere. Check the
input Strips, Inserts and
Output Assignments.
Fader
Aux 1 Bus
Aux 2 Bus
Main Output Bus
3. Choose one of the Send Outputs. Click on a destination to select it.
4. Choose one of the Return Inputs. Click on a source to select it.
5. Click OK to select the Send and Return or Cancel to cancel the operation.
ASIO Direct Monitor Send/Return
This type of insert send breaks the signal at the insert point and sends it out to the
selected ASIO Host Input destination (such as Cubasis). A return source signal is also
selected which returns the signal to the channel strip from an ASIO Host Output.
The ASIO Direct Monitor Send/Return is unique in that it utilizes ASIO 2.0 zero-latency
monitoring. In order to utilize this feature, Direct Monitoring must be enabled in the
audio recording application.
While recording, the Direct Monitor Send/Return routes the signal to the recording
application, but monitors directly from the input to eliminate latency. During playback,
the recording application automatically switches the Direct Monitor Send/Return to
monitor the recorded track.
Input
Input
Direct Mon
Direct Mon
Recording
Software
Recording
Software
Recording
Playback
The Direct Monitor Send/Return also allows the recording application to control
volume and pan. Normally when using direct monitor recording you’ll want to control
the volume and pan from the recording application. In this case, set the PatchMix DSP
stereo pan controls hard left and right, mono pan controls to center, and the fader to
0dB.
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4 - The PatchMix DSP Mixer
Mixer Strip Creation
ꢁ To Add an ASIO Direct Monitor Send/Return:
1. Right-Click over the Insert section. A pop-up dialog box appears.
2. Select “Insert ASIO Direct Monitor” 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. Choose one of the Return Inputs. Click on a source to select it.
5. Click OK to select the Send and Return or Cancel to cancel the operation.
Meter Inserts
Keeping track of signal levels is important in any audio system, be it analog or digital.
You want to keep the signal levels running as close to maximum in order to achieve high
resolution and low noise. On the other hand, you don’t want the signal level so high as
to cause clipping. To help you maintain optimum signal levels, we have included Peak
Level Meters, which can be dropped into any insert location.
The insert meters are of the “peak hold” type. The topmost bar in the meter holds its
highest level for a second to let you see transients that would otherwise be too quick for
the eye. A numeric readout above the meter shows the peak-hold level in dB.
The peak meters are also color-coded to indicate the signal strength. The chart below
outlines the meanings of the colors. Avoid lighting the topmost red bar, as this indicates
distortion of the signal. Click on the clip indicator to turn it off.
Meter Color
E Red
Indicates
Indicates signal clipping.
Good strong signal level.
Signal is present.
E Yellow
E Green
One of the most obvious uses of the insert meters is to set input levels. On the analog
inputs, the analog-to-digital converter (ADC) is one of the most critical points in the
signal path. 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
70
60
50
40
30
20
10
--12dB
Each bar of the meter equals 1dB. The yellow bars begin at -12dB below full scale.
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4 - The PatchMix DSP Mixer
Mixer Strip Creation
The insert meters are also useful to monitor incoming digital signals such as 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
1. Right-Click on an Insert location of the mixer strip. A pop-up dialog box appears.
2. Select “Insert Peak Meter.” A stereo peak meter appears in the insert location.
3. Select FX in the Main Section, then Left-Click on the meter insert. The meters are
now shown in high resolution in the TV screen.
To Set the Input Levels of a Strip
1. Select the topmost Insert location on a mixer strip and insert a meter (see above).
2. Left-click on the meter insert to see the meter in the TV screen.
3. Feed your audio signal to the input of the mixer strip. The meter should now show
the signal level.
4. Adjust the output level of the external device (synthesizer, instrument, preamp, etc.)
feeding the 0404 Card. The meter should be in the yellow region most of the time
with occasional forays into the red. If the clip indicator ever comes on, reduce the
signal level.
Comparison of -10dBV & +4dBu Signal Levels
Consumer
(unbalanced)
Professional
(balanced)
+20 dBu
+8 dBu
<-- Clipping
=
=
=
Clipping -->
+ 6 dBV
Headroom
}
Headroom
+ 2 dBV
{
+4 dBu
-8 dBu
-10 dBV
0 dBV = 1V RMS
0dBu = .777V RMS
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4 - The PatchMix DSP Mixer
Mixer Strip Creation
Making the Best Possible Recording
Making a good digital recording is easier than ever thanks to the high resolution 24-bit
A-D converters on your Digital Audio System. These converters are much more forgiving
than the 12-bit or 16-bit converters of the past. Even so, to get the best performance
possible, you'll need to follow a few basic guidelines.
First, whenever you input an analog signal to the Digital Audio System, make sure that
you're feeding the A-D converters with an optimum signal level. The quality of a digital
recording is directly related to the signal level you feed into the A-D converters. If the
analog input level is set too low, you lose resolution—if it's set too high, the A-D
converters will clip.
To measure the input level, simply add an insert meter to the channel strip in PatchMix
DSP. These meters are accurately calibrated to display 1dB for each bar on the meter.
You can enlarge the meter view by clicking on the insert meter in a strip and selecting
the “Effect” button at the top of the TV screen.
In order to supply the correct input level, you’ll need to adjust the output of your analog
source (electric instrument or preamp) so that the input level comes close to 0dB
without ever going over.
Play your input source signal while watching the insert meter in the strip. The signal
should go into the yellow area frequently, but never into the red. Adjust the level of your
source until you have a good level.
Digital audio has NO headroom past 0dBFS (FS = Full Scale) and will “hard clip” if the
signal exceeds 0dB. Hard clipping sounds bad and will ruin your recording. Hard
clipping occurs because at 0dBFS, all 24 bits are turned on and the A-D cannot measure
any higher level. Analog tape, unlike digital, can be driven past 0dB, although with
some degradation of the signal.
The Digital Audio System includes Insert “Trim Pot” controls, but they adjust the signal
level after the signal has been digitized and will not recover any lost resolution. it’s far
better to set the input level correctly in the first place. Trim Pots can be used in
emergency situations if there's no other way to get a hot signal in, but they were
designed to adjust levels feeding effect plug-ins.
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4 - The PatchMix DSP Mixer
Mixer Strip Creation
Trim Pot Insert
The Trim Pot Insert allows you to adjust the level of a signal in an insert location. The
trim pot provides up to 30dB of gain or attenuation and a phase inverter. The trim pot
also has a built-in stereo peak meter after the control.
Gain/Attenuation
Phase Invert
Meters
You might use a trim pot to boost or attenuate a signal send or return from an external
effect, or use it to drive an effect device. Certain effects such as the Compressor,
Distortion, or Auto-Wah are very level dependent and like to see a good strong input
signal. If you are working with a weak signal, you can improve the performance of these
effects inserting a trim pot and boosting the gain.
Trim pots can be used to boost the level of analog line level inputs, but it’s much better
to boost the signal level before the A/D converters in order to get maximum resolution
and signal-to-noise ratio.
The phase invert switch inverts the polarity of the signal. It is generally used to correct
for mics that are wired backwards.
Test Tone/Signal Generator Insert
The test tone/signal generator insert is a handy troubleshooting aid which outputs a
calibrated sine wave, white noise or pink noise. This tool, in combination with an insert
meter, allows you to accurately measure the signal gain or attenuation of an internal or
external device. The test tone can also be quite handy for tuning up musical instru-
ments.
f
Musical Note Freq.
A = 440 Hz
B = 493.88 Hz
C = 523.25 Hz
D = 587.33 Hz
E = 659.26 Hz
F = 698.46 Hz
G = 783.99 Hz
The sine wave oscillator frequency is variable from 20Hz-20kHz. The level is variable
from off to +30dB.
White noise is a mixture of all frequencies in the audio spectrum at the same average
level (analogous to white light in the visible spectrum).
Pink noise provides equal power distribution per octave. (White noise has more power
in the higher octaves.) Pink noise and white noise are useful as wideband sound
sources.
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4 - The PatchMix DSP Mixer
Mixer Strip Creation
Managing Your Inserts
ꢁ To Delete Effects from an Insert:
1. Right-Click over the Insert Effect you wish to delete. A yellow line around the insert
location indicates that it is selected. A pop-up dialog box appears.
f Tip: Select the Plug-in
and press the Delete key
to delete the plug-in from
the strip.
2. Select Delete Insert to remove the selected insert or select Delete All Inserts to
remove all inserts.
3. The insert(s) are deleted from the insert chain.
ꢁ To Bypass an Insert:
Inserts can be bypassed if you want to temporarily hear the audio without the effect or
insert. Bypass can also be used to turn off a Send Insert.
Method #1
1. Click on the Effect (in the Insert section) and select FX in the TV display.
2. Click the Bypass button.
Method #2
1. Right-Click over the Effect you want to bypass (in the Insert section). A pop-up
dialog box appears.
2. Select Bypass Insert from the list of options.
ꢁ To Bypass All Inserts:
All Inserts in a strip can be also be bypassed with a single command.
1. Right-Click over the Effect you want to bypass (in the Insert section). A pop-up
dialog box appears.
2. Select Bypass All Inserts from the list of options.
ꢁ To Solo an Insert:
Inserts can also be soloed. Solo bypasses all the other inserts in the strip and allows you
to hear only the soloed effect. This feature is very useful when adjusting the effect
parameters.
Method #1
1. Click on the Effect (in the Insert section) and select FX in the TV display.
2. Click the Solo button.
Method #2
1. Right-Click over the Effect you want to Solo (in the Insert section). A pop-up dialog
box appears.
2. Select Solo Insert from the list of options.
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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. This is called a sidechain
routing because the aux signal takes a detour through the effects before being summed
back into the main mix. Sidechain effects are usually effects that you might want
applied to several channels, such as reverb.
Incidentally, the wet/dry mix of effects in the Aux Sends should normally be set to 100%
wet. This is because you will be adjusting the effect amount using the Aux Return
control. If you have more than one effect in an Aux Bus, ignore the preceding advice as
the wet/dry controls can be used to mix the amounts of your multiple effects.
The Aux 1 & 2 buses can also be used as additional submix output buses just like the
main output. Simply drop an ASIO or External Send Insert into the chain and the stereo
bus is sent. Turn down the Return Amount if you don’t want the submix to be combined
into the main mix.
Aux Send and Return values can also be changed by typing directly into the displays.
Input
Sidechain Diagram
(Post-Fader Aux Sends)
Pan
Fader
Mute
Send
Amount
Return
Amount
Side
Chain
Amt
Amt
Aux Bus 1
Send
Return
Amount
Amount
Side
Chain
Aux Bus 2
Main / Monitor Bus
Output
Other Uses of the Aux Sends
You can think of the Aux Sends as two extra mixing buses because that’s exactly what
they are. These two mixes can be routed anywhere, such as to a physical output or an
ASIO pair. You could route one of the Aux buses to the Monitor out to create a monitor
mix while sending the main mix off to your audio recording software.
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4 - The PatchMix DSP Mixer
Mixer Strip Creation
Pre or Post Fader Aux Sends
When you create a New Mixer Strip you have the option to place both Aux Sends after
the channel volume fader and mute control or you can place them before the fader and
mute. Post-Fader turns down the send level as you lower the volume of the strip. With
Pre-Fader selected, you may still hear the effected signal returning from one of the Aux
Buses with the volume fader turned down.
With the Pre-Fader box selected, the Aux Send levels are completely unaffected by the
Level Fader and Mute settings. The Pre-Fader setting allows you to create two completely
different mixes using the Aux Buses since the signal levels of this mix won’t be affected
by the fader settings.
ꢀ In order to change a
strip from pre-fader to
post-fader or vice-versa,
you have to delete the
strip and create a new
one.
Pre-Fader Aux Send
Input
Volume Fader & Mute does NOT affect Send Levels
Pan
Send
Return
Amount
Amount
Side
Chain
Amt
Amt
Aux Bus 1
Send
Return
Amount
Amount
Side
Chain
Aux Bus 2
Fader
Mute
Main / Monitor Bus
Output
Input
Post-Fader Aux Send
Volume Fader & Mute affects both Aux Send Levels
Pan
Fader
Mute
Send
Amount
Return
Amount
Side
Chain
Amt
Amt
Aux Bus 1
Send
Return
Amount
Amount
Side
Chain
Aux Bus 2
Main / Monitor Bus
Output
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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
we use an unconventional pan section with two
pan pots – one for the left part of the signal and
one for the right part of the signal. This feature
allows you to independently position both sides of
the stereo signal. A conventional stereo balance
control only allows you to turn down one side or
the other.
Pan Controls
Aux Send
Amount
Controls
The Mute button does just what you would
expect—press the button and the sound from that
channel is cut off. Pressing the Solo button while
the Mute button is pressed allows you to hear the
channel until solo is turned off.
The Solo button allows you to listen to only that
channel while muting the rest of the mixer’s
output. If multiple solo buttons are pressed, you
will hear all soloed channels and the non-soloed
channels will all be muted.
