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DELTA 66

Delta 66
Tested to comply with FCC Standards

User Guide

For Home or Studio Use
Delta 66 Manual Table of Contents
Introduction.2 Whats in the Box?.2 About the Delta 66 Digital Recording Interface.2 Product Features & Specifications.3 Minimum System Requirements.3 Quick Guide to Getting Started.5 Hardware Installation.5 Delta Driver & Software Installation.6 Windows 98 Installation.6 Windows 95 Installation.7 Windows NT Installation.8 Macintosh Installation.8 Verifying Windows Driver Installation.9 Verifying Delta Control Panel Installation, PC & Mac.10 Delta System Overview.10 Deltas Analog Input/Outputs.10 The Digital Monitor Mixer.11 The Patchbay / Router.11 Synchronization.11 Using the Delta 66 with your Software Application.12 Delta 66 Control Panel Software.15 Monitor Mixer Page.15 Patchbay/Router Page.18 Hardware Settings Page.20 S/PDIF Page.23 About Page.25 Save, Delete, Load Buttons; H/W Installed.25 Delta 66 Recording Tutorials.26 Typical Setup #1.26 Typical Setup #2.32 Typical Setup #3.36 Transferring from DAT to Delta 66.36 Transferring from Delta 66 to DAT, monitoring with DAT.38 Troubleshooting.39 Troubleshooting Tips for Frequently Asked Questions.42 Appendix A - Technical Specs.44 Appendix B -If You Use An External Mixer.45 Limited Lifetime Warranty.47

Introduction

Congratulations on your purchase of the Delta 66 Digital Recording Interface designed and built by M Audio. Even if you are experienced in digital recording, please take the time to read this manual. It will give you valuable information on installing your new card and the supporting software, plus help you to fully understand the function and usability of the Delta 66. Once youre up and running, you will quickly discover the power and brilliance, both in sound and design, of your Delta 66 Digital Recording Interface.

Whats in the Box?

Your Delta 66 box contains: This instruction manual. The Delta 66 break-out box. The Delta 66 PCI host adapter card. 15-pin D-sub to 15-pin D-sub cable. CD containing drivers & Delta Control Panel software for Windows 98/95/NT and Macintosh OS 8.5.1 or higher. M Audio Warranty Registration card.

About the Interface

Digital

Recording

The Delta 66 functions as a 6-input, 6-output digital recording interface. Four analog inputs and outputs plus coaxial S/PDIF I/O give you the highest quality digital I/O available all up to 24-bit data width and any sampling rate from 8kHz to 96kHz. Connect a line-level signal from your instrument, mixer, or pre-amp to the Delta 66s TRS jacks on the break-out box. Match the operating levels of your input and output signals using the +4, Consumer, or -10 signal level software switches. Record a digital audio signal from your DAT, MiniDisc, CD, or external A/D converter via the Delta 66s S/PDIF input located on the PCI Host card. Control all routing and hardware settings with the Deltas comprehensive control panel software. Within the Delta 66s PCI chip is a hardware digital mixer. Controlled by the included Delta Control Panel software, it may handle all of your routing needs, give you extra control of all left, right, and stereo levels, in addition to control of pans, solos, and mutes.
Product Features & Specifications
6x6 24-bit/96khz full-duplex recording interface. PCI host card with external break-out box. 4x4 analog I/O accepts balanced or unbalanced connections on 1/4 TRS jacks. Analog I/O configurable for +4dBu, Consumer, and 10dBV signal levels. Analog dynamic range exceeding 103dB. All data paths support up to 24bit/96kHz performance, no upgrades necessary. Comprehensive digital mixing, routing, and monitoring capabilities with included Delta Control Panel software. Hardware sample-accurate sync will allow linking of multiple Delta units (expected November 1999). Windows 95/98 multi-card drivers with ASIO1 and ASIO2 multi-card, GSIF and EASI drivers included; Windows NT multi-card and Mac OS drivers with ASIO 1&2 also included.
Minimum System Requirements
Windows 95 or Windows 98, Mac OS 8.5.1 or higher. Pentium II 266MHz for 96kHz operation. Pentium 200 MMX for 48kHz or less. 128 MB of PC100 RAM for 96kHz operation. 64MB SDRAM for 48kHz or less. Mac G3 or G3 accelerator with 64 MB of RAM, 128 recommended. Some faster Power PCs will perform adequately. UDMA EIDE or fast SCSI HDD recommended.
Break-Out Box Front Panel:
1. Analog OUTS 1-4: These jacks output analog audio to a variety of external sources. Each jack is 1/4 TRS (Tip-Ring-Sleeve) and is compatible with 1/4 TRS (balanced) or TS (Tip-Sleeve unbalanced) connections. Analog INS 1-4: These jacks input analog audio from a variety of external sources. Each jack is 1/4 TRS (Tip-Ring-Sleeve) and is compatible with 1/4 TRS (balanced) or TS (Tip-sleeve unbalanced) connections.

highlighting it and pressing Command (Apple key)+M. Then, drag the alias to the desktop. With the Delta 66 PCI card installed, restarting the computer will load the Delta 66 extension. You will be able to visually see the Delta extension icon pass by as your system loads extension. Go to the Apple menu |Control Panel | Sound. You should see the built-in sound icon, plus the Delta icon if your Delta 66 is properly installed. If your music program does use ASIO, leave the Sound Manager driver set to "built-in" for both Sound In and Sound Out. If your program does not use ASIO (check your softwares documentation) and you will be using the Sound Manager to communicate with your Delta 66, set Sound In and Sound Out to Delta. See the section Hardware Settings Page in the Delta 66 Control Panel Software section for information on selecting Sound Manger inputs and outputs. Your Delta 66 is now ready for use.
Verifying Windows Driver Installation
Windows displays the Delta 66 driver status in the Device Manager page of the System Properties dialog box. The Device Manager page is opened via the Windows Start button: select Start | Settings | Control Panel | System | Device Manager. With the Device Manager displayed, click on the + next to Sound, video and game controllers to open a list of devices, the Delta 66 being a device of that nature. Below is an example view of the Device Manager.
This example shows the M Audio Delta 66 and Midiman WINMAN 4x4/S (another product shown here only as an example) entries in the Windows Device Manager device list. The Delta 66 is properly installed with no conflicts, as is the WINMAN 4x4/S. If you do not see your M Audio Delta 66 in your Device Manager in this fashion, please jump ahead to the Troubleshooting section of this manual.
Verifying Delta Control Panel Installation, PC & Mac
In Windows, open the Windows Control Panel (do so via Start | Settings | Control Panel ). If your Delta 66 hardware and Delta Control Panel software are properly installed, the Windows Control Panel should display an M Audio Delta H/W icon. By double-clicking on that icon, you may launch the Delta Control Panel software. Also for convenience, you may create a shortcut on your desktop by dragging a copy of the M Audio Delta H/W icon from the Control Panel to your Windows desktop using your mouse or trackball. After completing the drag operation, a dialog box will ask you if you wish to create a shortcut click on Yes. Once the shortcut is installed, all you have to do is double-click on the shortcut icon on your desktop to launch the Delta Control Panel software. On the Macintosh, the Delta Control Panel may be placed anywhere on your hard drive, or any partition of your hard drive that you find convenient. Once the control panel file has been dragged from the CD onto your hard drive, you may double click it to launch the Delta Control Panel software. You may create a alias to the control panel by highlighting it, then holding Apple key+M. This alias can then be placed on your desktop. NOTE: When using a music software program that is ASIO capable, launch the Delta Control Panel software from within that program. Some of the control panel functions will be controlled from within that program, such as master clock setting and sample rate, so it is desireable to launch the music program first, and then the Delta Control Panel from the the programs launch or control panel button. Without the music program open however, it is okay to open the Delta panel from your desktop or other location.

