TRY THE SETUP WIZARD

The PCI-424 software installer provides an easyto-use Setup Wizard. This interactive software tutorial will help you gure out the best way to connect all your gear to the PCI-424 card and connected audio interfaces. This chapter covers important general concepts regarding connections and synchronization, but the Setup Wizard asks you specic questions about your gear and then makes specic recommendations for you based on your answers. To use the Wizard, just run the software installer on the 2408mk3 CD, and then look for it on your hard drive when the installation is done.
INSTALL THE PCI-424 AUDIO CARD
1 Switch off and unplug your computer.
7 Gently but rmly insert the card into any available PCI slot.
Failure to do so may result in serious shock or injury. 2 Open your computer.
8 Secure the bulkhead of the PCI-424 card to the computer chassis with the bolt from the slot cover.
3 Find an available PCI slot. 4 Remove the slot cover, if necessary. 5 Before removing the PCI-424 card from its antistatic bag, touch the power supply inside your computer to discharge any static electricity that may have built up on you.
We strongly recommend securing the PCI-424 card in this manner. Doing so allows you to ensure secure connections to the card later on in the installation.
9 Place the cover back on your computer. 10 Reconnect the power cord to the computer before proceeding. 6 Remove the PCI-424 card from its anti-static bag.
INSTALLING THE PCI-424 HARDWARE
CONNECT THE AUDIO INTERFACE
1 Plug one end of the Audio Wire cable (included) into the Audio Wire socket next to the 9-Pin ADAT Sync connector on the PCI-424 card as shown below in Figure 4-1. 2 Plug the other end of the Audio Wire cable into the audio interface as shown below in Figure 4-1.

Step 1

Connect the Audio Wire to the socket closest to the ADAT SYNC port.

Step 2

2408mk3 interface 24I/O interface

HD192 interface

Figure 4-1: Connecting the audio interface to the PCI-424 audio card.
2408MK3 INPUT & OUTPUT CONNECTIONS
The 2408mk3 audio interface has the following input and output connectors:
Heres another example, if you have one ADAT and one Tascam recorder, and you want to use them independently at the same time, connect them to different banks. On the other hand, you can connect an ADAT optical device and Tascam TDIF device to the same bank, if you like. For input, youll only be able to record from one format or the other at one time (on that bank). But on output, the 2408mk3 actually plays back audio on both formats at the same time, regardless of which one is currently active. This lets you send the same audio material to both formats (but not different audio). The main outputs, as well as the DAT SPDIF output and the headphone output on the front panel, match the output from Analog outputs 1-2. If none of the 2408mk3s three internal banks are set to the Analog format, the 2408mk3s analog output bank will duplicate one of the three banks. The MOTU PCI Audio Console Window has an Interface Options setting that lets you choose which bank. For details, see Interface options on page 70. Here are some example connections:

MMC transport commands Digital Timepiece, MIDI Timepiece AV or any other MMC-compatible ADAT synchronizer ADAT Sync out port Tascam Sync Out port

Optional ADAT sync chain

Tascam Decks Set the PCI-424 hardware clock source as follows: Tascam Sync In sync cables Sync Out Sync In Sync Out Sync In Sync Out 1. Run the MOTU PCI Audio Console application. 2. If you have a Digital Timepiece, MIDI Timepiece AV or other ADAT synchronizer, connect the PCI-424 card to the end of the ADAT chain and choose PCI-424: ADAT from the Clock Source menu. 3. Make sure the Sample Rate setting matches the tape decks. Alternately, you could send word clock from the synchronizer to the 2408mk3 interface (instead of ADAT sync). In this case, chose 2408mk3: Word Clock In as the clock source.
Figure 4-26: An ADAT synchronizer like the Digital Timepiece or MIDI Timepiece AV gives you the best possible synchronization setup for a 2408mk3 with audio software and ADATs. A Digital Timepiece is ideal for Tascam decks (or both ADAT and Tascam).
SYNCING TO A DA-88/98 TIME CODE TRACK
If you have a Tascam DA-88 equipped with an SY-88 card, or a DA-98, and you would like to slave your entire system to its time code track, the DA-88/98 serves as the SMPTE time code master, while the PCI-424 system serves as the word clock master over the DA-88/98. In this setup, you feed MIDI Time Code (MTC) to the computer from the DA-88/98. To establish word clock phase-lock between the DA-88/98, you can either feed word clock from a MOTU PCI audio interface to the DA-88/98 or the opposite (feed word clock from the DA-88/98 to the MOTU interface). Or you can slave them both to a third word clock master, such as a MOTU Digital Timepiece.
Tascam DA-88 with an SY-88 sync card, a Tascam
DA-98 or any other Tascam deck with a time code track.
No sample-accurate locating. No transport control from the computer (transport control is from the DA-88/98 itself). code (quarter-frame) and maybe even tighter. track of the tape in your DA-88/98.
Timing accuracy that is at least as good as MIDI time Continuous sync to SMPTE time code on the time code
Any MOTU PCI interface Word Clock Out
Word Clock In DA-88 or DA-98 MIDI OUT MIDI connection (via a MIDI interface) to the computer bearing MIDI Time Code from the DA-88/98