Level Control
The mute status is remembered if a muted channel
is soloed. When the channel solo is turned off, the
channel reverts to being muted.
Mute & Solo
Buttons
The Level Control for the strip is an attenuation
control that can also provide up to +12dB of gain.
0db is the unity gain setting. You can also type
numeric values into the displays to set the level.
At the very bottom is the Scribble Strip text area,
into which you can type any short piece of text,
thus naming the strip, i.e. “vocals”, “bass”,
“drums” and so on.
Scribble Strip
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4 - The PatchMix DSP Mixer
Main Section
Main Section
View
Selection
Buttons
Physical/Host
Select Buttons
“TV” Screen
Aux
Insert
Section
Master Aux
Return
Amounts
Master
Aux Send
Amounts
Sync &
Sample Rate
Indicators
Main
Insert
Section
Monitor Controls
Session Name
Output
Fader &
Meters
The main section contains all controls for controlling the main mix elements as well as
a “TV screen” for viewing the parameters of the current selected insert.
The three buttons across the top of the main section select what is shown on the TV
display. Input and output routings are graphically displayed. When an insert is selected
(by clicking on the insert), the screen shows the available parameters for the currently
selected insert.
Below the TV screen is the Aux Bus section where effects, effects chains or other inserts
can be assigned to the two aux buses. Send and return levels can be individually
controlled for each of the two Aux Buses.
The Aux 1 and Aux 2 buses are fed by the two Aux Sends on each mixer strip. The Master
Send Level control on Aux bus 1 and 2 can be used to attenuate or boost the signal
going into the Auxiliary Inserts. There is also a Master Return Level to control the
amount of the effected signal that will be returned into the main mix.
The Main Bus can also have a chain of effects inserted. (You might put an EQ effect here
to equalize your entire mix or add an ASIO or WAVE send to record the mix.) Note that
the Main Output level control comes before the Monitor Level so that you can control
the monitor level without affecting the level of your recording mix or main mix. 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.
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4 - The PatchMix DSP Mixer
Main Section
TV Screen & Selectors
The “TV screen” at the top of the main section is a multi-function display and control
center for the input and output routings and effect controls. The three buttons at the top
of the display select the current function of the display—Effect, Inputs or Outputs.
Effect
Select the Effect display view in the main section, then click on an Effect Insert to
display the effect parameters. If an insert effect is not selected, the display will read “No
Insert”.
E Note: Effects have to
be placed into an insert
location before you can
program them.
Most effects have a wet/dry mix parameter to control the ratio of effect-to-plain signal.
The wet/dry setting is stored with the FX preset. The parameter set varies with the type of
effects.
FX Display
Effect Location
View Button
Effect Bypass &
Solo Buttons
Wet/Dry Mix Control
Effect Parameters
User Preset Section
When a Send or a Send/Return insert is selected with the FX display enabled, the TV
screen shows you where the Send is going and where the Return is coming from. The
buttons at the top of the display allow you to bypass or solo the Send/Return insert.
Send Destination
Return Source
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4 - The PatchMix DSP Mixer
Main Section
Input
Selecting the Input display view shows a graphic representation of the PatchMix DSP
Mixer inputs. This screen is only a display unlike the Effects and Outputs screen, which
allow you to make routing changes. Input routing changes are made by adding mixer
The input routings are divided into two categories: Physical Inputs and Host Inputs.
Select either category by clicking on the Physical or Host button. Clicking on any of the
input routings in the TV display highlights the corresponding mixer strip.
f The Input and Output
displays make it much
easier to understand the
signal routings of a
complex mixer setup.
Physical Input Display
Host Input Display
f Tip: Clicking on any
of the input routings in
the TV display highlights
the corresponding mixer
strip.
Output
Selecting the Output display view shows a graphic representation of the PatchMix DSP
Mixer outputs. The output routings are divided into two categories: Physical Outputs
and Host Outputs. Select either category by clicking on the Physical or Host button.
Physical Output Display
Host Output Display
The Host Output display shows all the Insert Routings in addition to the Main Mix and Monitor
out routings. Click on the desired row to make or break a physical output connection.
The Physical Output screen displays and allows you to connect the Main and Monitor
outputs of the mixer to “physical” analog or digital outputs. Click on the box in the mix
or monitor area to make (or break) a connection.
The Host Output screen displays and allows you to view the Host (ASIO or WAVE)
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4 - The PatchMix DSP Mixer
Main Section
Auxiliary Effects & Returns
The section immediately below the TV Screen is where you assign the Auxiliary Effects.
In a traditional mixing console, auxiliary effects sends are used to send part of the signal
to outboard effect devices, then return the effected signal back into the mix using the
effect returns. This is called a sidechain routing because the aux signal takes a detour
through the effects before being summed back into the main mix.
f The Wet/Dry mix
setting in the effect
should normally be set to
100% when the effect is
inserted as a sidechain
effect. This is because the
Aux Return Amount will
control the wet/dry mix.
Sidechain effects are usually effects that you might want applied to several channels,
such as reverb. Effects such as EQ and compressors are usually NOT used as sidechain
effects because they can cause unpredictable results when returned to the main bus.
Input Input
Sidechain Diagram
(Post-Fader Aux Sends)
Pan
Fader
Aux
Mute
Amt
Send
Amount
Return
Amount
Side
Chain
Aux
Amt
Aux Bus
Main Bus
Output
You can also use the Auxiliary Sends as two extra mix buses. By turning the Aux Return
amount all the way down and dropping an Insert Send into the chain, you can send the
Sync/Sample Rate Indicators
The Sync/Sample rate Indicators show the current session’s
sample rate and whether it is internal or slaving to an external
source. The LEDs indicate which sample rate is currently in
effect. If an external source is being used, the Source display
reads “EXTERNAL”.
When slaving to an external master source, the clock may drift
slightly or change dramatically (i.e. abrupt sample rate change
or unplugging of physical master source). PatchMix DSP is
tolerant to minor drifting within the supported rates of 44.1k,
48k, 88.2k, 96k, 176.4k, but if the sample rate drifts out of
this range the “LOCKED” LED will extinguish.
If the external clock source makes a radical sample rate change from the lower rates of
44.1k/48k to a higher rate or between the rates of 88k/96k and 176k/192kHz, the
hardware automatically switches to internal 48kHz clock until the proper external clock
is restored. The “LOCKED” LED will be off and the two units are NOT synchronized.
Always check the “LOCKED” LED when using an external clock source.
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4 - The PatchMix DSP Mixer
Main Section
Output Section
Main Output Level Fader
Sync/Sample
Rate Indicators
Main
Insert
Section
Monitor
Mute
Monitor
Balance
Output Level
Meters
Monitor
Volume
Main Inserts
The main inserts allow you to apply effects to the main stereo signal coming out of the
mixer (both mains and monitor). You might want to apply EQ or a compressor here.
These inserts work just like the other effect locations—just drag and drop effects from
Diagram
0dB
10
20
10
20
Main Output Fader
-12dB
The main output fader controls the level of the main output (and the Monitor output as
well since it is downstream from this control). The normal setting for this control is at
unity or 0dB, but the control allows you to add up to +12dB of gain. High output levels
may cause clipping on outboard amplifiers or other equipment.
30
40
30
40
Output Level Meters
This stereo bar-graph meter reflects the digital level at the output of the mixer. The
topmost red bar represents 0 dB or a full-scale digital signal. The peaks hold for a
moment so that short transients can be monitored. Each bar = 1dB.
50
50
L
R
Monitor Output Level
This control adjusts the monitor output level. Keep in mind that since the monitor level
control comes after the Main Output Fader, nothing will be heard from your monitors if
the main level is turned down.
f Tip: The volume
control on a multimedia
computer keyboard can
be used to control the
Monitor Output Level on
PatchMix.
Monitor Balance Control
This control sets the relative volume of the stereo monitor outputs and works just like
the balance control on your home music system. This control is primarily used to make
the volume from each speaker sound equal if you are not sitting exactly in the center of
the two speakers.
Monitor Output Mute
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.
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5 - Effects
Overview
5 - Effects
Overview
PatchMix DSP comes complete with a host of great core DSP effects including
Compressors, Delays, Choruses, Flangers and Reverb. Each 32-bit effect has various
parameters for editing, as well as factory presets. You can also create and save as many of
your own effect presets as you wish.
Since the effects are implemented in hardware, they don’t place any load on your host
computer. This allows your valuable CPU cycles to be used for other applications or
software plug-ins. The effects are only available at the 44.1 and 48kHz sample rates.
There is a finite limit to how many effects you can use at the same time. As you use up
the PatchMix DSP resources, certain effects will appear “grayed out” and cannot be
added to the mixer. Complex effects such as reverb use more DSP resources than say, a
1-Band EQ. If you continue to add effects, all of the DSP resources will eventually be
used up.
f Saving a session
“defragments” the effect/
DSP resources. If you
have used all your effects
and need another, try
saving the session.
The Effects Palette
Click the FX button on the toolbar to bring up the Effects Palette. The Effects Palette
contains two types of folders. The “Core Effects” folder contains the effect algorithms
themselves. This folder cannot be modified. The other folders contain “Effects Chains”,
consisting of two or more effects grouped together. You can also add, delete, or modify
Effects Chains and the folders that contain them. For more information on Effects
New Folder Icon
Import/Export FX
Effect Categories
Core Effects
Multi-Effects
Distortion Lo-fi
Drums & Percussion
Environment
Equalization
Guitar
Morpher
Multi Effects
Reverb
Synths & Keys
Vocal
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5 - Effects
The Effects Palette
ꢁ To Select an Effect
1. Click the FX button to bring up the Effects Palette. The effect palette contains
numerous folders containing effects presets. Click on any folder to open it.
2. Select the effect you wish to use by clicking on it with the left mouse button and
while continuing to hold the mouse button, drag the effect into the desired location
on the PatchMix DSP mixer screen and release the mouse button. Multi effects
contain several effects along with their parameter settings.
f The order of effects in
a chain can have a big
effect on the sound.
3. If you want to change the order of effects, simply Left-click and drag the effect to the
desired location. Drag the effect to the area above or below the final destination and
release the mouse button to move the effect.
This icon will
appear when you drag
an effect to a new
location.
ꢁ To Edit an Effect
1. Click on the Insert Location containing the effect you wish to edit. The effect
controls now appear on the TV screen.
2. Edit the effect parameters as desired.
ꢁ To Delete an Effect
1. Right-click on the Insert location containing the effect you wish to delete and a pop-
up list appears.
2. Select “Delete Insert(s)” from the top of the list. The effect will be deleted.
FX Insert Chains
FX Insert Chains can be used to save one or several effects and their settings into a single
multi-effect. When an effects chain is selected and placed into an insert location, all the
effects with control settings are copied as a single entity. Once dropped into an insert
location, the effects are totally separate just as if you had placed them individually.
ꢁ To Save FX Insert Chains
f Trim pots, peak meters
and test tone generators
will also be included in
the FX chain.
1. Select one or more effects and place them into any insert location in the mixer.
2. Set the effect parameters the way you want them, including wet/dry mix settings.
3. Right-click to bring up the list of options.
4. Select “Save FX Insert Chain”. The New FX preset dialog box appears.
5. Select a category folder where your preset will be placed, and enter a new preset
name for your FX Chain.
6. 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.
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5 - Effects
88kHz, 96kHz, 176kHz & 192kHz Operation
Creating, Renaming & Deleting Categories or Presets
There are several utilities to help you organize your effects presets.
ꢁ To Create a New Preset Category
You can create your own category folders to help organize your effects presets.
1. Left-click on the New Folder icon at the top of the Effects Palette. A pop-up dialog
box appears asking you to “Enter the Name of the New Category.”
2. Type in a name for your new folder.
3. Click OK to create a new folder or Cancel to cancel the operation.
ꢁ To Delete an Effect Category or Preset
1. Right-click on the category folder you wish to delete. A pop-up selection box
appears, warning you that this action will delete all presets in the folder.
2. Select “Delete Category”. A popup selection box appears.
3. Click OK to delete the folder or Cancel to cancel the operation.
ꢁ To Rename an FX Category
1. Right-click on the category folder you wish to rename. A pop-up selection box
appears.
2. Select “Rename Category”. A pop-up dialog box appears, asking you to “Enter New
Category Name.”
3. Click OK to rename the folder or Cancel to cancel the operation.
88kHz, 96kHz, 176kHz & 192kHz Operation
When operating at 88kHz 96kHz, 176kHz and 192kHz sample rates, the effect
processors are completely disabled. However, the Inserts, Send/Returns, Meters, Trim
Controls, Test Tones and ASIO Direct Monitoring ARE fully functional.
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5 - Effects
88kHz, 96kHz, 176kHz & 192kHz Operation
Importing and Exporting Core FX Presets and FX Insert Chains
These utilities make it easy to import or export your FX Presets and FX Insert Chains.