Delta 66 Control Panel Software
ON THE PC: Once the Delta 66 is properly installed, an "M Audio Delta H/W" icon will be displayed in your Windows Control Panel. By double-clicking on that icon, you will launch the Delta Control Panel software. You may also launch the Delta Control Panel software from the desktop if you have previously created a shortcut there (see "Verifying Delta Control Panel Software Installation" section for instructions on how to do this). Once the Delta Control Panel software has been opened, you will see the main panel and its several tabs. To display a desired page, click on its tab. Below are functional descriptions of each page. ON THE MAC: The Delta Control Panel must be placed on the hard drive by dragging the application from the Drivers CD. Once this is done, a alias may be created by highlighting the Delta Control Panel on the hard drive and pressing the Apple key+M. Then, this alias may be dragged to the desktop. Double clicking either will launch the control panel. Once the Delta Control Panel software has been opened, you will see the main panel and its several tabs. To display a desired page, click on its tab. Below are functional descriptions of each page. Though most of the desciptions are Windows based, the functions are identical unless otherwise indicated. Within each section you will find the necessary name changes for using the Delta Control Panel ON THE MAC. NOTE: When using a music software program that is ASIO capable, launch the Delta Control Panel software from within that program. There will be a button in the ASIO or Audio setup page that will allow you to do so. Some of the control panel functions will be controlled from within that program, such as master clock setting and sample rate, so it is desireable to launch the music program first, and then the Delta Control Panel from the the programs launch or control panel button. Without the music program open however, it is okay to open the Delta panel from your desktop or other location. Monitor Mixer Page The Monitor Mixer is the first page that appears when the Delta Control Panel is opened, and controls the digital mixer built into the Delta 66s PCI controller chip. As described in previous sections, the output of this mixer may be assigned to the OUT1/OUT2 analog outputs and/or the S/PDIF Out digital output. At the same time, the mixer outputs may be recorded in stereo by software.
The Monitor Mixer Page is essentially a collection of volume level faders, audio level (or peak) meters, and solo/mute controls. For each mixer output and input channel there is one of each: a volume fader, a peak meter, a solo control, and a mute control. LEVEL FADERS: Each volume fader may be controlled by dragging its fader handle vertically with the mouse, or by clicking on the handle to make it active and then adjusting it with the up/down cursor keys of your computer keyboard. Because the mixer has no gain, these faders only attenuate (reduce) the signal levels. The highest setting is 0dB, or Unity Gain. The default fader setting is the quietest setting, 144dB, which essentially mutes the audio. A pair of level faders may be ganged so that both channels may be adjusted together as a stereo pair. Also, at the top of each fader and meter is a fader level fine adjustment control. Clicking on the small up and down arrows will adjust the corresponding fader setting in 0.5dB increments. Next to each fine adjustment control is a numerical fader readout that is always current and active. PEAK METERS: Each peak meter indicates an audio signal level in dB relative to full-scale. This means that a full-scale signal is referred to as 0 dB and a signal that is 12dB quieter than full-scale is referred to as -12dB. The meters are vertically color-coded into three sections: green, yellow and red. The green section represents a safe zone, ranging from approximately -48dB to -12dB. Most audio signals should appropriately fill this section of the meter. The yellow section ranges from -12dB to -3dB as the signal approaches a hotter level. For best capture resolution, recording in this area is both safe and advised. The red section of the meter ranges from -3dB to 0dB. On the input level meters, a 0dB condition indicates

overload and audio clipping may occur. Therefore be careful to adjust the incoming audio levels so that they do not peak in the red section too long (you might use the monitoring capability of the Delta 66 to let your ears be the judge). On all output level meters, 0dB indicates full-scale output. Unlike the inputs, hardware clipping is impossible on the outputs because of the 36-bit resolution built into the mixer hardware. However, please note that it is possible to mix multiple tracks within your software application and cause clipping to occur in the output stream before it reaches the Delta output hardware or monitor mixer. MASTER VOLUME: At the left side of the Monitor Mixer page, you will see the Master Volume faders and peak meters. These faders have the longest throw and highest meter resolution of any level controls in the mixer page. They control the overall stereo level of the mixer output. The peak meters indicate the output signal levels with respect to full-scale and are directly affected by the settings of the master volume faders. MIXER INPUTS: The Mixer Inputs are inputs to the monitor mixer. These inputs accept hardware audio streams (directly from the Deltas analog and digital input ports) and software audio streams (digital audio generated in software to be output). This combination of streams makes the monitor mixer extremely flexible. Each mixer input channel has its own level fader and may be panned anywhere in the left/right stereo field. Each input also has its own peak meter. The peak meters indicate the incoming pre-fader levels of the incoming audio and are therefore not affected by the fader settings. However, the input faders do affect the levels of the signals exiting the mixer and you will see the effect of the input faders on the output Master Volume peak meters. Because of the large number of mixer inputs, not all inputs are displayed simultaneously. You may use the scroll bar at the bottom of the Delta Control Panel to scroll the view left or right. From far left to right, the inputs are labeled WavOut 1/2, WavOut 3/4, then WavOut S/PDIF. These inputs accept the digital audio streams being sent from your software application (or Windows) to the driver devices with those same names. Each name begins with WavOut to remind you that these are software streams and may not necessarily be routed to any physical outputs (see Patchbay/Router Page). Further to the right are more channels, labeled H/W In S/PDIF, H/W In 1/2, and H/W In 3/4. These mixer inputs are audio streams from the physical Delta 66 hardware inputs, hence the H/W at the front of each label. On the Mac, these inputs are labeled SM/ASIO, as these software streams will be receiving their digital audio either from the Sound Manager or the ASIO driver, depending on your selection. PAN: Each mixer input may be individually panned anywhere in the stereo output mix. A pan control is positioned directly under each input channel peak meter and has the appearance of a small vertical pointer. To make a coarse adjustment, click on the pan control with your mouse and drag it to the desired position. For finer

adjustment (in 1% increments), you may click on the pan control to make it active, and then use the left/right or up/down cursor keys on your computer keyboard. Either way, while the pan setting is being adjusted, its value will appear numerically in the Master Volumes status box (below the Master Volume Stereo Gang control) as a percentage from left pan to right pan: -100% represents far left, +100% represents far right, and 0% represents the center. SOLO: Each mixer input channel has a Solo checkbox associated with it. Clicking on and activating a Solo box will solo the selected channel by essentially muting all other signals. When more than one channel has Solo selected, all solo channels will be summed to the solo buss (path), which is what one might consider an in place solo as opposed to a PFL, or pre-fader listen (levels and pans still apply). Deactivating all solo boxes will return all input channels to their previous mute/unmute states. MUTE: Every mixer input channel has a Mute checkbox associated with it. Clicking on and activating the Mute box will remove that signal from the stereo buss. Deactivating the Mute box will add the signal back into the stereo buss. STEREO GANG: All input channel pairs have a Stereo Gang capability. Clicking on and activating the Stereo Gang checkbox will link (or gang) the left/right faders so that both channels may be adjusted together as a stereo pair. Patchbay/Router Page The Patchbay/Router page allows you to connect each of the Delta 66s hardware outputs (2 pairs of analog outputs and 1 pair of digital output channels) to specific audio sources within the Delta 66 board. To display this page, click the Patchbay/Router tab of the Delta Control Panel. ON THE MAC: Please substitute the name SM/ASIO where referrences are made to WavOut. SM/ASIO are the software outputs on the Mac, while WavOut are the software outputs on the PC. Substitute Windows multimedia applet with Sound Manager Applet. The leftmost vertical column of Patchbay/Router page, H/W Out 1/2, connects this hardware analog stereo pair to one of six stereo sources: 1. The default setting, WavOut 1/2, connects ports OUT1 and OUT2 to your music software or Windows multimedia applet. In other words, when music software plays audio to the device named WavOut 1/2 Delta-66 it will be routed directly to the hardware analog outputs 1 & 2 of your Delta 66s breakout box. The second option, Monitor Mixer, connects ports OUT1 and OUT2 to the outputs of the Delta 66 monitor mixer. For more information of the capabilities of the monitor mixer, please see the section Monitor Mixer Page.

Once a master clock source has been selected, its synchronization status is continually monitored and displayed below the master clock radio buttons. If internal crystal is selected, the status display will always say Locked. On the other hand, if S/PDIF In is selected as the master clock source, the control panel will display Locked only when a valid S/PDIF signal is detected. It will display Unlocked when there is no signal at the S/PDIF input, or when the signal is corrupt or invalid for any reason. CODEC SAMPLE RATE: This section indicates the present board sample rate, as set by application software. The sample rate displayed here is used to drive the digital mixer and all outputs. The Rate Locked checkbox is used to force a sample rate upon the system. It is disabled by default to allow software access to all supported sample rates. When checked, it causes the driver to only operate at the selected sample rate. This means that any application that attempts to open the Delta 66 driver at a sample rate other than the one selected here will fail to do so and will post an error message. Reset Rate When Idle is selected when you want the sample rate to return to a particular setting when a software application is not actively using the board. This is particularly handy for keeping the digital mixer running at a specific sample rate. NOTE: Because the digital monitor mixer runs at the sample rate of the rest of the board, and because sample rate directly affects frequency response, it may sometimes be desirable to keep the sample rate at or above 44.1 kHz while using the monitor mixer. This is accomplished by enabling Reset Rate When Idle and selecting a sample rate of 44.1 kHz or greater. S/PDIF SAMPLE RATE: When using S/PDIF In as your master clock, this section tells the driver what the expected S/PDIF input sample rate is. The section is only displayed when the board is set to use S/PDIF In as the master clock source. From the list, select the sample rate closest to that of the S/PDIF input data. The sample rate selected here will be the only sample rate available to the software applications. Therefore, you must set your audio software application to this same sample rate or else the application will display an error message. NOTE: When S/PDIF In is the master clock source, the digital monitor mixer will run at the sample rate received at the S/PDIF In. Since frequency response and sample rate are directly related, the mixer frequency response will be directly related to the sample rate of the S/PDIF input data. MULTITRACK DRIVER DEVICES: The Delta 66 drivers may intelligently synchronize the beginning of recording and playback across all audio devices on the board. When using application software that is capable of using multiple channels simultaneously, select Single and In-Sync to ensure that all audio channels will

begin playback and/or recording at the same time. Otherwise select Independent to allow the audio channels to play independently this setting may be desirable if more than one application needs to access the Delta 66 simultaneously. DMA BUFFER SIZES: This section specifies the amount of system memory dedicated to digital audio buffering. Setting a buffer size that is too small may result in clicks or pops in the audio stream as some data may be lost. Larger buffers cause slightly more latency but prevent the pops and clicks that might occur with smaller buffer sizes the default settings are recommended but you may desire to tweak these default settings to suit your tastes. ON THE MAC: The Hardware Settings Page in the Macintosh version of the Delta Control Panel also contains software switches that allow you to select which Delta input and output stereo pair will be used by the Sound Manager, if and when you choose the Delta as the Sound Manager input and output device. If you go to the Apple menu | Control Panel |Sound and highlight the Delta icon for Sound In and Sound Out, then your Apple system sounds will be routed to the Delta hardware output that you have selected here, and Alert Sounds, if you choose to record, will receive their input from the Delta hardware input that you select here. You will want to choose the Delta for input and output in the Sound control panel if your music program does not use ASIO and the Delta ASIO drivers. If you are using the ASIO drivers (see Mac Software Installation), then leave the Sound control panel selection to built-in. With the Sound control panel set to built-in, these Sound Manager settings in the Delta Control Panel will have no effect. The Sound Manager driver limits you to using only one of the Delta 1010 stereo input pairs for audio input and only one of the stereo output pairs for output. These do not need to be matched pairs- you can use inputs 1&2 for Sound In and S/PDIF for Sound Out, for example, or any combination that you choose. The following screen shot shows the Hardware Settings page on the Mac with the Sound Manager I/O set to Analog 1&2 for Input and Analog 1&2 for Output. Once you have made a selection, go to the File menu and Save as Preferences.
VARIABLE SIGNAL LEVELS: The software switches in this section allow the user to match individual input levels and global (as in all or across the board) output levels to the operating signal levels of the external audio equipment. Three level selections are available: +4dBu, Consumer, and 10dBV. The +4dBu setting is the least sensitive of the three settings, and 10dBV the most sensitive. Therefore, the +4dBu setting has the most headroom and can accept the hottest signals of the three settings. Consult the user guide of your external audio equipment regarding your equipments line level. If for instance your audio equipment is consumer or semi-pro, and you find that its input level is a little too hot for the Delta 66s -10dBV setting, try switching to the Consumer setting. Conversely, if your 10dBV gear is receiving a signal from the Delta 66 that is too hot, try switching the Delta 66s output levels from Consumer to the 10dBV setting. S/PDIF Page The S/PDIF page of the Delta Control Panel configures the S/PDIF output format and displays the status of the S/PDIF input. To display this page, click the S/PDIF tab of the Delta Control Panel software. DIGITAL INPUT: This group box displays the current S/PDIF input status. The Delta 66s S/PDIF receiver is capable of recognizing a valid input signal versus an invalid, corrupt or non-present one. When a valid signal is detected at S/PDIF In, this group box displays Valid Input Detected. When an invalid signal is detected or no signal is present, the group box displays Invalid or Not Present. Below this

message are two grayed-out buttons: Coax(RCA) and Optical. These are functions of the Delta DiO 2496, another product in the M Audio Delta line, one with both optical and coaxial S/PDIF inputs. These controls do not apply to the Delta 66. DIGITAL OUTPUT FORMAT: Within the Digital Output Format group, you choose the digital audio format of the S/PDIF output. The default setting, Consumer, is a true S/PDIF format and is recognized by all consumer devices. The alternate Professional setting is an AES/EBU type data stream, but electrically S/PDIF. This is a work-around that is recognized by some but not all AES/EBU devices. For both consumer and professional output formats, the Advanced checkbox will allow you to force a few particular status bits in the outgoing S/PDIF signal. The advanced option is for expert users only; however, if you decide to go exploring, change a few bit settings and get lost, you can always select the Restore Defaults button to restore the outgoing status bits to their factory settings. When Consumer and Advanced are both selected, the group Consumer Format Advanced Settings will appear. When Professional and Advanced are both selected, the group Professional Format Advanced Settings will appear. These groups are described below: Consumer Format Advanced Settings (Copy Mode): Copy protection, also known as Serial Copy Management System (SCMS), is written into the S/PDIF subcode, a reserved part of the S/PDIF digital stream that is independent of the actual audio data being transmitted. It can be used to inhibit the amount of copies that can be made, or allow for unlimited copying. Three SCMS modes are available. Original (Copy Permitted) indicates that the source material may be copied by a receiving device. 1st Generation indicates that the source material is a first generation copy. Most devices that are capable of recording will reject material with this SCMS mode set. The final option is No SCMS which may be used to override the other two modes and allow a recording device to successfully record the audio data. Different manufacturers products may interpret these codes differently and require you to set these bits by trial-and-error until proper operation is achieved. Consumer Format Advanced Settings (Emphasis): This status bit is used to indicate if pre-emphasis has been applied to the outgoing digital audio signal. The default is None and rarely will any user want to set the value to 50/15uSec unless the transmitted audio has been encoded with 50/15uSec pre-emphasis. Professional Format Advanced Settings (Data Type): The user may assign the outgoing data as audio or non-audio data. Many devices ignore this setting. The obvious default is audio. Professional Format Advanced Settings (Emphasis): The user may choose to indicate or not indicate if pre-emphasis has been applied to the outgoing digital audio signal. The default is None and rarely will any user want to set the value to