You can share presets with your friends or download new presets from the Internet.
ꢁ To Import Core FX Presets
This option imports complete folders of Core FX presets into the E-MU PatchMix DSP
folder (normally located here: “C:\Program Files\Creative Professional\E-MU PatchMix
DSP\Core Effects”). 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.
1. Click the Import/Export FX Library button
from the FX Palette.
2. Select Import FX Library. The “Browse for Folder” window appears.
3. Choose the folder where the Core FX presets you wish to import are located.
4. The selected folder of Core FX presets will be copied into the Core Effects folder of
PatchMix DSP.
ꢁ 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.
1. Click the Import/Export FX Library button
from the FX Palette.
2. Select Import FX Category. The “Browse for Folder” window appears.
3. Choose the folder where the FX Chains you wish to import are located.
4. The selected folder of FX Chains will be copied into the Effect Presets folder of
PatchMix DSP.
ꢁ To Export your Core FX Presets
This option exports your Core FX presets to a folder of your choice.
1. Click the Import/Export FX Library button
from the FX Palette.
2. Select Export FX Library. The “Browse for Folder” window appears.
3. Choose a destination location for the Core FX presets, then press OK.
4. The Core FX presets will be copied to the selected destination.
ꢁ To Export your FX Category Folders
This option exports a single category of FX chains to a folder of your choice.
1. Click the Import/Export FX Library button
from the FX Palette.
2. Select Export FX Category. A pop-up dialog box appears asking you to “Choose the
FX Category to be exported”.
3. Choose the desired FX Category to export. Press OK to continue or Cancel to
cancel the operation.
4. The “Browse for Folder” window appears. Choose a destination location for the
Core FX presets, then press OK.
5. The FX Chains will be copied to the selected destination.
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5 - Effects
FX Edit Screen
FX Edit Screen
Click on an FX Insert to display the parameters for that effect. If an insert effect is not
selected, the FX display will read “No Insert”.
E Note: Effects have to
be placed into an insert
location before you can
program them.
Most effects have a wet/dry mix parameter to control the ratio of effect-to-plain signal.
The wet/dry setting is stored with the FX preset. The effect parameters vary with the type
of effect. Generally if an effect is placed in an Aux Send, the wet/dry mix in the effect
should be set to 100% wet since the Aux Return amount controls how much effect is
applied.
The User Preset section is located at the bottom of the FX Edit screen. User presets are
variations of the main effect and can be edited, deleted, renamed or overwritten as you
wish.
Effect Location
Effects Display
View Button
Effect Bypass &
Solo Buttons
Wet/Dry Mix Control
Effect Parameters
User Preset Section
ꢁ To Bypass an Insert:
Inserts can be bypassed if you want to temporarily hear the audio without the effect or
insert. Bypass can also be used to turn off a Send Insert.
Method #1
1. Click on the Insert (in the Insert section).
2. Click the Bypass button in the TV display.
Method #2
1. Right-click over the Insert you want to bypass (in the Insert section). A pop-up
menu appears.
2. Select “Bypass Insert” from the list of options. The effect name will “gray-out” to
indicate that the effect is bypassed.
ꢁ To Solo an Insert:
Inserts can also be soloed. Solo bypasses all the other inserts in the strip and allows you
to hear only the soloed effect. This feature is very useful when adjusting the effect
parameters.
Method #1
1. Click on the Insert (in the Insert section).
2. Click the Solo button in the TV display.
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5 - Effects
FX Edit Screen
Method #2
1. Right-click over the Insert Effect you want to Solo (in the Insert section). A pop-up
menu appears.
2. Select “Solo Insert” from the list of options. The other Insert Effect names in the
strip will “gray-out” to indicate that they are bypassed.
ꢁ To Bypass ALL
All the inserts in a strip can be bypassed with a single command.
1. Right-click over any Effect in the Insert section. A pop-up menu appears.
2. Select “Bypass All Inserts” from the list of options. All the insert names will “gray-
out” to indicate that they are bypassed.
ꢁ To Un-Bypass ALL
All the inserts in a strip can also be un-bypassed with a single command. This command
works even if only some of the effects are bypassed.
1. Right-click over any Effect in the Insert section. A pop-up menu appears.
2. Select “Un-Bypass All Inserts” from the list of options. All the insert names will light
to indicate that they are active.
User Preset Section
Each core effect has a set of User Presets, that you can use to store your favorite effect
parameter settings. We’ve included a good collection of user presets to get you started.
The user presets are accessed from the bar at the bottom of the TV screen. The user preset
edit menu allows you to select stored presets, create new presets, rename or delete
existing presets, or overwrite existing presets with your modified settings. User presets
stay with the Mixer application regardless of which Session is open.
E To copy or share User
Presets, you must save
them as FX Palette
effects.
Click here for Edit Menu
Click here to Select Presets
ꢁ To Select a User Preset
1. Select the FX display in the TV screen.
2. Select the desired insert effect, highlighting it. The effect parameters appear in the TV
screen.
3. Click on the
icon on the preset menu. A drop-down preset list appears.
4. Select a preset from the list.
ꢁ To Create a New User Preset
1. Select the FX display in the TV screen.
2. Select the desired insert effect, highlighting it. The effect parameters appear in the TV
screen.
3. Click on the Edit button. A pop-up menu appears.
4. Select New. A pop-up dialog box appears asking you to name the new preset.
5. Name the preset and click OK. Your new preset is now saved.
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5 - Effects
FX Edit Screen
ꢁ To Delete a User Preset
1. Select the user preset you wish to delete from the user preset menu.
2. Click on the Edit button. A pop-up menu appears.
3. Select Delete. A pop-up dialog box appears asking you to confirm your action.
4. Click OK to delete the preset or No or Cancel to cancel the operation.
ꢁ To Rename a User Preset
1. Select the user preset you wish to rename from the user preset menu.
2. Click on the Edit button. A pop-up menu appears.
3. Select Rename. A pop-up dialog box appears asking you to rename the preset.
4. Type in the new preset name, then click OK to rename the preset or Cancel to cancel
the operation.
ꢁ To Overwrite or Save a User Preset
This operation allows you to overwrite an existing preset with a newer version.
1. Select the user preset you wish to modify from the user preset menu and make any
changes you wish.
2. Click on the Edit button. A pop-up menu appears.
3. Select Overwrite/Save. The current preset will be overwritten with the new settings.
Core Effects and Effects Presets
The Core Effects cannot be removed or copied. Effect presets (stored in “C:\Program
Files\Creative Professional\Digital Audio System\E-MU PatchMix DSP\Effect Presets”)
can be copied, e-mailed or shared like any other computer file.
Hint: Open with “NotePad” or other word processor to view and edit the name and
parameters.
WDM Recording and Playback Behavior
WDM record and playback is now 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, record and playback
settings in WaveLab. etc.) are both running at the same sample rate, and when a Wave
strip or send is present in the PatchMix mixer configuration, WDM audio will be played
or recorded “bit accurate” without sample rate conversion or bit truncation.
When running PatchMix at 44kHz/48kHz, if there is a mismatch between the WDM
record or playback audio content and the PatchMix sample rate, sample rate conversion
is performed, so that WDM audio will always be heard or recorded. Also, such non-
native-sample-rate audio is truncated to 16-bits.
When running PatchMix at 88.2kHz/96kHz or 176.4kHz/192kHz, WDM record or
playback audio content must be running at the same sample rate as PatchMix. If the
sample rates are mismatched, NO AUDIO will be recorded or played back. In other
words, the WDM driver does not perform sample rate conversion of any kind when
PatchMix is running at 88.2kHz/96kHz or 176.4kHz/192kHz.
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5 - Effects
List of Core Effects
List of Core Effects
Stereo Reverb
Lite Reverb
Compressor
Leveling Amp
Chorus
Frequency Shifter
Auto-Wah
Mono Delay 750
Mono Delay 1500
Mono Delay 3000
Stereo Delay 100
Stereo Delay 250
Stereo Delay 550
Stereo Delay 750
Stereo Delay 1500
Vocal Morpher
1-Band Para EQ
1-Band Shelf EQ
3-Band EQ
Flanger
Distortion
Speaker Sim
Rotary
4-Band EQ
Mono Delay 100
Mono Delay 250
Mono Delay 500
Phase Shifter
DSP Resource Usage
There are two main factors which determine the total number of effects available for use
at any given time: Tank Memory and DSP Instructions. Using too much of either
resource will cause effects to be unavailable (grayed out) in the FX menu. In addition,
the strips themselves use DSP Instructions, so only create strips that you actually need.
Tank memory is the memory used by delay-based effects such as reverb and digital
delays. All the reverbs and delays aside from the Mono Delay 100 and Stereo Delay 100
use varying amounts of tank memory.
f Tip: Saving a session
“defragments” the effect/
DSP resources. If you
have used all your effects
and need another, try
saving the session.
The DSP instructions are used by all the effects. Effects with multiple stages, such as
multi-band EQs or the speaker simulator use more DSP instructions than a 1-Band EQ.
Tank memory tends to get used first, and so we’ve provided many delay line effects to
allow maximum conservation of this precious resource. Use only the longest delay you
actually need.
The chart below shows three possible effects combinations. These were created by using
up the reverb resources first. Even more simultaneous effects are possible if fewer reverbs
and shorter delays are used.
Examples of Effects Usage (with a WAVE, ASIO Return & 2 Inputs)
Example 1
Stereo Reverb
4-Band EQ
No. Example 2
No. Example 3
No.
1
2
4
2
6
6
1
1
Lite Reverb
5
5
4
1
1
1
1
Stereo Reverb
Lite Reverb
3-Band EQ
2
3-Band EQ
1-Band EQ
Stereo Delay 1500
Mono Delay 250
Compressor
Chorus
1
1-Band EQ
Compressor
Mono Delay 1500
Mono Delay 250
Auto-Wah
1
Compressor
Chorus
6
2
Mono Delay 1500
Flanger
2
4-Band EQ
3
3-Band EQ
3
Total Effects
22
Total Effects
18
Total Effects
21
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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 want to
brighten up the lead vocal a bit, you might
choose this EQ. This EQ offers up to 15dB cut
or boost.
Boost
Width
+
-
Cut
-15dB
Center
Frequency
Parameter
Description
Gain
Sets the amount of cut (-) or boost (+) of the selected frequency
band. Range: -15dB to +15dB
Center Frequency Sets the range of frequencies to be cut or boosted with the Gain
control. Range: 80Hz to 16kHz
Bandwidth
Sets the width of the frequency range for the Center Frequency
band that will be cut or boosted by the Gain control.
Range: 1semitone to 36 semitones
1-Band Shelf EQ
This single band shelving equalizer is useful when you just want to boost or cut a single
range of frequencies at the high or low end of the spectrum. For example, if you just
want to add a little more bass, there’s no need to waste a 3-band EQ. Just choose low
shelf, then adjust the gain and frequency. This EQ offers up to 15dB cut or boost.
Low Shelf
or…
High Shelf
Corner
Freq
Corner
Freq
+15dB
+
-
-15dB
Frequency
Parameter
Shelf Type
Gain
Description
Allows you to choose either low shelving or high shelving EQ.
Sets the amount of cut (-) or boost (+) of the shelf.
Range: -15dB to +15dB
Corner Frequency Sets the frequency where the signal begins getting cut or boosted
with the Gain control. Range: -15dB to +15dB
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5 - Effects
Core Effects Descriptions
3-Band EQ
This versatile equalizer provides two shelving filters at the high and low ends of the
frequency range and a fully parametric band in the center. Up to 24 dB of boost or cut
is provided for each band.
E Note: The Wet/Dry
Mix control on an
equalizer should normally
be set to 100% wet or
unpredictable results may
occur.
Low Shelf
Mid Band
High Shelf
Corner
Freq.
Corner
Freq.
+24dB
-24dB
Width
+
-
Center
Frequency
ꢁ Setting up a Parametric EQ
1. Turn up the gain on the band you are working with. This allows you to easily hear
the effect of the filter.
2. Reduce the bandwidth if you are working with a mid-band.
3. Now adjust the Center Frequency to “zero-in” on the frequencies you wish to boost
or cut.
4. Set the Gain to a positive value to boost frequencies or to a negative value to cut out
frequencies.
5. Widen the Bandwidth to create a more natural sound.
6. Adjust and tweak as needed.
Parameter
Description
High Shelf Gain
Sets the amount of cut (-) or boost (+) of the high frequency shelf.
Range: -24dB to +24dB
High Corner Freq. Sets the frequency where the signal begins getting cut or boosted
with the High Gain control. Range: 4kHz to 16kHz
Mid Gain
Sets the amount of cut (-) or boost (+) of the mid frequency band.