Were now physically set up to monitor, record, and play back audio. The next steps involve further configuring the Delta Control Panel software and also the music
software into which you will be recording. Well start with the Delta Control Panels Hardware Settings page, then the Patchbay/Router page, and finally the Monitor Mixer page. Were not using S/PDIF in this example so well ignore the S/PDIF page.
Click on the Delta Control Panel on your Windows taskbar to maximize it. Click on the Hardware Settings tab. Select Internal Xtal as the master clock source. This allows the Delta 66 to derive its sample rates from its internal clock oscillator. Internal Xtal is the default setting for the Delta Control Panel, so selecting it may not be necessary (it may already be selected). Under CODEC Sample Rate, verify that the Rate Locked checkbox is not activated. This will allow your application software to set the Delta 66 sample rate as it pleases. Since this example will include the use of the monitor mixer, we will activate the Reset Rate When Idle feature. This will make sure the monitor mixer is running at a decent sample rate while the system is idle this prevents the mixer sample rate from being set too low and therefore lowering its frequency response. Select a sample rate in the CODEC Sample Rate group to use as this idle sample rate. Choose a 44,100 Hz or higher setting for best results, and select the same sample rate you will be using in your application if possible. Weve chosen 48,000 Hz for this example.
Now click on the Delta Control Panels Patchbay/Router tab. In the first column of the Patchbay/Router page, click the radio button Monitor Mixer to connect the monitor mixers stereo output directly to Delta analog outputs OUT1 and OUT2. Now, everything that we hear at outputs 1 & 2 will reflect our settings in the Monitor Mixer page.
Select the Monitor Mixer tab of the Delta Control Panel. The default Master Volume fader settings are 0dB and un-muted, and all other faders are set to full attenuation (-144dB) and muted. We will need to adjust these to our preference. The screen capture below shows the settings that we wish to achieve.
In the Mixer Input column labeled WavOut 1/2, click on each fader handle and drag it up to the 0dB setting. Also, deactivate (uncheck) each WavOut 1/2 mute box to unmute the channels. This will allow us, once weve recorded into a music software program, to hear those software outputs upon playback. 10. Using the scroll bar at the bottom of the control panel, scroll to the right until you see the column labeled H/W In 1/2. Strum the guitar, and you should see an indication in the left meter, which represents signal levels from the Delta analog input 1. Test the mic, and you should see an indication in the right meter, which represents signal levels from Delta hardware input 2. 11. Adjust the gain on the pre-amp so that youre seeing a good level on the input meters, about 6dB to 3dB in the loudest parts (this is playing it safe because you dont want to hit 0dB and clip). Make similar adjustments for the microphone, using the right fader. These are the levels at which the signals will be recorded. 12. Now lets set the levels at which you will monitor the mic and guitar while recording. These are not to be confused with the levels that are recorded by the software these levels are merely monitor levels that appear in the mixer outputs (in this case at Delta 66 analog outs 1 & 2). Click on the left fader handle of H/W In 1/2, and drag it about halfway up. Strum the guitar. If its not loud enough, bring it up all of the way. If it is still not loud enough, you will have to raise the listening level of your sound system. Make similar adjustments for the microphone, using the right fader. 13. Now fine-tune your monitor levels. Sing and play guitar, adjusting your listening levels using the H/W In 1/2 faders so that you have a comfortable blend of guitar and mic levels. Now is the time to launch your music software and set it up to record and playback audio tracks. Were going to speak in general terms here, since setup within software programs will vary somewhat. Minimize your Delta Control Panel so that you can easily access it from your Windows taskbar. Then open your music software program. 14. First set up the sample rate in the software application. This operation will depend on the software. Choose a sample rate that is high enough to capture the frequency response of the guitar and vocals. A general rule of thumb is to multiply the highest frequency you would like to capture by two and add maybe a little on top of that that gives you a suitable sample rate. Also keep in mind that if the final results of your work will end up on a CD-ROM burned from your WAV file, you probably want to use 44.1kHz, the native sample rate of redbook CD audio. 15. In your software application, set the source or input port to Left PCM In 1/2 Delta-66 on track one, and Right PCM In 1/2 Delta-66 on track two. Arm the tracks for recording. Track one is now set up to record the guitar, and track two the microphone. If your software requires this, set the softwares clock source to Audio.

recording the same instruments that you did on the first two tracks, you probably wont need to adjust input or monitoring levels. 20. Press record on your softwares transport bar. Record a take of your new guitar and vocal tracks. Because you have set up the first two tracks to play back through the monitor mixer, you should hear those original tracks along with the ones that you are now recording. 21. When you are done playing, stop the recording software and rewind the take. Before playing back what youve recorded, you will need to assign the newly recorded tracks to output devices on the Delta 66. In your software, set the output ports of tracks three and four to WavOut 3/4 Delta-66. Pan track three all of the way to the left (hard left), and pan track four all of the way to the right (hard right). Now track three (guitar) will be sent to the Delta software output 3, and track four (mic) to Delta software output 4. 22. Press play on your softwares transport bar. Understand now that the four recorded tracks from the software are being sent to WavOut 1, WavOut 2, WavOut 3, and WavOut 4 simultaneously. Therefore they are all being input to the monitor mixer and their playback levels can be controlled at the corresponding channels of the monitor mixer. Open the Monitor Mixer page of the Delta Control Panel and adjust the levels of the four channels according to your taste. You may also experiment with the Mute and Solo controls while listening to the playback. Note also that the mixer continues to monitor the guitar and mic at analog inputs 1 & 2! At this point, you should be able to see how this multi-tracking session is developing. As we add more tracks within our music software, we set them to the next pair of Delta software outputs, and bring up the faders of those software inputs in the monitor mixer. We continually monitor from the Delta hardware outs 1 & 2, via the Mon.Mixer setting as the monitor source in the Patchbay/Router page, and adjusting our mix of the software outputs (and the way we monitor our guitar and vocal at the inputs) via the Monitor Mixer settings. Notice that if we continue to overdub past track 4, we run out of WavOut devices to assign to. In this case, you may want to do some of your level mixing within the software application if it supports it. Most applications will allow you to assign more than one track to an output device and then set the relative levels of the tracks within the software, letting the software do the mixing. In this example you could have assigned all of the playback tracks to WavOut 1/2 and let the software handle the mix. Typical Setup #2 This section contains a multi-tracking example illustrating another way to use the Delta 66 and its control panel software. Were going to use multiple inputs and multiple outputs, so a mixing console that will handle multiple inputs must be used on the output side of the Delta 66. A discussion of mixing consoles and their use will follow in Appendix B. For simplicity in this example well use pre-amps to get

Transferring from DAT to Delta 66 1. 2. Connect the DATs coaxial S/PDIF output to the S/PDIF In of the Delta 66 PCI host card, using a good quality cable. Connect the Delta 66 analog outputs 1 & 2 to some type of amplified sound system. The sound system should be equipped with speakers or headphones. Set the software +4/Consumer/-10 switch on the Delta Outputs to be compatible with that sound systems inputs. Because you will be recording from the S/PDIF input, you will need to set up the Delta 66 to synchronize its master clock with the S/PDIF input. To do this, open the Hardware Settings page of the control panel software. Under Master Clock, select S/PDIF In. Next, you will need to tell your application software the expected sample rate. Well use 44.1 kHz in this example. Therefore, on the Hardware Settings page, set the S/PDIF Sample Rate to 44,100.
In order to monitor the digital signal coming into the Delta 66, switch to the Patchbay/Router page of the control panel software. In the H/W Out 1/2 column, select the radio button labeled S/PDIF In. This will copy all S/PDIF input audio directly over to the analog outputs. Therefore, in this example, the monitor mixer will be completely bypassed. Once this assignment is made, you may play the DAT material at any time and verify that it is making it into the Delta 66 successfully. This can be done regardless of whether or not your recording software is open.
Within your recording software, select S/PDIF In Delta-66, as the audio input device. The Delta input appears as a stereo pair. Start your software recording and then start your DAT material playing. You should be able to hear the DAT material through your sound system.
Transferring from Delta 66 to DAT, monitoring with DAT 1. 2. 3. Connect the Delta 66s S/PDIF Out to the DATs coaxial S/PDIF Input using a good quality cable. Connect the DAT analog outputs to some type of amplified sound system. The sound system should be equipped with speakers or headphones. Because you will be playing back at the recorded sample rate, you will want to set the Delta 66s master clock to use the Delta 66s internal crystal. Do this by opening the Hardware Settings page of the Delta Control Panel software and
under Master Clock, selecting Internal Xtal. Also, under the Codec Sample Rate section you may uncheck Rate Locked if it is previously checked. This allows for more flexible sample rate playback. In order to verify proper S/PDIF Output routing, open the Patchbay/Router page of the control panel software. In the H/W Out S/PDIF column, select the radio button named WavOut S/PDIF. Now everything that is sent by your software to the WavOut S/PDIF device will be routed to the hardware S/PDIF output, and consequently to the DAT. Next lets make sure the S/PDIF output format is correct. Open the S/PDIF page of the control panel software. Under Digital Output Format, choose Consumer. Uncheck Advanced if it is checked previously. Now click on the Restore Defaults button to set the default S/PDIF outgoing status bits. This will disable copy protection and also set the emphasis to none, allowing the DAT to accept and record the audio properly. Within your recording software, select WavOut S/PDIF Delta-66 as the audio output device. Start your DAT recording and then start your software playing. You should be able to hear the DAT material through your sound system. This verifies that the digital audio is making it into the DAT correctly.

Sometimes it is possible that a resource problem is not showing up in the conflicting resource list or as a yellow exclamation point in the Device Manager. If you have any doubt about the configuration of your device (or just want to double-check), you can view all of the devices and their assigned resources by highlighting Computer at the top of the Device Manager list and clicking the Properties button. This will allow you to view a list of assigned IRQ numbers on the left, and the associated devices on the right. If a number does not show up in this list, it means that it is available for use. Look also for IRQs that are shared by more than one device. While the Delta 66 may share an IRQ with some devices, not all devices are capable of sharing IRQs. An entry that reads IRQ Holder for PCI Steering along with an installed PCI device (such as the Delta 66) is normal. If you see another device showing up on the same IRQ as the Delta 66 (such as a video card, SCSI adapter, or USB Host Controller), then it is possible that this is the source of the conflict. Typically, if you move one of the conflicting cards to another PCI slot, an IRQ conflict will disappear. Address conflicts are rare amongst PCI devices, but if there is no obvious IRQ conflict, why not check for I/O Address conflicts while in the Device Manager? You may view the list of assigned I/O addresses by selecting the Input/output (I/O) radio button below the Interrupt Request (IRQ) radio button at the top of the Device Manager page. I/O addresses are displayed as 16-bit hexadecimal numbers, therefore one might note that an address of 300h (the default address of the Winman 4X4/s, for instance), will read 0300 in this list. If scanning all the resource lists in the Device Manager does not provide an answer or clue to the resource conflict, you might want to exit Windows and do a final inspection of your computers BIOS setup. Some newer BIOSs (see your computer manual) allow the reservation of an IRQ for each PCI slot on the motherboard. This may be very handy in resolving IRQ assignments for PCI devices. Also, sometimes a BIOS is configured to direct a particular IRQ to an ISA legacy device (non-PnP ISA card), and needs to be told to look for a PCI/ISA PnP device

Some line mixers have a number of effect or auxiliary sends for each channel. These sends will have their own individual level control and will receive the signal either pre fader or post fader, i.e. either independent or dependent on that channels fader level. It is possible to use these aux sends to send a signal to the recording device. A pre fader send is certainly preferable, since this will allow for a recording level that is separate from the monitoring level. The bottom line here is that you can not use the main output of your mixer to send a signal to the recording device, and then take the outputs of that recording device back into the mixer (whose signal also goes to the main out). This creates a feedback loop, bad for your eardrums and bad for your equipment. One modern console design gets around that by offering an alt out, which is an alternate stereo buss or output. When selecting alt out on a channel, it mutes that channel to the stereo buss and redirects it to the alt out buss. This could be viewed as a 2-buss system, and can be used effectively for recording purposes. In our Typical Setup 1 and 2 in the previous section, we used pre-amps to handle the recording. A line mixer that simply received the line outputs from the 66 and mixed them to stereo could handle the monitoring needs. Hopefully, the information here will give you some insight into how to use the gear that you own, or what to look for if you are seeking additional equipment to facilitate your hard disk recording.
Warranty Terms and Registration
Warranty Terms M-Audio warrants products to be free from defects in materials and workmanship, under normal use and provided that the product is owned by the original, registered user. Visit www.m-audio.com/warranty for terms and limitations applying to your specific product. Warranty Registration Immediately registering your new M-Audio product entitles you to full warranty coverage and helps M-Audio develop and manufacture the finest quality products available. Register online at www.m-audio.com/register to receive FREE product updates and for the chance to win M-Audio giveaways. 2007 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements and availability are subject to change without notice. Avid, M-Audio and Delta 66 are either trademarks or registered trademarks of Avid Technology, Inc. All other trademarks contained herein are the property of their respective owners. WARNING: This product contains chemicals, including lead, known to the State of California to cause cancer, and birth defects or other reproductive harm. Wash hands after handling.

Table of Contents
Introduction.2 1. Theory of Operation.2 2. Features.3 2.1 Recording Section.3 2.2 Mixing Section (all balanced/unbalanced on TRS jacks).3 3. Whats In the Box.4 4. Front, Rear, and Top Panel Descriptions.4 4.1 Front Panel.4 4.2 Rear Panel.6 4.3 Top Panel.7 5. Operational Basics & Definitions.7 5.1 Balanced Signals.7 5.2 Unbalanced Signals.8 5.3 Phantom Power.8 5.4 Sends and Returns.8 5.5 Plugs and Jacks.9 5.6 Balanced Cabling & Connections.9 5.7 Unbalalanced Cabling & Connections.9 5.8 Stereo Input and Insert Cables/Connections.10 5.9 Line Levels vs. Mic/Instr Levels.10 5.10 Virtual Tracks.10 6. Basic Playback Setup for the Omni I/O.11 7. Basic Recording Setup for the Omni I/O.14 8. Omni Signal Flow Chart.16 9. Sequencing and the Omni I/O.17 9.1 MIDI Sequencing.17 9.2 Setting MIDI Playback Levels.18 10. Recording Audio to the Delta 44 or 66.19 10.1 Monitoring the Signals You Are Recording.20 10.2 Monitoring the Record Inputs Using ASIO or EASI.22 10.3 Setting Record Levels.22 10.4 Record Levels Using the Inserts.23 10.5 Setting the Audio Track Playback Levels.24 10.6 Adding Effects.25 10.7 Recording Your MIDI Instruments as Audio Tracks.25 11. Mixing With the Omni.26 11.1 Organizing the Audio Tracks for Mixing.27 11.2 Using the Direct Outs 1-4.27 12. Alternate Omni Setups.28 12.1 Recording with Four Pre-Amps.28 12.2 Monitoring While Recording to Four Tracks.28 12.3 Recording Four Line Inputs.28 12.4 Recording FX.29 12.5 Submixing MIDI Instrument.29 Limited Lifetime Warranty.30

Introduction

Congratulations on your purchase of the Omni I/O Integrated Desktop Audio Station, designed and manufactured by M Audio. The Omni I/O is a front end companion to the Delta 66 or Delta 44 by M Audio, offering you truly professional options for both recording to and monitoring from your Delta Series audio card. Please read this manual to familiarize yourself with the Omni I/O and its features, and to understand how you can make the versatility of the Omni I/O work best for you. Before connecting the Omni I/O, you must install your Delta 44 or Delta 66 card, carefully following the procedure found in the manual for your Delta card.

1. Theory of Operation

A recording console performs two functions. It routes the signal you are about to record, providing the ability to pre-amplify and shape that signal before it gets to the recording device. At the same time, it handles all playback, allowing you to mix, add an effect, and monitor your recorded signal as well as virtual MIDI keyboard tracks. The Omni I/O performs these tasks. The Omni, in conjunction with a Delta 44 or Delta 66 PCI Interface and your PC or Macintosh computer, adds the functionality of a recording console in a desktop unit. The Omni I/O is modeled after what is known as a split console design, where the recording and monitoring sections function independently. Two high quality M Audio Mic/Instrument pre-amps are routed to the Deltas analog inputs 1 & 2. The level that you record is controlled by the Omni preamps independent gain controls in conjunction with the +4/-10 operating level that you select in the Delta Control Panel. An insert jack added to the record path allows you to process the signal with outboard gear, should you choose to. Line inputs 3 & 4 give you a total of 4 direct analog inputs to the Delta card from the Omni. Youll use your music software and the Delta Control Panel to make routing selections for recording and monitoring your audio tracks. Audio tracks are routed from the Delta card to a mixer that is built-in to the Omni, which combines the four Delta analog outputs with four auxiliary stereo inputs and one stereo effects return for the equivalent of a 14 channel mixer. One effect send is provided on each of the Delta outputs mixer channels. The aux inputs can be used to monitor MIDI instruments as virtual tracks, and then route those instruments to the line inputs for easy recording without repatching. This ultra-quiet Omni mixer, with extremely wide frequency response, gives you

control room outputs and two headphone outputs, all with independent level controls. A separate mix out provides an independent feed to your mixdown deck. Ultimately, your individual and master volume levels will be controlled by your music software and/or Delta Monitor Mixer, and therefore can be saved into the computers memory for each recording project. The Omni I/O takes advantage of computer-based recording and combines it with proven M Audio pre-amp and mixer technology to bring you an extremely powerful desktop recording solution. Incorporate your existing gear, or do all of your sounds and effects right inside the computer. Either way, the Omni I/O can ultimately handle all of your signal flow from tracking to mixdown.

2. Features

2.1 Recording Section 2 Mic/Inst plus 2 line level balanced/unbalanced analog inputs to the Delta 44 or Delta 66 soundcard. The Omnis two Mic/Inst inputs are equipped with XLR phantom power, insert I/O jacks, individual gain controls, gain reduction pad switch, and signal/clip indicator LEDs. Low impedance mic inputs provide 66dB of gain and utilize M Audios critically acclaimed DMP2 pre-amp technology. They are switchable to hiimpedance instrument inputs with 46dB of gain, ideal for electric/acoustic guitars. The Omni Mic/Inst pre-amp has a frequency response of 10Hz to 200kHz, low THD of.0009%, with a dynamic range of 130dB. Stereo effect return.
2.2 Mixing Section (all balanced/unbalanced on TRS jacks) The Delta analog outputs feed the Omni I/O ultra-quiet mixer, with the addition of 4 stereo aux inputs for MIDI devices and 1 stereo effects return. The 4 Delta analog outputs can simultaneously be used as independent balanced/unbalanced direct outs for additional effects sends, alternate mix outputs, or feeds to a secondary mixer. Stereo Aux inputs 1 and 2 can be muted in the mixer and re-routed to the Delta line inputs for easy audio recording of MIDI instruments or other auxiliary inputs. Mix out for recording to a mix deck. Control room outs with independent level control for monitoring. Two headphone outputs with individual level controls. One mono effect send per Delta channel. L/R output signal/clip LEDs.