Range: -24dB to +24dB
Mid Center Freq. Sets the range of frequencies to be cut or boosted with the Mid
Gain control. Range: 200Hz to 3kHz
Mid Bandwidth
Sets the width of the frequency range for the Mid Center
Frequency band that will be cut or boosted by the Mid Gain
control. Range: 1 semitone to 1 octave
Low Shelf Gain
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
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5 - Effects
Core Effects Descriptions
4-Band EQ
This 4-band equalizer provides two shelving filters at the high and low ends of the
frequency range and two fully parametric bands in the center. Up to 24 dB of boost or
cut is provided for each band.
Note: The Wet/Dry Mix control on an equalizer should normally be set to 100% wet or
unpredictable results may occur.
For more information on setting up a parametric EQ, see page 46.
Low-Shelf
Mid 1-Band
Mid 2-Band
High-Shelf
Corner
Frequency
Corner
Frequency
Width
Width
+
-
Center
Center
Frequency
Frequency
Frequency
Parameter
Description
High Shelf Gain
Sets the amount of cut (-) or boost (+) of the high frequency shelf.
Range: -24dB to +24dB
High Corner Freq. Sets the frequency where the signal begins getting cut or boosted
with the High Gain control. Range: 4kHz to 16kHz
Mid 2 Gain
Sets the amount of cut (-) or boost (+) of the Mid 2 Frequency
band. Range: -24dB to +24dB
Mid 2 Center Freq. Sets the range of frequencies to be cut or boosted with the Mid 2
Gain control. Range: 1kHz to 8kHz
Mid 2 Bandwidth
Sets the width of the frequency range for the Mid 2 Center
Frequency band that will be cut or boosted by the Mid 2 Gain
control. Range: .01 octave to 1 octave
Mid 1 Gain
Sets the amount of cut (-) or boost (+) of the Mid 1 Frequency
band. Range: -24dB to +24dB
Mid 1 Center Freq. Sets the range of frequencies to be cut or boosted with the Mid 1
Gain control. Range: 200Hz to 3kHz
Mid 1 Bandwidth
Sets the width of the frequency range for the Mid 1 Center
Frequency band that will be cut or boosted by the Mid 1 Gain
control. Range: .01 octave to 1 octave
Low Shelf Gain
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
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5 - Effects
Core Effects Descriptions
Auto-Wah
This effect creates the sound of a guitar wah-wah pedal. The “Wah” filter sweep is
automatically triggered from the amplitude envelope of the input sound. Auto-wah
works well with percussive sounds such as guitar or bass.
The Auto-Wah is a bandpass filter whose frequency can be swept up or down by an
envelope follower, which extracts the volume contour of the input signal. The Envelope
Sensitivity setting allows you to properly set up the envelope follower to receive a wide
variety of input signals. This ‘envelope’, or volume contour, controls the frequency of
the bandpass filter so that it sweeps up and down with each new note. The Attack
controls the rate of the note-on sweep. As the input sound fades away, the filter sweeps
back at a rate determined by the Release setting.
The wah direction allows the filter to be swept either up or down in frequency. Use a
higher Center Frequency setting when the wah direction is down.
Auto-Wah Filter
Center
Frequency
Bandwidth
Envelope
Sensitivity
Sweep Range
Input
Wave
Attack
Release
Envelope Follower
Parameter
Description
Wah Direction
Env. Sensitivity
Allows you to sweep the wah up or down.
Controls how closely the wah sweep follows the input signal.
Range: -12dB to +18dB
Env. Attack Time
Env. Release Time
Sets the starting rate of the “wah” sweep.
Range: 0ms to 500ms
Sets the ending or release rate of the “wah” sweep.
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
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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 cyclically vary the delay
time in this range, the illusion of multiple sound sources is created. A slight amount of
feedback serves to increase the effect. A very slow LFO rate is usually best for a realistic
effect, but a faster LFO rate can also be useful with minimal LFO depth (.2). Since this is
a stereo chorus, an LFO phase parameter is included which can be used to widen the
stereo image.
Parameter
Delay
Description
Sets the length of the delay. Range: 0ms to 20ms.
Feedback
Sets the amount of delayed signal that will be recirculated through
the delay line. Range: 0% to 100%
LFO Rate
Sets the frequency of the low frequency oscillator.
Range: .01Hz to 10Hz
LFO Depth
Sets how much the LFO affects the delay time. Increases the
animation and amount of the chorus effect. Range: 0% to 100%
LFO Waveform Selectable between Sine or Triangle wave.
LFO L/R Phase
Controls the stereo width by adjusting the phase difference of the LFO
waveform between left and right channels. Range: -180° to +180°
Compressor
In its simplest form, an audio compressor is just an automatic gain control. When the
volume gets too loud, the compressor automatically turns it down. Compressors are
useful in musical applications because they allow you to record a “hotter” signal
without overloading the recording device.
Since the compressor turns down the gain of the signal, you might wonder how can it
make the signal level stronger. A Post Gain control allows you to boost the output gain
of the compressor in order to make up for the gain reduction. The overall level is higher
and only turned down when the signal level gets too loud. This level is called the
Threshold, which just happens to be the most important control on the compressor.
Signal path = Stereo
In
Delay
VCA
Out
Level
Control
Threshold
Post Gain
Release
Ratio
Attack
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5 - Effects
Core Effects Descriptions
Basic Controls
The three main controls of a compressor are the Ratio control, the Threshold control and
the Gain control.
If the signal level falls below the Threshold, no processing will take place. Signals
exceeding the Threshold will have gain reduction applied as set by the ratio control. This
important control allows you to dial in the range of amplitudes you want to tame. For
example, if you’re trying to trim off just the loudest peaks, set the threshold so the gain
reduction meter only shows compression during these peaks. One of the biggest
mistakes in using a compressor is having the threshold set too low. This adds noise as
the compressor will always be reducing the volume.
The Ratio control determines how strongly the compressor will affect the signal. The
higher the ratio, the more reduction will be applied. If the ratio is high enough, (above
10:1) the signal will effectively be prevented from getting any louder. In this situation,
the compressor will be acting as a Limiter, placing an upper limit on the signal level. In
general, ratios from 2:1 to 6:1 are considered compression and higher ratios above 10:1
are considered limiting.
The Post Gain control amplifies the signal after it has been compressed to bring it back
up in volume. If you don’t increase the gain, the compressed signal will be much lower
in volume.
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
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” effect as the compressor turns on and off. Don’t
make the release time too long, however, or the compressor won’t have time to recover
for the next pluck or hit. In general, the attack and release controls are used to smooth
out the action of the compressor, but they can also be used to create special effects.
The Pre-Delay parameter lets the level detector “look into the future” up to 4 milli-
seconds in order to anticipate upcoming peaks in the signal. This is accomplished
of course, by inserting delay into the signal path. This lookahead technique
allows the use of slower attack times without missing signal peaks. This
parameter is especially effective on drums and percussion.
The Input Meter allows you to monitor the strength of your input signal. Always try to
boost the signal before the compressor if you can.
The Compression Meter shows the amount of gain reduction being applied. Since this
meter displays how much the gain is being turned down, the meter moves from right to
left, instead of left to right like a normal meter.
Parameter
Description
Threshold
Threshold sets the input signal level above which dynamic range
compression takes place. Everything above the threshold will be
brought down in volume. Range: -60dB to +12dB
Ratio
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
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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
Pre-Delay
Controls how fast the gain is returned to its normal setting after
the signal has fallen below the threshold.
Range: 50ms to 3000ms
Allows the use of slower attack times without missing signal peaks.
Range: 0ms to 3 ms
Input Meter
Allows you to monitor the strength of the input signal.
Gain Reduction Meter
Shows the amount of gain reduction being applied.
Distortion
Most audio processors aim to provide low distortion, but not this one! The sole purpose
of this effect is to add distortion, and lots of it. This effect provides “fuzz box” style,
clipping distortion which is particularly effective on guitar, bass, organs, electric pianos
or whatever.
The input signal first passes through a lowpass filter. The Lowpass Filter Cutoff
Frequency allows you to control the number of new harmonics that will be generated by
the distortion element. The distortion element has an Edge control which controls “how
much” distortion will be added. A bandpass filter follows the distortion generator. The
EQ Center control lets you select a particular band of frequencies to be output. The EQ
Bandwidth controls the width of the center frequency band. Finally, a gain control
allows you to make up for any gain loss through the effect.
Use the Wet/Dry mix control in conjunction with the Edge control to reduce the
amount of distortion, or go wild and turn everything to 11!
Lowpass
Filter
Bandpass
Filter
In
Out
Distortion
Signal path = Stereo
EQ BW
Gain
LP Filter
Cutoff
Edge
EQ Center
Parameter
Description
Pre EQ LP Cutoff
Controls the amount of high frequency audio admitted to
the distortion. Range: 80Hz to 24kHz
Edge
Sets the amount of distortion and new harmonics
generated. Range: 0-100
Gain
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
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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 cancella-
tions known as a comb filter. Since the flanger is a type of filter, it works best with
harmonically rich sounds.
A low frequency oscillator is included to slowly change the delay time. This creates a
rich, sweeping effect as the notches move up and down across the frequency range. The
amount of feedback deepens the notches, intensifying the effect. You can invert the
feedback signal by choosing a negative feedback value. Inverting the feedback signal
creates peaks in the notch filter and deepens the effect.
Feedback
In
Flanger
LFO
Out
Signal path = Stereo
Phase
Delay
Waveform
Parameter
Description
Delay
Sets the initial delay of the flanger in 1/100th millisecond incre-
ments. This parameter allows you to “tune” the flanger to a specific
frequency range. Range: .01ms to 4ms
Feedback
Controls how much signal is recirculated through the delay line
and increases resonance. Negative values can produce intense
flanging with some signals. Range 0% to 100%
LFO Rate
Sets the speed of the flanger sweep. Range: .01 Hz to 10Hz
LFO Depth
Sets how much the LFO affects the delay time. Increases the
animation and amount of the flanging effect. Range 0% to 100%
LFO Waveform
LFO L/R Phase
Selectable between Sine or Triangle wave.
Controls the stereo width by adjusting the phase difference
between the left and right sweeps. Range: -180° to +180°
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5 - Effects
Core Effects Descriptions
Freq Shifter
This unusual effect is sometimes called “spectrum shifting” or “single sideband
modulation”. Frequency shifting shifts every harmonic in the signal by a fixed number
of Hz which causes the harmonics to lose their normal relationship. The more common
pitch shifter, in contrast, preserves the harmonic relationships of the signal and so is
better suited to creating “musical” harmonies.
This isn’t to say that the frequency shifter can’t be used musically. Small intervals of
frequency shifting (1 Hz and below) can produce a wonderful, lush chorusing or
phasing effect. For bizarre frequency shifting effects, simply crank up the frequency
knob. Frequencies can be shifted up or down by any specified amount from .1 Hz to 24
kHz. You can also shift pitch up on one side and down on the other if you wish.
f You can also type in
exact frequencies to a
resolution of 1/10 Hz.
Comparison between Pitch and Frequency Shifting
Original Pitch Shifted Frequency Shifted
Harmonic
(Hz)
200
(100 Hz)
300
(100 Hz)
300
1
2
3
4
5
6
7
8
400
600
500
600
900
700
800
1200
1500
1800
2100
2400
900
1000
1200
1400
1600
1100
1300
1500
1700
Parameter
Description
Frequency
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.
Sets pitch shift up or down for the right channel.
Right Direction
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5 - Effects
Core Effects Descriptions
Leveling Amp
The first compressors developed in the 1950’s were based on a slow-acting optical gain
cells which were able to control the signal level in a very subtle and musical way. This
effect is a digital recreation of the leveling amps of yesteryear.
The leveling amp uses a large amount of “lookahead delay” to apply gentle gain
reduction. Because of this delay, the leveling amp is not suitable for applications which
require realtime monitoring of the signal. This smooth and gentle compressor is
designed to be used in situations where delay does not pose a problem, such as
mastering a mix or compressing prerecorded stereo material.
Post Gain is the only control on the leveling amp. This control is used to make up the
volume lost by the compression. The Compression Ratio is fixed at about 2.5:1. If a
large peak is detected, the effect will automatically increase the compression ratio to
keep the audio output controlled.
The gain reduction meter shows you how much gain reduction is being applied. Since
the gain reduction meter displays how much the gain is being turned down, the meter
moves from right to left, instead of left to right like most meters.
Post Gain
Amplifies the signal after it has been compressed to
bring up the volume.
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5 - Effects
Core Effects Descriptions
Lite Reverb
Reverberation is a simulation of a natural space such as a room or hall. The Lite Reverb
algorithm is designed to simulate various rooms and reverberation plates while using
fewer DSP resources than the Stereo Reverb. Up to five Lite Reverbs can be used at once.
Decay time defines the time it takes for the reflected sound from the room to decay or
die away. The diagram below shows a generalized reverberation envelope.
Reverberation
Time
Early Reflections
After a short pre-delay period, the echoes from the closest walls or ceiling are heard.
These first echoes, or Early Reflections, vary greatly depending on the type of room. Some
time after the early reflection cluster ends, the actual Reverberation (a dense cloud of
complex wall reflections) begins and decays according to the time set by the Decay Time
parameter. The Reverberance parameter controls the density and smearing of both the
early reflections and the reverberation cloud.
High frequency energy tends to fade away first as a sound is dissipated in a room. The
High Frequency Decay Factor adjusts the time it takes for the high frequency energy to
die away and thus changes the characteristics of the room. Rooms with smooth, hard
surfaces are more reflective and have less high frequency damping. Rooms filled with
sound absorbing materials, such as curtains or people, have more high frequency
damping.
The Low Frequency Decay Factor parameter adjusts the time it takes for the low
frequencies to die away. This control adjusts the “boominess” of the room.
Parameter
Decay Time
Description
Sets the reverb decay time. Range: 0% to 100%
HF Decay Factor
Sets the rate at which high frequencies die away. The high
frequencies last longer as the percentage is increased.
Range: 0% to 100%
LF Decay Factor
Sets the rate at which low frequencies die away. The low
frequencies last longer as the percentage is increased.
Range: 0% to 100%
Early Reflections
Reverberance
Sets the volume of the initial wall reflections.
Range: 0% to 100%
Sets the amount of scattering of the early reflections and
the reverberation cloud. Range: 0% to 100%
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5 - Effects
Core Effects Descriptions
Mono Delays - 100, 250, 500, 750, 1500, 3000
A delay line makes a copy of the incoming audio, holds it in memory, then plays it back
after a predetermined time. The delay number refers to the maximum delay time that
can be produced by the delay line. The six lengths, from 100 ms to 3 seconds, allow you
to make the most efficient use of the effect memory resource.
Long delays produce echoes, short delays can be used for doubling or slapback effects.
Very short delays can be used to produce resonant flanging and comb filter effects or
create monotone robotic-sounding effects (Hint: use feedback). Stereo signals are
summed together before entering the Mono Delay.
There is also a feedback path to send the delayed audio back through the delay line.
When creating echo effects, the feedback controls how many echoes will be produced.
With short delays, the feedback control acts as a resonance control, increasing the
amount of comb filtering produced by the delay line. Comb filtering: See page 52.
A High Frequency Rolloff filter in the feedback path cuts some of the high frequency
energy each time the audio goes through the delay line. This simulates the natural
absorption of high frequencies in a room and can also be used to simulate tape-based
echo units.
The Wet/Dry mix controls how loud the echoes are in relation to the original signal.
Feedback
HF
Rolloff
L In
R In
L Out
R Out
Delay
Delay Time
Parameter
Description
Delay Time
Sets the length of the delay in milliseconds.
(.01ms. minimum increment between settings)
Range: 1 millisecond to 100 milliseconds
Range: 1 millisecond to 250 milliseconds
Range: 1 millisecond to 500 milliseconds
Mono Delay 100
Mono Delay 250
Mono Delay 500
Mono Delay 750 Range: 1 millisecond to 750 milliseconds
Mono Delay 1500 Range: 1 millisecond to 1.5 seconds
Mono Delay 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%
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5 - Effects
Core Effects Descriptions
Phase Shifter
A phase shifter produces a fixed number of peaks and notches in the audio spectrum
which can be swept up and down in frequency with a low frequency oscillator (LFO).
This creates a swirly, ethereal sound with harmonically rich sound sources of a type of
pitch shift with simpler sounds. The phase shifter was invented in the 1970’s and the
characteristic sound of this device evokes emotions of that musical era.
By setting the LFO Depth to zero and tuning the LFO Center, a fixed multi-notch filter is
created.
Feedback
In
Phase
Out
Shifter
Signal path = Stereo
LFO Center
LFO
LFO Rate
Parameter
Description
LFO Center
Sets the initial offset of the LFO and changes the position of the
peaks and notches. Range: 0% to 100%
Feedback
LFO Rate
LFO Depth
Increases the depth of the notches and height of the peaks.
Range: 0% to 100%
Controls the sweep rate of the Low Frequency Oscillator.
Range: .01Hz to 10Hz
Controls how much the Center Frequency is swept by the LFO.
Range: 0% to 100%
Waveform
Selects a Sine or Triangle wave for the LFO
LFO L/R Phase
Controls the stereo width by adjusting the phase difference
between the left and right sweeps. Range: -180° to +180°
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5 - Effects
Core Effects Descriptions
Rotary
This is a simulation of a rotating speaker used on organs. The rotating speaker was
invented to give static organ tones a pipe organ type of animation, but this distinctive
sound became a legend in its own right. Spinning a sound around the room creates a
doppler pitch shift along with many other complex and musically pleasing sonic effects.
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.
Speaker Simulator
The Speaker Simulator provides realistic guitar speaker responses and is designed for use
with guitar, bass or synthesizer. Twelve popular guitar amp speaker cabinets are
modeled.
There is only one parameter on this effect. Just select the speaker you want and listen.
Normally this effect should be used with the Mix control set to 100%.
Speaker Type
Description
British Stack 1 & 2 Modeled from a British 8-speaker high power amplifier stack.
British Combo 1-3 Modeled from a British 2-speaker combo amplifier.
Tweed Combo 1-3 Modeled from an American, 1950’s era, 2-speaker combo amplifier.
2 x 12 Combo
4 x 12 Combo
Metal Stack 1 & 2
Modeled from an American, 1960’s era, 2-speaker combo amplifier.
Modeled from an American, 1960’s era, 4-speaker amplifier set.
Modeled from a modern era, power amplifier stack.
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5 - Effects
Core Effects Descriptions
Stereo Delays - 100, 250, 550, 750, 1500
The Stereo Delays are true stereo delay lines in that the left and right channels are kept
entirely separate from each other. The delay number refers to the maximum delay time
that can be produced by the delay lines. The five different lengths, from 100 ms to 1.5
seconds, allow you to make the most efficient use of the effect memory resource.
Because the left and right channels can have different delay times, you can create a
panning effect by setting one delay long and the other short. Very short delay times
combined with a high feedback amount can be used to create monotone robotic-
sounding effects. Using the longer stereo delays, you can “overdub” musical lines one
on top of the other with the feedback control turned up.
Feedback
HF
Rolloff
In
Delay
Out
Signal path = Stereo
L Delay R Delay
Time
Time
Parameter
Description
Left Delay Time
Right Delay Time
Sets the length of the delay for the left channel in milliseconds.
Sets the length of the delay for the right channel in milliseconds.
Delay Time (L & R) (.01ms. minimum increment between settings)
Stereo Delay 100 Range: 1 millisecond to 100 milliseconds
Stereo Delay 250 Range: 1 millisecond to 250 milliseconds
Stereo Delay 550 Range: 1 millisecond to 550 milliseconds
Stereo Delay 750
Stereo Delay 1500
Range: 1 millisecond to 750 milliseconds
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%
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5 - Effects
Core Effects Descriptions
Stereo Reverb
Reverberation is a simulation of a natural space such as a room or hall. The stereo reverb
algorithm is designed to simulate various halls, rooms and reverberation plates.
Decay time defines the time it takes for the reflected sound from the room to decay or
die away. The diagram below shows a generalized reverberation envelope.
Time
Late Reverb
Early Reflections
After a short pre-delay period, the echoes from the closest walls or ceiling are heard.
These first echoes, or early reflections, vary greatly depending on the type of room. Some
time after the early reflection cluster ends (late reverb delay), the late reverberation (a
dense cloud of complex wall reflections) begins and decays according to the time set by
the Decay Time parameter.
Diffusion is the amount of scattering and density of the late reverberation cloud. Rooms
with many complex surfaces have more diffusion than bare rooms.
High frequency energy tends to fade away first as a sound is dissipated in a room. The
High Frequency Damping parameter adjusts the time it takes for the high frequency
energy to die away and thus changes the characteristics of the room. Rooms with
smooth, hard surfaces are more reflective and have less high frequency damping. Rooms
filled with sound absorbing materials, such as curtains or people, have more high
frequency damping.
The Low Frequency Damping parameter adjusts the time it takes for the low frequencies
to die away. This control adjusts the “boominess” of the room.
Parameter
Description
Decay Time
Sets the length of the Late Reverb. Range 1.5 to 30seconds
Early Reflections Level Sets the volume of the initial wall reflections.
Range: 0% to 100%
Early/Late Reverb Bal
Late Reverb Delay
Diffusion
Adjusts the balance between early refections and late reverb.
Range: 0% to 100%
Sets the time between early reflections and the onset of the late
reverb cloud. Range: 1ms to 350ms
Sets the amount of scattering of the late reverb cloud.
Range: 0% to 100%
High Freq. Damping
Low Freq. Damping
Sets the rate at which high frequencies die away.
Range: -10.0 to +3.0 damping factor
Sets the rate at which low frequencies die away.
Range: -10.0 to +3.0 damping factor
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5 - Effects
Core Effects Descriptions
Vocal Morpher
This unique effect allows you to select two vocal phonemes and morph between them
using an LFO. Phonemes are the consonants and vowels we use in articulating speech
sounds and these sounds are very distinctive and evocative. 30 different phonemes are
available and these can be shifted up or down in pitch for even more effects.
To use the Vocal Morpher, you just select Phoneme A and Phoneme B from the list of
thirty. Now the LFO automatically morphs back and forth between the two selected
phonemes, creating interesting vocal articulations. The rate of the LFO is adjustable and
you can select between Sine, Triangle or Sawtooth waveforms. The sine and triangle
waves fade smoothly. The sawtooth wave gradually fades, then jumps abruptly back.
When the frequency of the A or B Phonemes is shifted up or down, entirely new effects
can be produced. These frequency controls can also be used to tune the phoneme
frequencies to the range of audio you are processing.
Phoneme B
Phoneme A
List of Available Phonemes
A
E
I
O
EH
B
U
AA
IH
F
AE
IY
G
AH
UH
J
AO
UW
K
ER
D
L
M
V
N
P
R
S
T
Z
Parameter
Description
Phoneme A
Select any of the available Phonemes for Phoneme A.
Phoneme A
Tuning
Adjusts the frequency of Phoneme A up or down 2 octaves in
semitone intervals. Range: -24 semitones to +24 semitones
Phoneme B
Select any of the available Phonemes for Phoneme B.
Phoneme B
Tuning
Adjusts the frequency of Phoneme B up or down 2 octaves in
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
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5 - Effects
E-MU PowerFX
E-MU PowerFX
The hardware-accelerated effects of the E-MU Digital Audio System can also be used as
VST inserts in Cubase LE. E-MU PowerFX allow you to use PatchMix DSP effects from
within Cubase, Sonar, or other host application with minimal load on your CPU.
ꢀ E-MU PowerFX are not
available at the 96kHz or
192kHz sample rates.
E-MU PowerFX incorporate smart time alignment technology which automatically
compensates for system latencies and ensures proper synchronization of audio
throughout the VST chain (if the host application supports this feature).
f Cubase SX/SL/LE 2.0,
Nuendo and Sonar (using
the Cakewalk VST
E-MU PowerFX On/Off
Input Signal Present
FX Parameters
adapter 4.4.1) implement
VST 2.X auto delay
compensation.
ꢀ When using Cubase
LE with the 0404, turn
Multiprocessing OFF in
Cubase LE (Device Setup,
VST Multitrack, Expert).
FX Palette
FX Inserts
Output Signal Present
FX Presets
Preset Editing
Parameter
PowerFX On/Off
FX Palette
Description
Enables or bypasses E-MU PowerFX.
Select from a single “Core” effect or a Multi-Effect.
Drop Effects from the FX Palette here.
FX Inserts
Signal Present LEDs These indicators turn blue to show the presence of input and
output signals.
FX Parameters
Select the desired effect in the center insert section, then adjust
the wet/dry mix and parameters for the effect.
FX Presets
Select from the list of preprogrammed effect presets here.
Preset Editing
Click here to Save, Delete, Rename or Overwrite a User Preset.
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5 - Effects
E-MU PowerFX
Parameter
Description
Preferences
The Preferences menu allows you to:
• Toggle the Tooltips On or Off
• Extra Buffers - Check this box if excessive stuttering occurs when
using E-MU PowerFX in your VST Host application. This box
should be checked when using Fruity Loops.
• Render Mode - Induces realtime rendering in applications
which do not support realtime rendering.
(WaveLab, SoundForge)
ꢁ To Setup & Use E-MU PowerFX:
Setup Cubase LE
ꢀ Using any driver other
than “E-MU ASIO” may
produce undesirable
results when using E-MU
PowerFX.
1. Launch Cubase LE
2. Instantiate E-MU PowerFX in an Insert or Aux Send location within Cubase.
3. Press the Insert Edit button
in Cubase to bring up the E-MU PowerFX plug-in
window shown on the previous page.