3. Whats In the Box

Contained within your Omni I/O package, you will find: This manual The Omni I/O A 9v AC 500 mA wall wart power supply
4. Front, Rear, and Top Panel Descriptions
This section identifies the external connections and controls of the Omni I/O Integrated Desktop Audio Station, with a basic description of their function. More detailed descriptions of the Omni components and the basics of operation follow. 4.1 Front Panel

4.3 Top Panel The rear of the Omni top panel shows a mirror of the back panel, and is labeled Bottom Row and Top Row. This is for your convenience when patching and unpatching. The Signal Flow chart on the front left of the Omni top panel gives you a quick guide to how the signal moves in relation to the Omni. Should you need a quick reminder, the flow chart is there for you. Signal flow is dealt with in more depth in the section, Omni Signal Flow Chart later in this manual.
5. Operational Basics & Definitions
There are some basic concepts that apply to all audio gear. Understanding them will help in your operation of the Omni I/O, as well as create a set of common terms to use in our discussion of the Omni components. 5.1 Balanced Signals A balanced line runs the signal on two wires of opposing polarity, as a twisted pair surrounded by a grounded shield. Doing so, it can send a hotter signal over a longer distance with less added noise. Using a TRS (tip-ring-sleeve, or
stereo) plug on the 1/4 jacks of the Omni (that are designed for unbal/balanced operation) will give you this balanced linetip positive, ring negative, and sleeve ground. Generally, if the Omni outputs connect to a system or device that accepts a balanced line at +4dB (nominal level) operating level, you should use TRS plugs on the outputs. XLR connectors also carry a balanced signal. If your device or monitoring system accepts an XLR connector, you may need a cable that has 1/4 TRS to male or female XLR. The mic input of the Omni Mic/Instr Inputs accepts a male XLR, with a balanced mic cable being female XLR to male XLR.
5.2 Unbalanced Signals An unbalanced line on the Omni outputs connects to a 1/4 TS (tip positive, sleeve ground) plug on a shielded cable with a single conductor, and is appropriate to use when the device you are connecting to accepts a 1/4 TS plug or an RCA plug. Typically, the signal on unbalanced lines has an operating line level of 10dB (nominal level), though this varies somewhat. You may want to consult the user guide of your sound card or sound system if youre not sure what type of signal it can accept. If you need to, find a primer on recording or sound reinforcement to learn more about this and the other subjects covered in this manual.
5.3. Phantom Power Unlike dynamic microphones, large diaphragm condenser microphones need to receive a DC voltage (generally 48v) from an external source before they can generate an output signal. If the condenser mic doesnt come with its own power supply, then phantom power must be applied from the Omnis Mic/Instr pre-amps. Pressing the Phantom button and engaging phantom power on the Omni will send the necessary voltage to both of the XLR Mic Inputs. Phantom power will not affect a dynamic mic adversely, so its not a problem to have a dynamic mic at the XLR input while phantom power is switched on. Some ribbon microphones (not very common) may be harmed, however, so check you mics documentation. 5.4 Sends and Returns These are sometimes elusive terms, as they can be used in a variety of ways. A send is an output from a device (such as a mixing console), to another device (what might be considered outboard). There is some expectation that the signal that is sent from the send output is going to return to the sending devices signal flow. A return is an input to a device.

Sends and returns are generally spoken of in terms of the gear that is receiving the signal. The effects send, therefore, is an output from the mixer to the effect. The effects input receives the signal from the effects send, and the output of the effects device returns the signal to the mixers input, the effects return. The terms sends and returns can apply to other devices, such as a recording device. The outputs of mixing board are sent to a tape deck, for instance, and the outputs of the tape deck return to the mixing desks monitor channels for mixing (often called tape returns, though tape sends are more often known as the buss outs). In this same sense, the analog outputs of the Delta card, i.e., Delta H/W Outs 14, return to the Omni mixer. They could properly be called the Delta returns to the Omni mixer.
5.5 Plugs and Jacks In general, a jack is a female connector, and a plug is a male connector. The jack is mounted within the hardware device, and the plug exists on the cable ends. XLR jacks and plugs, however, may be male or female. Usually, the output is male, and the input is female.
5.6 Balanced Cabling & Connections The acronym TRS stands for Tip-Ring-Sleeve. A 1/4 TRS plug can carry a balanced mono audio signal over a two-conductor cable with a shield, which applies to certain TRS jacks on the Omni. This may be considered a standard 1/4 stereo cable, though it carries a mono, balanced signal. If you are using one of the Omni jacks for balanced operation, you will need a cable with a 1/4 Tip-Ring-Sleeve plug on one end (for the Omni jack), and a plug on the other end that is appropriate for the device that you are connecting to. This may be a 1/4 TRS plug, an XLR plug, an 1/8 TRS plug, etc.
5.7 Unbalalanced Cabling & Connections The acronym TS stands for Tip-Sleeve. A 1/4 TS plug is found on what is commonly referred to as a guitar cable. This is a single conductor cable with a shield, and is generally associated with unbalanced operation. If you are using one of the Omni jacks for unbalanced operation, you will need a cable with a 1/4 Tip-Sleeve plug on one end (for the Omni jack), and a plug on the other end that is appropriate for the device that you are connecting to. This may be a 1/4 TS plug, an RCA plug, an 1/8 TS plug, etc.

5.8 Stereo Input and Insert Cables/Connections A 1/4 TRS plug can alternately carry an unbalanced stereo audio signal over a two-conductor cable with a shield, which applies to Aux In and the Insert TRS jacks on the Omni. A TRS plug on one end with two mono TS plugs on the other is in fact a stereo cable, and is sometimes referred to as an insert cable. Keep in mind that the Aux Ins are stereo inputs. A stereo 1/4 TRS plug to two 1/4 mono TS plugs will work for connecting most MIDI sound modules into the Omni Aux Ins, but you may have to purchase a cable for your particular needs. This same cable will work for most outboard gear used with the Omni Inserts. See the section, 10.4 for more on this.
5.9 Line Levels vs. Mic/Instr Levels Microphones and guitar pickups typically emit a low signal level, requiring a pre-amp such as those found in the Omni Mic/Instr Channels 1 & 2. The Omni Mic/Instr inputs provide up to 70dB of gain on the XLR mic inputs, and up to 50dB of gain on the high impedance inputs. This is enough gain to bring the signal up to the +4 line level at which the Omni is capable of operating. The Delta card can be set to three line level references, 10dB, Consumer (which is 4dB), and +4 dB, which is the default. These settings can be found in the Delta Control Panel Hardware Settings page, under Variable Signal Levels. Refer to section 10.3 for more information on setting levels. Most other signals are already at line level, and can be plugged into Omni Line Ins 3 & 4. Different equipment, however, runs at different line levels. Check your devices documentation to see what line level it runs at, and set the Delta Variable Signal Level to that setting. If you use the Line Ins on the Omni and find that youre not getting adequate record levels, you can try lowering the Variable Signal Level setting. You can also experiment with using the Omni pre-amps, which you might find gives some line level signals a little needed punch.
5.10 Virtual Tracks Often, instruments such as MIDI gear that is being played by a sequencer, is not recorded onto the recording device. When not recorded, these MIDI tracks are referred to as virtual tracks. MIDI instruments playing through the Omni Aux Ins, therefore, are virtual MIDI tracks.
6. Basic Playback Setup for the Omni I/O
This section will get you setup for playback and monitoring, as well as for mixing down when your project is complete (though you may make changes in your setup at that time). A discussion of the Omni components becomes more detailed in sections 9 through 11. Install your Delta card first, according to the Delta installation procedure found in the Delta 44 or 66 manual. In the step by step instructions that follow, the items in quotations such as 9v AC Power Jack relate specifically to numbered items on the front and back panels of the Omni I/O. 1. Make sure that the host computer is powered off. Using the shielded 15 pin to 15 pin cable that came with your Delta card, connect one end of the cable to the D-sub connector on the Delta card, and the other end to the 15 Pin Dsub Connector on the back of the Omni I/O. This cable is a shielded audio cable, and connects the Omni to the four analog inputs on the Delta card (H/W Inputs 1 through 4). The 15 pin to 15 pin cable also connects the Delta H/W Outs 1 through 4 to the Omni mixer, and also to the Omni Direct Outs 1-4. 2. Plug the 9v AC power supply into the wall outlet, and connect the 2.5 mm plug into the 9v AC Power Jack on the back of the Omni. Connect the Monitor Outs of the Omni to the inputs of your monitoring system. If your monitoring systems inputs are unbalanced, use a cable with a 1/4 Tip-Sleeve plug on the Omni monitor outs, with the appropriate plug, such as 1/4 TS, RCA, etc., into the monitoring system inputs.