Setup E-MU PowerFX
4. Make sure the Insert Enable button
is illuminated, indicating that E-MU
Power FX is on. The blue “Signal Present” indicators will be illuminated if E-MU
PowerFX is properly patched into a signal path.
5. Drag the desired effects from the Effects Palette to the center Insert strip.
6. Click on the Effect you wish to edit in the center Insert Strip (it will highlight in
yellow), then adjust the effects parameters in the right section of the window.
7. You can also select or edit User Presets from the section below the FX parameters.
Add Delay Compensation (if needed)
If you are using Cubase VST 5.1, or another older sequencer without automatic delay
compensataion, you will have to insert an E-Delay Compensator into any other audio
tracks to keep them time-aligned.
8. 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.
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5 - Effects
E-MU PowerFX
Automating E-MU PowerFX
E-MU PowerFX can be automated in Cubase LE (or other recording host) just like any
other VST effect. When “Write Automation” is activated in Cubase, control changes
made in the PowerFX window during playback will be recorded on a special
“Automation Subtrack”. When “Automation Read” is activated, the recorded control
changes will be played back.
ꢀ Steinberg Cubasis
does not have the control
automation feature.
ꢁ To Record E-MU PowerFX parameter changes in Cubase LE
1. Add E-MU PowerFX as a Channel Insert.
2. Rewind the song and enable “Automation Write” by pressing the WRITE button
on, illuminating it. (Refers to Cubase LE. If you are using another application,
refer to the documentation.)
3. Bring the E-MU PowerFX window to the front and select the Effect you want to
automate. The effect parameters appear in the TV screen. Make sure the blue “On”
button is lit.
4. Press the Play button on the Cubase Transport control. The song begins playing.
5. Adjust the E-MU PowerFX controls to achieve the effect you want. Rewind the song
when finished.
6. Disable “Automation Write” and enable “Automation Read”
. Playback the
song to hear and view your changes.
7. To edit Automation, first enable both “Automation Write” and “Automation Read”
and press Play. Cubase LE begins overwriting as soon as you change a control.
ꢀ Once you have
recorded or drawn
automation, do not
delete or move effects
from the Insert Strip.
Doing so will result in
unpredictable behavior.
8. If you don’t like the results and want to try again, select Show Used Automation
from the Project menu. The Automation Subtrack appears. Next, click in the
Parameter Display and select Remove Parameter.
Note: This only erases one automation parameter from the Automation Subtrack.
To erase multiple control edits, repeat the procedure above. See the Cubase LE
manual for more specific information about automation editing.
E-MU PowerFX Resource Availability
Because different collections of VST plug-ins and PatchMix Sessions can be run simulta-
neously, it is possible to load a new plug-in for which resources are not available. If DSP
resources are NOT available for an existing setup:
• E-MU PowerFX loads a Hardware I/O Path and simply passes audio through with-
out any effects. The effects insert slot(s) in PowerFX will be “redded out”.
• If no Hardware I/O Paths are available, the plug-in will be disabled and run in a soft
pass-through mode. The effects insert slot(s) in PowerFX will be “grayed out”.
• If DSP resources ARE available, but no Hardware I/O Paths are available, the plug-in
will run in soft pass-through mode.
• If the sample rate is changed in the middle of a PowerFX session, E-MU PowerFX
plug-ins will be bypassed, since the hardware effects cannot operate at 96kHz or
192kHz.
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5 - Effects
E-MU PowerFX
E-MU PowerFX Compatibility Chart
Extra
Buffers
Application Name
Compatible?
Note
Render
Steinberg Cubase VST 5.1
Steinberg Cubase SX 1
Steinberg Cubase SX 2
Yes
Yes
Yes
Off
Off
Off
Off
Off
Off
Instrument
Freeze triggers
error if
not in render
mode.
Steinberg Cubase LE
Yes
Yes
Yes
Yes
No
Off
Off
On
On
On
Off
Off
Steinberg Cubase SL
Steinberg WaveLab 4
Steinberg WaveLab Lite (ver 4)
Steinberg WaveLab 5
Off
Off
Pops & clicks
may occur.
(Try 8 buffers at
1024)
Either
Sony Acid 4
Yes
Yes
No
On
On
On
Off
Off
Off
Sony Vegas 5
Sony SoundForge 7
Power FX
crashes when
launched.
Adobe Audition 1.5
No
Audio distortion
& immediate
lockup.
Any
Any
FruityLoops Studio 4.5
Ableton Live 3.5
Yes
No
Off
On
On
Off
Distortion when
FX parameters
are changed.
Cakewalk Sonar 3
Yes
Off
Off
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5 - Effects
Rendering Audio with E-MU PowerFX
Rendering Audio with E-MU PowerFX
Rendering (sometimes called Export) is a mixdown process performed by the host
application, which creates a new digital audio file from a multitrack song. Rendering
allows a virtually unlimited number of VST effects to be used because the audio
processing is performed out of realtime.
E-MU PowerFX and the PatchMix DSP effects are strictly realtime processes. When E-MU
PowerFX are used while rendering audio, the rendering process must proceed at
realtime rate. Some host applications are not designed to handle realtime rendering and
this can cause problems. E-MU PowerFX can be used with these applications if you are
willing to follow certain guidelines.
General Tips for Rendering using E-MU PowerFX
• If an error message occurs, increase the “ASIO Buffer Latency” setting located in
the device Setup dialog box. Depending on your setup, you may have to
increase or decrease the Buffer Latency settings to find the setting that works.
• Instead of rendering with E-MU PowerFX, bounce the E-MU PowerFX processed
tracks to another track in realtime.
• Check “Realtime Render” in the Render dialog box when using Cubase LE,
Cubase SX2 or Cubase SL2. This setting will give the best results.
Tips for using Freeze Mode on Cubase LE
• Make the project length as short as possible. Freeze always renders the entire
project length, even if the MIDI track being rendered is shorter.
• Great Tip: Temporarily bypass E-MU PowerFX (and any other effects) even
when “Freezing” another track. This will allow the track to Freeze faster than real-
time.
Using E-MU PowerFX with WaveLab and SoundForge
Stuttering in the audio can occur when rendering with SoundForge or any version of
Steinberg WaveLab. This problem is caused by discontinuities in the first few audio
buffers as they are fed by WaveLab to E-MU PowerFX. The problem can be eliminated by
following these guidelines.
• Check “Render Mode” box in the E-MU PowerFX preferences. See page 63.
• We recommend that you only use the MME/WAVE E-DSP Wave [xxxx] drivers.
• Reduce the “Buffer Size” in the WaveLab, Audio Preferences dialog box. This
moves the stuttering to beginning of the file.
• 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.
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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. In addition, E-Wire also allows you to insert outboard audio gear into the
VST environment.
E-Wire has three main components:
E Note: It’s easier to use
E-MU PowerFX instead of
E-Wire if you just want to
use the hardware effects.
(E-Wire was the precursor
to E-MU PowerFX.)
• A VST plug-in which handles the audio routing to PatchMix DSP.
• An ASIO mixer strip in PatchMix DSP configured to route audio to the E-Wire
plug-in. You simply drop the effects you want to use into this strip.
• For hosts that don’t support automatic delay compensation, a manual delay-
compensation plug-in can be inserted in Cubase tracks or channels that don’t use
E-Wire to compensate for ASIO delay.
However, E-Wire can be
very useful because it
allows you to route VST
inserts or Sends to
The diagram below may give you a better idea of how E-Wire works:
Physical Inputs and
Outputs via PatchMix DSP.
E-Wire VST plug-in
Send to Strip
Stereo Reverb
ASIO Send
Return to VST
PatchMix DSP
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.
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5 - Effects
E-MU VST E-Wire
ꢁ To Setup and use E-Wire:
Setup PatchMix DSP
1. Open PatchMix DSP application.
2. Insert an ASIO Input mixer strip into PatchMix DSP. (Alternately, you can select
“New Session”, select “E-Wire Example” and skip to step 6.)
3. Mute the strip or turn the Fader all the way down.
4. Insert an ASIO Send plug-in into one of the inserts on your ASIO strip.
5. Name your ASIO strip as an E-Wire strip.
6. Insert the desired PatchMix DSP effects into slots above the ASIO Send.
7. Save the Session.
Setup Cubase
8. Launch Cubase.
9. Instantiate E-Wire in an Insert or Aux Send location within Cubase.
10. Edit the E-Wire plug-in and activate the plug-in by pressing the blue button.
11. Set the ASIO Send and Return on the E-Wire plug-in to match the strip you set up
for E-Wire.
12. Done.
E-Delay Compensation
An E-Delay Compensator must be inserted into any other audio tracks that are not using
E-Wire in order to keep them time-aligned.
13. Simply insert an E-Delay Compensator plug-in into the same insert location you
used for E-Wire on any other audio tracks. That’s it.
E-Delay Compensator
As audio is transferred back and forth between the VST host application and the E-MU
sound hardware, a delay in the audio stream is incurred. Normally this delay is compen-
sated for automatically by the host application, but not all VST host applications
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.
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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, Cubase LE 2.0,), Magix Samplitude 7.x, and Sonar (using
the Cakewalk VST adapter 4.4.1), but not by Steinberg Cubase VST 5.1 and Cubasis.
The E-Delay Compensator utility plug-in is used to manually compensate for the
transfer delay for hosts that DO NOT support plug-in delay compensation.
The E-Delay Compensator plug-in is used to delay the “dry” tracks (tracks without a
PowerFX or E-Wire as an insert effect) or auxiliary (send) channels. For each dry track or
send, add an E-Delay Compensator plug-in to re-align the track. The E-Delay Compen-
sator is automatic and requires no user interaction to operate.
For example, consider a Cubasis session with two audio tracks. If PowerFX or E-Wire is
applied as an insert effect to the first audio track, but not to the second, the first track
will be delayed in relation to the second track. The E-Delay Compensator should be
added as an insert effect on the second track in order to provide delay compensation.
Cubase VST or Cubasis
Track 1
Insert
Track 2
Insert
Track 3
Insert
E-Wire
E-Delay
E-Delay
E-Delay Compensator Use
For host applications that don’t support automatic
delay compensation.
PatchMix
DSP
1. An E-Delay Compensator should be used
when unprocessed audio tracks are played
alongside tracks using a PowerFX or E-Wire
plug-in.
2. Simply insert an E-Delay Compensator into
each track that doesn’t use a PowerFX or
E-Wire send.
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. If you use two Cubasis inserts in series
on a track both using PowerFX or E-Wire, you would set the number parameter to 2 on
all other audio tracks. Each trip down to PatchMix DSP and back to Cubasis equals one
unit.
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5 - Effects
E-MU VST E-Wire
In practical use, however, you’ll probably never need to use more than one E-Wire VST
on a single track since PowerFX effects can be placed in series. We have included this
feature “just in case” you need it.
Here’s one more example of how to use the E-Delay Compensator with different
numbers of PowerFX/E-Wire sends on each track. The delay compensation on each track
must equal the track with the maximum number of PowerFX/E-Wire sends. See the
diagram below.
Cubase VST or Cubasis
Track 1
Track 2
Track 3
Insert
PowerFX
or E-Wire
Insert
PowerFX
or E-Wire
Insert
PowerFX
or E-Wire
Insert
Insert
E-Delay
1
E-Delay
2
PatchMix
DSP
Since track 1 uses two PowerFX/E-Wire inserts, the delay of all the other tracks must
equal two. Track 2 has one PowerFX/E-Wire insert and so adding one unit of E-Delay
keeps it time aligned. Track 3 doesn’t use a PowerFX/E-Wire insert and so needs two
E-Delay Units to remain in alignment.
Grouping Tracks
When several tracks require E-Delay Compensation, you can send the output of each
track to a group or bus and use a single 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.
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6 - Appendix
Sync Daughter Card Supplement
6 - Appendix
Sync Daughter Card Supplement
SMPTE Conversion
One of the main functions of the Sync Daughter Card is to convert SMPTE (LTC) to
MIDI Time Code (MTC) and vice-versa. The term “Host MTC” refers to MTC, which is
generated or used by the host application (Cubasis, etc.). MTC is also available at the
MIDI jack on the back of the Sync Card.
ꢀ Warning: SMPTE and
MTC do not provide
sample sync for digital
I/O. You must use Word
Clock, or S/PDIF sync.
SMPTE Features
• Conversion of SMPTE to MTC quarter-frame messages & full-frame messages.
Constant quarter-frame messages are generated with steady SMPTE data input.
Occasional MIDI full-frame messages are generated when SMPTE contains data dropouts.
• Conversion of MTC (quarter frame & full frame) messages from the host
computer to SMPTE out.
Simultaneous SMPTE and MTC output when receiving MTC from the host computer
• Outputs SMPTE and MTC striping data.
SMPTE Start Time and type can be set via System Settings dialog box.
SMPTE Options
When the Sync Daughter Card is installed in your system a SMPTE button in the
PatchMix DSP mixer becomes visible. Pressing the SMPTE button brings up the SMPTE
window.