You are now setup to monitor and mix recorded audio tracks from your computer via the Delta card, to add effects to the audio tracks, and to sequence and mix in your MIDI keyboards. If your music program has a demo file with audio and MIDI tracks, launch the program and open the file. Make sure that the MIDI ports are set correctly.
Set the audio tracks output ports to Delta Wav Outs 1/2 or 3/4, or Delta ASIO Outs 1-4 if using the Delta ASIO drivers. Open the Delta Control Panel to the Patchbay/Router page. Make sure that H/W Outs 1/2 and 3/4 are set to WavOut 1/2 and WavOut 3/4 (respectively) on the PC, or SM/ASIO 1/2 and SM/ASIO 3/4 on the Mac. NOTE: The Delta Patchbay/Router, when first installed, is set to play these software outputs. This setting connects the signal from the Delta software outputs to the Delta H/W Outs.
10. Once you start playback of your music program, you should begin to see level indicated on the Output Signal/Clip LEDs, since this level is premonitor control settings. Raise the level on your monitoring system, then raise the Monitor Level control on the Omni until you begin to hear playback.

So u Ca nd rd

Omni i/O Playback setup
7. Basic Recording Setup for the Omni I/O
Now that youre setup for playback, setting up for recording is the next logical step. The recording setup is the most likely to change, so well speak in terms of the types of devices that you will use at the Delta recording inputs. The Omni is capable of sending four signals to the four analog inputs on the Delta 44 or Delta 66 cards, via the 15-pin connectors. Each Mic/Instr comprises one of those paths to the delta card, for a total of two. Line Inputs 3 and 4 make up the other two paths. 1. Plug a male XLR cable into Mic Inputs 1 and/or 2, when you wish to use the Omnis low impedance microphone pre-amps. Generally, if your mic has an XLR output, use a low impedance, balanced mic cable to plug into the XLR Mic input on channel 1 or channel 2. When using the Mic input on channel 1, the Instr input on channel 1 is disabled until the XLR connector is removed from channel 1. The same goes for channel 2when using the Mic input on channel 2, the Instr input on channel 2 is disabled until the XLR connector is removed from channel 2. If your microphone requires phantom power, press in the Phantom Power Switch on the back panel of the Omni. The Phantom LED will light, and 48v of phantom power will be sent to the microphone. NOTE: Mic Input 1 is connected to, and sends its signal to the Delta H/W In 1. Mic Input 2 is connected to, and sends its signal to the Delta H/W In 2. 2. Plug a 1/4 TS cable into Instr Inputs 1 and/or 2, when you wish to use them as high impedance instrument pre-amp. The Omni instrument inputs are perfect for electric guitars, acoustic guitars with pick-ups, electric bass, or any high impedance unbalanced signal that needs a pre-amplification to bring the signal up to line level. When using the instrument input on channel 1, the Mic input on channel 1 is disabled until the 1/4 TS plug is removed from channel 1. The same goes for channel 2when using the instrument input on channel 2, the Mic input on channel 2 is disabled until the 1/4 TS plug is removed from channel 2. NOTE: Instr Input 1 is connected to, and sends its signal to the Delta H/W In 1. Instr Input 2 is connected to, and sends its signal to the Delta H/W In 2.

to get you up and running. We also assume that you have installed a MIDI interface into your computer, and that this basic MIDI setup has already been established. The Omni provides you with four Aux Ins for monitoring your MIDI keyboards while you are sequencing and creating MIDI tracks. The auxiliary inputs can be used for different purposes, but monitoring MIDI keyboards, samplers, and drum machines is their primary intention. If you use only the MIDI synthesizer that is part of your computers sound card (like a Dman PCI, a Sound Blaster, or Yamaha OPL), we suggest taking the audio output of the sound card and plugging it into the Omni Aux Input (using the proper adapter cable). We chose the stereo 1/4 TRS jack so that more Aux Ins would fit on the Omni. Many people use up to four MIDI devices, so more inputs is preferable, though it does require a special cable. If you need additional inputs, a line mixer can combine several devices to one of the Omni stereo auxiliary inputs. If youve followed the basic playback setup in section 6, you are ready to monitor your MIDI instruments and therefore ready to start sequencing using your MIDI sequencing software. Even if you wish to begin your recording project with some live audio tracks, you may want to establish a MIDI metronome click track as a timing reference. This can help, especially if you want to record MIDI tracks later. 9.2 Setting MIDI Playback Levels Playback levels of your MIDI tracks will be controlled by your sequencing software. We suggest setting the output control on each of your MIDI sound modules to the maximum setting (if they seem noisy at that setting while no MIDI is playing, choose 12 oclock or 3 oclock). Then, set the playback level of your MIDI track by adjusting the MIDI volume of that particular patch being used (this can be done within the sound module or on the sequencer MIDI track), and/or by adjusting the MIDI velocity setting on the MIDI track in the sequencer. By setting the MIDI playback level on each individual MIDI track, that setting is saved with your softwares song file. By leaving the MIDI sound modules on their maximum setting, or by leaving them on one particular setting (like 9 oclock or 12 oclock), the MIDI levels saved in your software will give you instant recall of consistent playback levels.

Start to raise the Omni gain control while testing your microphone or guitar. If you are using an instrument with volume controls, start with it on the highest setting, then play to test the level. Raise the Omni gain control to between 9 oclock and 12 oclock, or until you see the green signal LED start to light. Continue to test the mic or instrument, making sure that the clip LED never stays lit for too long. If the clip LED lights easily with the gain control set to 9 oclock or less, try pressing the Pad switch (this will trim the input signal by 20dB). Bring up the level meters in the Delta panel Monitor Mixer. The signal level that you see at the H/W Ins will ultimately be your record levels, as they should be identical to the level meters in your software. Adjust the Omni gain controls until the signal nearly reaches the red area. It should never hit the top of the meter.
NOTE: If you seem to have to turn the Omni gain up past 2 oclock and still do not register adequate levels in the Delta Monitor Mixer, go to the Delta panel Hardware Setting page. Adjust the Variable Signal Level on your particular input to a lower setting (Consumer or 10) in order to reduce headroom.
Once you have set the record levels, you may begin to adjust the listening or monitoring levels for those channels. If you are using the Delta Monitor Mixer, setting the fader level in the Delta Monitor Mixer page will affect only the monitoring levels, and will not affect record levels. This is also true of the faders in your software if you are monitoring through your software. Changing the monitor level will not affect the record level. To set record levels for the Omni Line Ins: Since there are no gain controls for the line inputs, you will need to adjust the output control on the device that you are recording. If your device runs at a line level other than +4, set the Variable Signal Level in the Delta panel to Consumer or 10dB. If you are getting low record levels with the device output level turned up, lower the Variable Signal Level in the Delta panel. Or, if turning up the output levels introduces noise, lower the output level and then lower the Variable Signal Level in the Delta panel. 10.4 Record Levels Using the Inserts Inserts give the user an insertion point in a signal flow for adding signal processing. Each Omni Insert provides an unbalanced output from the record channel, then brings that unbalanced signal back into the record channel, via a

1/4 TRS connection. This now processed signal is what is sent to the Delta H/W Ins, which are the record inputs to the Delta card. This type of insertion point is most often used for dynamics processors such as compressors or expanders (noise gates), or for other outboard gear such as an equalizer (EQ). Since an insert is often found on a patchbay, using an insert to add a processor to the signal flow is sometimes called patching-in. We will refer to these patch points as insert out and insert in. Use the left side of the cable for the Omni insert out point. This will then plug into the input of your outboard device. The right side of the cable is your insert in. Plug it into the output of your outboard device. This piece of outboard gear is now part of the signal flow, and the recorded signal will include this processing. Your insert cable will either be marked left and right, or designate the right side of the stereo signal by being colored or marked in red. Outboard gear such as dynamics processors will have controls and settings that will vary from one device to another. Therefore, we can only speak in general terms and suggest a way to go about adjusting these gain stages. With the processing controls set to a neutral setting, or bypassed: 1. If there is an output setting on the outboard device, set it to 0dB, or unity gain. This way, the device is not adding or attenuating the original signal. Set the input level on the device, trying to match the level of the signal (according to how it shows up in the Delta mixer or the music software). Adjust processing controls, such as threshold and ratio, toward the desired effect. Adjust the output level on the outboard device as needed, finally finetuning all gain stage levels.
See section 10.6 for Adding Effects. The Omni Inserts can also be used to patch in effects devices, however, effects are not usually added in this way. It is possible to use the insert out point, but not use the insert in, and instead bring the output of the effect back into the Omni on another channel. See the section Alternate Omni Setups for more on this. 10.5 Setting the Audio Track Playback Levels Once you have recorded an audio track in your music software, you may want to adjust the playback levels for these audio tracks. These playback levels will be controlled by your music software. The Delta H/W outputs 1-4 are connected directly to the Omni mixer. These Omni mixer inputs are what is known as unity gain inputs. Unity gain means what goes in is what comes outno gain is added and none is attenuated (reduced).