SMPTE
Flywheel Mode:
Current Time
Start Striping
Start Time
• Off
• Fixed
• Continuous
•1-time Jam
Flywheel
Amount
Output
Level
SMPTE Status/
Error Indicators
SMPTE Frame
Rate Settings
Stop
Striping
Output
Source
Word Clock
Termination
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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
striping SMPTE.
SMPTE Striping
Initiates SMPTE Time Code generation at the SMPTE output beginning at
the time set in the striping display.
Stripe Button
Stop Button
Stops SMPTE striping. This button also stops SMPTE when One-Time Jam
Sync has been initiated.
Selects one of the four Flywheel modes. See the descriptions below.
Sets the SMPTE output level from -10dBV (consumer) to +4dBu (pro).
Flywheel Mode
Output Level
If flywheel mode is on and a dropout is detected this is the number of fly-
wheel frames that will be output before the sync card stops and chases.
FLY/JAM Frames
Turns word clock termination on or off. Except in special cases, this con-
trol should normally be left on. See “Word Clock In/Out”.
Word Clock
Termination
This control selects the source of the SMPTE output jack. The choices are:
Host MTC or the SMPTE Input jack (to regenerate SMPTE).
SMPTE/MTC
Output Source
SMPTE Modes of Operation
Host Mode
The host computer is the source of synchronization. MTC messages are sent to the Sync
Daughter Card from the computer application and converted into SMPTE. MTC is also
output from the MIDI port on the Sync Daughter Card.
External Mode
SMPTE messages from SMPTE In are converted to MTC (quarter-frame messages) and
sent to the host application. This happens automatically whenever LTC is received at the
SMPTE input jack. Clean SMPTE data is also transmitted from SMPTE Out if “SMPTE
(Regenerate)” is set.
Flywheel Mode
If the incoming SMPTE data is corrupted or missing frames, MTC code will continue to
be output if “Flywheel mode” is enabled. The flywheel modes are described below.
Flywheel Modes
Upon any dropout, MTC stops and the Sync card monitors the input for
valid code. If valid code is again received, it chases and relocks.
Off
Upon any dropout, MTC continues outputting Quarter-frame messages
at the same rate (flywheeling). When a dropout is detected, this is the
number of frames that will be output before the Sync card stops output-
ting MTC and monitors the input for valid code. If valid code is again
received, it chases and relocks.
Fixed 0-127
Upon any dropout, MTC continues outputting Quarter-frame messages
at the same rate (flywheeling). The Sync card monitors the input for valid
code and continues flywheeling until valid code is received, then relocks.
Continuous
Upon any dropout, MTC continues outputting Quarter-frame messages
at the same rate (flywheeling) without monitoring the SMPTE input until
the Stop button is pressed.
1-Time Jam Sync
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6 - Appendix
SMPTE Background
Stripe Mode
This mode is used to record SMPTE time code onto an audio track of another recorder.
SMPTE is output when the Start button is pressed in the System Settings menu and
begins at the time set by the Start Time setting. MTC is also simultaneously output from
the Sync Daughter Card MIDI out. SMPTE and MTC will continue to be output until the
Stop button is pressed. See Striping SMPTE.
SMPTE Background
SMPTE time code was standardized way back in 1969 by the Society of Motion Picture
and Television Engineers as a way to mark frame numbers on video tape.
Using SMPTE, a particular location can be precisely located by simply entering the
appropriate time code number which is expressed in Hours, Minutes, Seconds, Frames
and Subframes. This is possible because each frame of SMPTE time code contains
absolute location information expressed in digital form.
There are two types of SMPTE time code: Vertical Interval Time Code (VITC), which is
used on video tape and Longitudinal Time Code (LTC) or audio time code. VITC is
strictly used for video and has the advantage of being able to be read while the video
deck is paused. LTC can be recorded on the audio or sync tracks of video tape and can
thus be used in audio or video work.
Longitudinal time code is the type of SMPTE used on the Sync Daughter Card. It
contains 80 bits of information per frame. An audio SMPTE frame is divided into 80
“bit cells”. A voltage change during a bit cell period constitutes a digital “1” and no
change during a bit cell period constitutes a digital “0”. In addition to the location bits,
there are user bits that may contain information about tape reel numbers, bits dealing
with video information, and a 16-bit sync word at the end of the frame.
FramesFrames Seconds Seconds Minutes Minutes Hours Hours
SYNC WORD
SMPTE
Time
Code
10
20
30
40
50
60
70
80
End
Start
Frame
Frame
Bit
Cell
Bit
Cell
80 Bit Cells per Frame
=0
=1
There are four types of SMPTE time code in general use: 24, 25, 30 frame-per-second
and 30 drop-frame. In general, you should choose one rate (30 non-drop is common in
audio) and stick with it for initial recording and later editing.
Types of SMPTE
Type
Use
Hours
00-23
00-23
Minutes
00-59
Seconds
00-59
Frames
00-23
00-24
00-29
00-29
24 frame
US Film
25 frame
Euro. Film + Video
00-59
00-59
30 drop-frame
30 non-drop
US & Japan Color Video 00-23
US & Japan B/W Video 00-23
00-59
00-59
00-59
00-59
The four frame rates are all straightforward except 30 drop-frame. The 30 df rate came
about because the US color video frame rate is actually 29.97 frames/sec instead of 30
frames/sec. This adds up to an error of 108 frames each hour relative to “wall clock”
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6 - Appendix
SMPTE Background
time! (A one hour program would actually be 59 minutes and 56.4 seconds long.) Drop
frame was designed to correct this time difference. In 30 Drop Frame, every minute
except 00-10-20-30-40-50 have the first two frames, 00 and 01, “dropped”, hence the
name drop-frame.
Why use SMPTE?
SMPTE sync, although well over 30 years old, has the advantage of being able to be
recorded as an audio track. This allows it to be used with virtually any kind of recording
equipment from tape recorders to computer-based digital audio recorders. You can even
buy phonograph records with a SMPTE stripe!
SMPTE was designed in the days when tape dropout was a common occurrence and so it
was designed to convey “absolute” location information. Since each frame of SMPTE
code provides its own unique identification, it provides the ability for a receiving device
to recover from data dropout. In addition, edits can be performed in the middle of a
song with just a few seconds of pre-roll before the punch-in point. SMPTE is also
standardized, which means that code generated on different makes of equipment will
be compatible with each other. SMPTE also has fairly good resolution, especially at the
subframe level. You’ll be happy to know that the Sync Daughter Card resolves to the
subframe level. The chart below shows subframe accuracy at the three frame rates.
SMPTE Subframe Resolution
Frames-per-second
Resolution
.521 mS
24 fps
25 fps
30 fps
.500 mS
.417 mS
Striping SMPTE
Printing SMPTE to a track is called striping (as in stripe). SMPTE time code is recorded
on an unused audio track of another recorder, then played back into the Sync Daughter
Card. The Sync Daughter Card passes the location information on to the host computer
as MTC quarter-frame data to be used by an application such as an audio recorder or
sequencer.
SMPTE is usually recorded at about -3 VU on semi-pro gear, -10 VU on professional gear
and 0 VU on video gear. Experiment to find the optimum levels. When printing to a
time code track of a video deck, be careful. The time code playback head locations on
video decks are not standardized and can cause gross timing errors. Time code which is
striped on an audio track will always be in sync with the picture. SMPTE code is tradi-
tionally recorded on the right channel of a video recorder.
Avoiding SMPTE problems
Problems in reading SMPTE time code can often be related to poor quality code on the
tape. Poor quality code can be caused by a number of problems, the most common
being dirty or misaligned heads, amplifier clipping, or too many generations of audio
dubbing. Other problems can be caused by running the SMPTE signal through signal
processing devices such as Limiters, Reverbs, Harmonizers, etc. (Don’t laugh, it has been
done!) In fact, many video decks have built in AGCs (Automatic Gain Controls) which
will ruin the SMPTE signal if the input level is too high. Always check playback to insure
that the time code is usable. In general, no signal processing should be used on the
SMPTE signal. SMPTE code is delicate and should be treated as such.
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6 - Appendix
MIDI Time Code (MTC)
Duplicating SMPTE time code
The Sync Daughter Card always generates clean SMPTE from the SMPTE output when
reading SMPTE in. This time code is in sync with the incoming SMPTE and can be used
to feed other devices in your studio or to clean up old SMPTE tracks. Copying SMPTE
code from track to track produces deterioration of the signal with each generation,
although one generation of dubbing will probably be OK.
Other Tips for using SMPTE
1. Use ascending time code. Jumps in the code are OK as long as the SMPTE code
jumps forward in time as the tape moves forward in time. A good way to avoid any
problems with this is to simply stripe the entire project with SMPTE before you
record any other tracks.
2. Allow enough leader. Leave a few seconds between each song to allow SMPTE to
sync up before the song starts.
Keep written logs. Keeping written records of song start points and edit cues can save
time and avoid wasteful searching through a project that was recorded earlier.
MIDI Time Code (MTC)
MIDI time code is basically SMPTE time code adapted to the world of MIDI. MTC
specifies “absolute” location information in hours:minutes:seconds:frames, just like
SMPTE. There are two main kinds of messages in MTC: Full-frame messages and
Quarter-frame messages.
ꢀ MTC and SMPTE do
NOT synchronize at the
sample rate and are not
locked to word clock in
any way.
Full-frame messages are ten bytes long and are sent when SMPTE start, stops, or
relocates. Full-frame messages contain the entire SMPTE number of, hours, minutes,
seconds, frames, as well as the SMPTE type: 24fps, 25fps, 30 non-drop, 30 drop.
SMPTE and MTC are used
to synchronize music but
do not have the required
resolution to sample-lock
digital audio.
Quarter-frame messages are sent at each quarter of a SMPTE frame and only carry 1/8th
of the SMPTE time message. Quarter-frame messages require two entire SMPTE frames
to send the complete time stamp (h:m:s:f). Timing accuracy is maintained as long as the
quarter-frame messages continue to come in at a constant rate.
Since it is important to have a stable timing reference for your song or sequence, we
have given MTC its own MIDI output port on the Sync Daughter Card. This ensures that
the timing information will not be affected by other MIDI data on the line.
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6 - Appendix
Word Clock In/Out
Word Clock In/Out
Word clock provides a standardized means of synchronizing multiple digital audio
devices so that data can be transferred digitally. In order to digitally transfer from one
device to another, the two devices MUST be synchronized. Clicks and pops in the
audio will result when transferring digital audio which is not synchronized.
f Word clock and
S/PDIF synchronize at the
sample rate and are used
to transfer digital data
between machines.
The E-MU 0404 PCI card can be externally clocked from the S/PDIF input (either optical
or electrical) or from the Sync Daughter card (if installed). In a digital studio, all
digital devices in the system should run off the same master Word Clock.
ꢁ To Synchronize PatchMix DSP to an External Clock Source:
1. Make sure an external clock source is connected to the E-MU Digital Audio System
hardware via the word clock or S/PDIF input.
2. Open the Session Settings dialog box.
3. Under the System tab, select External Source, then select either Word Clock or
S/PDIF.
4. Press OK to close the dialog box.
5. Check the Sync section of PatchMix DSP to verify that the Locked indicator is
illuminated.
Devices can be connected in daisy chain fashion (word clock out connected to the next
unit’s word clock in) or in parallel for one or two devices, but professional digital
studios normally use a master word clock generator or “House Sync” with a distribution
system so that each device receives a phase-coherent and jitter-free word clock.
Digital
Device 3
Digital
Device 1
House Sync
Generator
Digital
Device 2
Digital
Device 4
A master word clock generator is preferable for larger digital setups.
Word Clock In: Receives word clock (sample clock) from another digital device such as
a digital video deck, digital recorder or digital mixer.
Word Clock Out: Sends word clock (sample clock) to another digital recorder. Word
clock is always output, whether it is generated by the internal clock or passed through
from the word clock input.
75Ω On/Off: Termination for the word clock input can be switched on or off in the
Sync Card menu of the PatchMix DSP application. Normally word clock termination
should be left on. If you have problems with a weak word clock signal, try turning termi-
The diagram below shows the proper way to connect and terminate a serial word clock
chain. Using a BNC “T” connector ensures that word clock is precisely in phase for both
devices. The middle device has termination turned Off and the last device in the word
clock chain has termination turned On.
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6 - Appendix
Word Clock In/Out
Digital Mixer
Word Clock
S/PDIF
Digital
T - connector
IN
ADAT Optical
Word Clock Termination OFF
S/PDIF
DIGITAL BREAKOUT CABLE
SYNC CARD
IN
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.
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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.
S/PDIF is probably the most common digital audio format. S/PDIF carries an
embedded word clock which can be used to synchronize the digital equipment. You
must enable “External Clock” on the slave device to have clock sync!
The diagrams below show two ways to synchronize an external A/D converter to the
E-MU Digital Audio System using the S/PDIF connection.