Therefore, the volume level on each individual audio track recorded in your music software will control the playback level that enters the Omni mixer. Your music software may also have a mixer panel to control playback levels. Either will work fine, as generally, the MIDI volume level that you set on an individual track will be reflected in the softwares mixer panel. The audio tracks MIDI velocity setting will also affect the playback level. You can enter a positive or negative value. If you enter in a positive value, it is possible to cause clipping (distortion from to much level), so pay attention to playback levels if this is the case. The advantage of this system is that once you have set your playback levels for audio and MIDI, these settings are saved when the song file is saved. These saved settings can be recalled when the song file is opened again. 10.6 Adding Effects One mono effects send, and one stereo effects return are provided on the Omni mixer. Individual send levels on each of the four Omni mixer channels that are the Delta H/W outputs, allow you to add effects process to your audio track within the Omni mixer. Once you have followed the procedure in section 6 for hooking up your effects unit, you will be ready to apply send level on each of the Omni mixer channels. 1. Start playback of your music software. If you have audio playing out of the Delta H/W Out 1, increase the send level on Omni Channels 1-4 Effects Sends. You should begin to see level on the input of your effects unit (if it has a level indicator), and also hear the effect as the processed signal returns to the Effects Return. Adjust the input level of your effect until a moderate input level is reached, with a normal Omni send level of between 9 oclock and 12 oclock. Adjust the effects output level until a desirable amount of effects level is achieved. NOTE: Some effects units allow you to create a mix balance between the signal going to the effect, and the effect itself. In this type of effects setup, always run the effect at 100%, with none of the original signal added. 10.7 Recording Your MIDI Instruments as Audio Tracks At a certain point, you may wish to record your MIDI instruments as audio tracks. If you have been monitoring your MIDI instruments using the Omni Aux Ins, the Omni offers a convenient way to record those instruments.

Next to Aux In 1 is a switch labeled To Ins 1, 2. Pressing in and engaging this switch, will a) take the signal present at the Aux In1 out of the stereo buss of the Omni mixer, and b) send that same signal to the Delta H/W Ins 1 & 2. Next to Aux In 2 is a switch labeled To Ins 3, 4. Pressing in and engaging this switch, will a) take the signal present at the Aux In 2 out of the stereo buss of the Omni mixer, and b) send that same signal to the Delta H/W Ins 3 & 4.
Remember that the Aux Ins are stereo inputs. They carry the left and right signals from a stereo device (such as your MIDI sound modules). Therefore, Aux In 1 feeds Line Ins 1 & 2 of the Omni (left and right respectively), which in turn feed the Delta H/W Ins 1 & 2. Aux In 2 feeds Line Ins 3 & 4 of the Omni (left and right respectively), which in turn feed the Delta H/W Ins 3 & 4. Also, since the Omni mixer channels for the Aux Ins gives a boost in level, you will experience a drop in listening level when you engage the To Ins 1, 2 switch. What is important at this point is to establish an optimal level for recording the MIDI tracks, and then to set the playback levels once the track is recorded. NOTE: Aux to Line In switches are only provided for Aux Ins 1 & 2. Aux Ins 3 & 4 can not be routed to the Omni Line Ins in this fashion.

11. Mixing With the Omni

Once you have sequenced your MIDI tracks and recorded all of your audio tracks, you are ready to mix your project with the Omni. There are two ways that we will suggest that you go about it. A. Using the Omni Record Outs, record to your mixdown deck with your MIDI sound modules plugged into the Omni Aux Ins as virtual tracks (tracks not recorded as audio tracks). The recorded audio tracks will also play through the Omni mixer. You may use the effect send on the Omni as well as add effects in your music software. This setup is the same as the basic playback setup described in section 6. You can use it to run off rough mixes as your project develops, as well as for your final mix. While mixing, you can use the Omni Direct Outs as additional effects send on individual Delta H/W Outs. This is covered in section 11.2. B. You can choose to record all of your sequenced MIDI sound modules into your music software as audio tracks. Once you have done this, your music software may allow you to add effects to the individual tracks (if the software and your system resources allow it).

You can still mix through the Omni, adding effects using the Channel 1-4 Effects Send, and also using the Direct Outs. We will describe using the Direct Outs in the section 11.2, Using the Direct Outs 1-4. 11.1 Organizing the Audio Tracks for Mixing There are a number of ways to setup the audio tracks for mixing. Here are a couple of suggestions. Lets say that youve recorded two live rhythm guitars, four background vocals, lead vocal and lead guitar. The Delta has four software outputs, arranged in two stereo pairs. These pairs are 1/2, and 3/4. The Delta Patchbay/Router should be set to the software outputs for this example (WavOut on PC, SM/ASIO on the Mac). In your music software, set your rhythm guitars and background vocals to software outs 3/4. Pan the guitars, and set the background vocals to varied pan positions and all of your playback levels within your music software. Add effects by increasing the level control on Omni channels 3 and 4 effects sends. Software outs 1/2 are now left for your lead vocal and lead guitar. This setup allows you to treat the lead instruments separately. Most likely, you will pan the lead vocal in the center, and possibly the lead guitar also panned center. Add the amount of effect you desire on the lead vocal, and give the lead guitar its own amount of effects, by increasing the level control on Omni channels 1 and 2 effects sends. Providing that you have an Aux In available, this setup also allows you to patch in a single effect for each of these lead instruments. Refer to the next section, 11.2, for more information on how this can be done. 11.2 Using the Direct Outs 1-4 The Direct Outs 1-4 are directly connected to the Delta H/W Outs 1-4, and are unaffected by the Omni mixer. They can be used to send the signal of a single recorded audio track to an additional effects units. Mostly, youll want to do this during mixdown. You will also need to have Aux Ins available to return the effects to the Omni, or a submixer for effect returns with its stereo out connected to the Omni FX Return. 1. If you have an audio track set to output to the Delta H/W Out 1, for example, connect Direct Out 1 to the input of your effects unit. Take the output of the effects unit, and return it to one of the Omni Aux Ins. Control the listening level of the effect by adjusting the input and output controls on the effects unit itself.
12. Alternate Omni Setups
These are some advanced techniques. Once you master the Omni basics, you may want to try some of these variations. 12.1 Recording with Four Pre-Amps The Omni provides you with 2 pre-amp channels, Mic/Instr Channel 1, and Mic/Instr Channel 2. If you need to use two more pre-amps, you may connect the line outputs of two pre-amp channels to Omni Line Ins 3 & 4. The M Audio DMP-2 is a perfect companion to the Omni pre-amps, and will give you the same high quality sound. If you already own a mixer with preamps built-in, you can take a direct, buss, or insert output from the pre-amp channels, and connect this to Omni Line Ins 3 & 4. 12.2 Monitoring While Recording to Four Tracks If you are using the Delta Monitor Mixer to monitor your inputs while recording (as opposed to monitoring through a program using the ASIO or EASI drivers), then follow this monitoring scenario when recording four tracks (or more than two inputs to more than two tracks). 1. In your music software, set the four Omni record channel inputs to record to Delta Left and Right PCM Ins 1/2 and 3/4, respectively. Set them to output to Delta WavOuts 1/2 and 3/4. In the Delta Patchbay/Router page, set H/W Outs 1/2 to Monitor Mixer as the source. Set H/W Out 3/4 to H/W In 3/4 as the source. In the Delta Monitor Mixer page, unmute and raise the faders for H/W In 1/2, but not H/W In 3/4. Unmute and raise the faders for H/W Out 1/2, and also for H/W Out 3/4.