In the first example, the external A/D converter is the master clock for the system. Only
one S/PDIF cable is needed (either optical or coaxial) as long as PatchMix is set to
receive its word clock signal from the external device. The external A/D is the Master and
the E-MU DAS is the Slave.
PatchMix DSP
External Device supplies Master Clock
S/PDIF
(Optical)
(via S/PDIF)
The S/PDIF cable carries two
channels of audio data and
In
an embedded clock.
Out
or
S/PDIF Out
In
Out
Master
S/PDIF
(Coax)
External A-D Converter
Slave
Set PatchMix DSP to receive:
External S/PDIF Sync
PatchMix DSP supplies Master Clock
PatchMix DSP
S/PDIF
(via S/PDIF)
This S/PDIF cable carries two
(Optical)
channels of audio data.
In
Set External Device to receive:
External S/PDIF Sync
Out
S/PDIF Out
or
Slave
In
S/PDIF In
External A-D Converter
Out
S/PDIF
(Coax)
This S/PDIF cable carries an
embedded clock signal.
Master
In the second example a second S/PDIF cable is used to supply “embedded word clock”.
The external device MUST be set to receive external clock via S/PDIF or the units will not
be synchronized. The E-MU Digital Audio System is the Master and the external A/D is
the Slave.
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6 - Appendix
Useful Information
Useful Information
AES/EBU to S/PDIF Cable Adapter
This simple adapter cable allows you to receive AES/EBU digital audio via the S/PDIF
input on the E-MU 0404 PCI card. This cable may also work to connect S/PDIF out from
the 0404 digital breakout cable to the AES/EBU input of other digital equipment.
From AES/EBU
Device
To S/PDIF
1
2
+
In
N.C.
3
-
Digital Cables
Don’t cheap out! Use high quality optical fiber and low-capacitance electrical cables
when transferring digital I/O to avoid data corruption. It’s also a good idea to keep
digital cabling as short as possible (1.5 meters for plastic light pipes; 5 meters for high
quality glass fiber light pipes).
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. Failure to observe this common
practice can result in a ground loop. 60 cycle hum in the audio signal is almost always
caused by a ground loop.
Appearance Settings in Windows
Adjusting the “Performance Options” in Windows will improve the screen appearance
when moving the mixer around on the screen.
ꢁ To Improve the Appearance Settings:
1. Open the Windows Control Panel. (Start, Settings, Control Panel).
2. Select System. Select the Advanced Settings tab.
3. Select Settings in the Performance section.
4. Under Visual Effects, select Adjust for Best Performance. Click OK.
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6 - Appendix
Technical Specifications
Technical Specifications
GENERAL
44.1 kHz. 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz and 192kHz
Sample Rates
derived from internal crystals. (No sample rate conversion is
performed.)
Externally supplied clock from S/PDIF.
(or word clock with optional Sync Card)
16-bit or 24-bit (depending on the setting of your recording
or audio application)
Bit Depth
100MIPs custom audio DSP.
Hardware DSP
DSP - 32-bit integer math with a 67-bit accumulator
PCI Bus-Mastering DMA subsystem reduces CPU usage.
Zero-latency direct hardware monitoring with effects
ADC - PCM1804 (TI/Burr-Brown)
DAC - AK4395 (AKM)
Converters & OpAmps
OpAmp - NJM2068M (JRC)
ANALOG LINE INPUTS
Type
Unbalanced, low-noise input circuitry
Consumer: -10 dBV nominal, 6.4 dBV maximum
20 Hz - 20 kHz: +0.20/-0.10 dB
-100 dB (.001%) 1kHz at -1 dBFS
111 dB (A-weighted 22kHz BW)
111 dB (1kHz, A-weighted, 22kHz BW)
< -120 dB, (1 kHz signal at -1 dBFS)
3.3K ohm
Level
Frequency Response
THD + N
SNR
Dynamic Range
Channel Crosstalk
Input Impedance
ANALOG LINE OUTPUTS
Type
Unbalanced, low-noise circuitry
Consumer: -10dBV nominal, 6.4dBV maximum
+0.05/-0.10 dB, (20 Hz - 20 kHz)
-100 dB (.001%) 1kHz signal at -1dBFS
116 dB (A-weighted, 22 kHz BW)
116 dB (1 kHz, A-weighted, 22 kHz BW)
< -109 dB, (1 kHz signal at -1 dBFS)
560 ohms
Level
Frequency Response
THD + N
SNR
Dynamic Range
Stereo Crosstalk
Output Impedance
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6 - Appendix
Technical Specifications
DIGITAL I/O
S/PDIF
• 2 in/2 out coaxial (transformer coupled output)
• 2 in/2 out optical
• AES/EBU or S/PDIF (switchable under software control)
1 in, 1 out (16 MIDI channels)
MIDI
SYNCHRONIZATION
Internal Crystal Sync:
44.1kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz
• S/PDIF (optical or coaxial)
• Word Clock (sync card only) - (75 ohm termination,
switchable)
SRSync SourceRMS jitter in picoseconds
44.1 Internal Crystal 596ps
RMS JITTER @ 44.1K
(Measured via Audio Precision 2)
44.1 Optical Input
795ps
SYNC CARD
SMPTE
Converts to/from longitudinal time code (LTC) to MIDI time
code (MTC) and vice-versa
24, 25, 30 drop, 30 non-drop frames/second.
Compatible with 29.97 fps timecode
Frame Rates
Regeneration, stripe and conversion modes
0.5 - 4V p-p
Modes
Input Level:
Output Level:
Input Impedance:
+4 dBu, -10 dBV (software selectable)
10K ohm
Dimensions & Weight
0404 PCI Card
Weight:
0.25lb / 0.10kg
L: 156mm H: 107mm
Dimensions:
Sync Daughter Card
Weight:
0.25lb / 0.10kg
L: 5.04" / 128mm
Dimensions:
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6 - Appendix
Internet References
Internet References
The internet contains vast resources for the computer musician. A few useful sites are
listed here, but there are plenty more. Check it out.
MIDI Basics.......................................................Search for “MIDI Basics” (many sites)
cubase/messages
Forums
Driver Heaven Forum ...............................http://www.driverheaven.net/search.php?s
Home Recording Forum...........................http://homerecording.com/bbs/
search.php?s=d866b60193933eb726660e7bd
90dfb27
Sound-On-Sound Forum..........................http://sound-on-sound2.infopop.net/2/
OpenTopic?a=srchf&s=215094572
Studio-Central Cafe Forum......................http://studio-central.com/phpbb/search.php
Sound Card Benchmarking .....................http://audio.rightmark.org
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Internet References
Declaration of Conformity
Trade Name:
Model No.:
E-MU Systems
EM8810 & EM8820
EM8810, EM8830 & EM8840
EM8810, EM8830 & EM8841
Responsible Party:
Address:
E-MU Systems
1500 Green Hills Road,
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.
CAUTION
You are cautioned that any changes or modifications not expressly approved in this
manual could void your authority to operate this equipment.
Note:
This equipment has been tested and found to comply with the limits for a Class B
digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide
reasonable protection against harmful interference in a residential installation. This
equipment generates, uses, and can radiate radio frequency energy and, if not installed
and used in accordance with the instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference to radio or television
reception, which can be determined by turning the equipment off and on, the user is
encouraged to try to correct the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which
the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
The supplied interface cables must be used with the equipment in order to comply with
the limits for a digital device pursuant to Subpart B of Part 15 of FCC Rules.
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6 - Appendix
Internet References
Compliance Information
United States Compliance Information
FCC Part 15 Subpart B Class B using:
CISPR 22(1997) Class B
ANSI C63.4(1992) method
FCC Site No.90479
Canada Compliance Information
ICES-0003 Class B using:
CISPR 22(1997) Class B
ANSI C63.4(1992) method
Industry of Canada File No.IC 3171-B
European Union Compliance Information
EN55024 (1998)
EN55022 (1998) Class B
EN61000-3-2 (2001)
EN61000-3-3 (1995 w/A1:98)
Australia/New Zealand Compliance Information
AS/NZS 3548(1995 w/A1 & A2:97) Class B
EN55022 (1998) Class B
Japan Compliance Information
VCCI (April 2000) Class B using:
CISPR 22(1997) Class B
VCCI Acceptance Nos. R-1233 & C-1297
Attention for the Customers in Europe
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.
84
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Index
Numerics
Clicks & Pops, in the audio 9, 76
Clock, external 10, 16
Comb Filter 52
Index
Compressor 49
Connectors, interface 2
Core Effects
descriptions 45
listing 44
D
Damping, high frequency 55, 60
Decay Time, lite reverb 55
Numerics
1-Band Para EQ 45
1-Band Shelf EQ 45
1-Time Jam Sync, SMPTE 72
3-Band EQ 46
4-Band EQ 47
Digital Cables 79
A
A-D, D-A Converters, used in 0404 80
AES/EBU to S/PDIF Adapter 79
Appearance, improving 79
ASIO
direct monitor 23
send 21
Attack, compressor 50
Automating PowerFX 64
Auto-Wah 48
Aux Bus 29
Auxiliary Effects Assignment 35
Auxiliary Returns 35
Auxiliary Sends 29
used as extra mix busses 35
Effects
B
Background program, disabling 13
Balance Control, monitor 36
Block Diagram, mixer 12
Bypass
all inserts 42
effect insert 41
send/return insert 33
descriptions 45
disabled at high sample rates 39
distortion 51
C
Category
create new preset 39
delete effects 39
rename effects 39
CDs, playing 19
Chorus
leveling amp 54
using freq. shifter 53
E-MU Digital Audio System
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Index
F
mono delay 3000 56
overview 37
palette 37
phase shifter 57
placing into an insert location 21
preset
create new 42
delete 43
overwrite 43
rename 43
mixer strip 18
red color 18
rotary 58
selecting 38
stereo reverb 60
using in VST host application 62
vocal morpher 61
E-MU 0404 PCI Card
description 7
installing 3
E-MU Icon 13
E-MU PowerFX 62
Envelope, reverberation 55, 60
E-Wire 67
Exit PatchMix DSP Services 13
Exporting Core FX Presets & FX Insert Chains 40
External Clock 10, 16, 76, 78
External Mode, SMPTE 72
External Sync Source 16
Extra Buffers 63
S/PDIF 8
F
SMPTE 10, 71
Factory Templates 15
Flanger 52
Flywheel Mode, SMPTE 72
Frame Rates, SMPTE 73
Frequency Shifter 53
Full-Frame Messages 75
FX Display 33
FX Edit Screen 41
FX Insert Chains 38
FX Insert Chains, importing/exporting 40
L
G
Label, scribble strip 31
LFO
Gain, compressor 50
Ground Loop, preventing 79
Grounding 79
H
Help System 13
High Frequency Rolloff, mono delay 56
High Sample Rates 39
Host Input Display 34
Host Mode, SMPTE 72
Host Output Display 34
86
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Index
M
M
O
Main
OpAmps, used in 0404 80
bus 32
inserts 36
output fader 36
section 32
Master
clock 78
return level 32
send level 32
monitor 36
Meter
insert 27
main output 36
setting input levels using 25
MIDI
connections 9
thru 9
time code 75
Mixer
block diagram 12
overview 11
strip 18
aux send 29
delete 19
fader 31
insert 21
label 31
mute button 31
new 19
solo button 31
type 19
viewing 11
MME 19
Monitor
balance control 36
mix 32
mute 32
output
level control 36
mute 36
Mono Delay 3000 56
MTC 75
to SMPTE Conversion 71
Multichannel WAVE Files 20
Mute
mixer strip 31
monitor 32
Release, compressor 50
Render Mode 63
Reverb, envelope 55, 60
N
New
mixer strip 19
session 13, 14
Notes, Tips & Warnings 8
E-MU Digital Audio System
87
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Index
S
S
T
S/PDIF 8, 9
S/PDIF to AES/EBU Adapter 79
Sample Rate, setting 14
Save
FX Insert Chains 38
session 15
user effect preset 42
Scribble Strip 31
Send
/return insert 22, 23
bypass or solo 33
auxiliary 29
insert 22
Send/Return Levels 32
Send/Return, greyed out or unavailable 21
Session 14
creating new 14
path 15
templates 15
Settings
I/O 17
S/PDIF 17
sample rate 16
system 16
Sidechain Effects 35
routing 29
Signal generator, insert 27
Signal Level Indicators, meters 36
SMPTE 71
background 73
Software Installation 5
Solo
button 31
insert 41, 42
send/return insert 33
Start Time, SMPTE 72
Stereo Delay 100 59
Stereo Reverb 60
Strip
multichannel 19
add new 19
input type 18
mixer 18
Striping SMPTE 73, 74
Sync Daughter Card
description 10
specs 81
Sync/Sample Rate Indicators 35
Synchronization
hardware connections 10
source 16
using S/PDIF 78
System Settings 16
88
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