MIDI Time Code

With this setup, in the MOTU PCI Audio Console window, you can choose any clock source, since the DA-88/98 is slaving to the 2408mk3. The DA-88/98 will slave to the 2408mk3, regardless of what the PCI-424 system is slaving to.
Figure 4-27: This setup shows how you can slave your audio software to the time code track on a Tascam DA-88/98 tape. This is the simplest case, with no other devices involved. But regardless of your setup, make sure that the DA-88 and PCI-424 system share the same audio clock.

SYNCING SPDIF DEVICES

DAT decks and other SPDIF devices will sync to a 2408mk3 interface in one of two ways:
Via the SPDIF connection itself Via word clock
SPDIF devices with no word clock If your DAT deck or other SPDIF device has no word clock sync connectors, just connect it to the 2408mk3 via the SPDIF connectors. When the SPDIF device is programmed to receive digital audio on its input (from the 2408mk3), it will simply synchronize to the clock provided by the audio input.
On the other hand, when you transfer audio from the SPDIF device into the 2408mk3, youll have to slave the 2408mk3 to the SPDIF input. If you have other digital audio devices connected to the 2408mk3, and they are not slaved directly to the 2408mk3 itself, you may hear clicks and pops resulting from their unsynchronized audio clock. If so, just turn them off during the transfer. SPDIF devices with word clock If your SPDIF device has a Word Clock input, connect the 2408mk3s word clock Output to the SPDIF devices Word Clock input. You can then freely transfer audio between the 2408mk3 and the SPDIF device, regardless of how the rest of your 2408mk3 rig is synchronized.

2408mk3 SPDIF

MOTU PCI Audio Console window Clock Source setting When transferring from the 2408mk3 to the SPDIF device
SPDIF DAT deck or other TDIF device
When transferring from the SPDIF device to the 2408mk3
MOTU PCI Audio Console window Clock Source setting 2408mk3 Word Clock Out SPDIF
Word Clock In DAT deck or other SPDIF device
With this setup, in the MOTU PCI Audio Console window, choose Internal, or any other clock source setting except SPDIF. The DAT deck (or other SPDIF device) slaves to the 2408mk3 via word clock for SPDIF transfers in both directions.
Figure 4-30: Two setups for synchronizing an SPDIF device with a 2408mk3. In the top diagram, sync is achieved via the SPDIF connection itself. In this case, you have to choose SPDIF as the PCI-424s clock source when recording from the SPDIF device. If you dont want to have to worry about switching the Clock Source setting depending on the direction of the SPDIF transfer, you can slave the SPDIF device to word clock from the 2408mk3 or vice versa (not shown). The Word Clock connection maintains sync, regardless of the direction of the transfer.

Figure 5-5: Swapping the left and right channels, in addition to shifting the tracks.
At high sample rates (88.2 and 96 kHz), the 2408mk3 does not support stand-alone transfers to or from the SPDIF input or output. Therefore, if you choose SPDIF as the source, then there will be no output to the ADAT or TDIF banks. Conversely, if you choose ADAT or TDIF as the source, there is no output sent to SPDIF. Use CueMix Console for digital transfers to and from SPDIF. Anlg (Analog) When you choose Analog as the source in standalone mode, the analog bank is hard-wired to Bank C (this is arbitrary and doesnt matter because there is only one bank of analog). With Analog as the source, the Analog bank gets sent to (duplicated on) all three output banks (A, B and C) in both ADAT and Tascam formats. In addition, channels 1-2 of the Analog input bank are sent to the SPDIF outputs.
In Figure 5-5, not only is the 2408mk3 shifting tracks 3-4 to tracks 1-2, it is also swapping the channels within each pair. So channel 4 is actually being mapped to channel 1, and channel 3 is being mapped to channel 2. This gives you enough exibility to map any channel to any other channel. Swapping is applied to all other track pairs as well.
There are three variations for the analog source setting. Press the SET button repeatedly to choose the desired variation as explained below:

Analog source setting

All in +4 All in -10 Mixed +4 /-10

Explanation

All analog inputs are set to a +4 dB input level. All analog inputs are set to a -10 dB input level. Analog input levels match the settings specified in the MOTU PCI Audio Console (as explained in Input Reference Level on page 70).
When you choose an individual bank, it is mapped to all three output banks, duplicated on each bank. For example, if ADAT Bank B is the source, it will be sent to TDIF banks A, B and C. (It will also be sent to ADAT banks A, B and C.) When you choose all three banks together as the source, they pass audio straight through, i.e. Bank A to A, B to B, and C to C. Analog metering Press the SELECT button repeatedly (if necessary) to illuminate the METERS LED as shown in Figure 5-10 below. This LED indicates that the LEDs in the ANALOG OUT section are serving as ve-segment output level meters.
Figure 5-7: The three variations for the analog input source setting.
SPDIF When you want to transfer from SPDIF, there is only one choice: Bank C (since SPDIF can only be used on Bank C.)
Figure 5-10: You can ignore the LED labels in the ANALOG OUT section of the front panel when the LEDs are acting as output level meters. Figure 5-8: Choosing SPDIF as a source for a transfer.

LOCK AND TACH

When the 2408mk3 is resolving to video or SMPTE time code (via its built-in sync features), the LOCK light glows green when lockup has been achieved. The TACH light blinks once per second when the 2408mk3 is successfully reading address (time code) information. For details, see Syncing to SMPTE time code on page 43 and Syncing to video on page 44.

Interface

HD192 2408mk3 24I/O 1296 2408mkII

176.4 192

PCI-424 SETTINGS
The top of the MOTU PCI Audio Console window, as shown in Figure 6-1, has several settings for the PCI-424 card itself. These are settings that are not dependent on the interfaces connected to the card. Instead, they impact the function of the system as a whole.

24i 308

Figure 6-1: The PCI-424 settings at the top of the window are global settings that apply to the system as a whole, regardless of the MOTU PCI audio interface connected to it.
Make absolutely sure that all of the devices connected digitally to all PCI-424 interfaces match the PCI-424 systems sample rate. Also make sure that your Digital Timepiece, MIDI Timepiece AV or other digital audio synchronizer matches it as well.
Sample rate Choose the desired sample rate for recording and playback. The PCI-424 system can operate at 44.1, 48, 88.2 or 96 KHz. If an HD192 interface is connected, it can also run at 176.4 or 192 kHz. The entire PCI-424 system will run at the sample rate chosen in this menu. Interfaces that do not support the systems current sample rate are temporarily taken off line. For example, if you run the HD192 interface(s) at 192 kHz, all other audio interfaces are taken off line. As another example, if you run a PCI-424 interface (2408mk3, 24I/O or HD192) at 96 kHz, any connected legacy PCI-324 interfaces
Mismatched sample rates cause distortion and crackling. If you hear this sort of thing, check the sample rate settings in your hardware and here in the PCI Audio Console window. Clock Source
The clock source determines the digital audio clock that the PCI-424 system will use as its time base. For a complete explanation of synchronization issues, see Make sync connections on page 37. The following sections briey discuss each clock source setting. PCI-424: Internal Use the PCI-424: Internal setting when you want the PCI-424 system to operate under its own digital audio clock. For example, you may be in a situation where all you are doing is playing tracks off hard disk in your digital audio software on the computer. In a situation like this, you most often dont need to reference an external clock of any kind. For example, you might simply be playing the hard disk tracks and mixing them to the analog outputs of your MOTU audio interface. In this case, no other digital audio clocks are involved. Another example is transferring a mix to DAT. You can operate the PCI-424 system on its internal clock, and then slave the DAT deck to the PCI-424 system, either via the SPDIF connection (usually DAT decks slave to their SPDIF input when you choose the SPDIF input as their record source) or via the word clock output of your MOTU PCI audio interface (if your DAT deck has a word clock input). PCI-424: ADAT ADAT refers to the ADAT Sync digital audio synchronization format. It allows the entire PCI-424 system to slave to the ADAT sync chain connected to your PCI-424 audio card (via the 9-pin connector on the card). ADAT sync also carries precise, sample location information, which allows sample-accurate software to transfer audio to and from ADATs without drifting by as much as one sample.

Use this setting when you are using the PCI-424 system with one or more ADATs or other ADAT Sync-compatible devices. Make sure the PCI-424 card is connected to the end of the ADAT sync chain. You should also use this setting if you have a MOTU MIDI Timepiece AV or Digital Timepiece universal synchronizer, which allows you to drive your entire system from the transport controls of your audio software. PCI-424: SMPTE Choose this setting to resolve the PCI-424 card (and all connected interfaces) directly to SMPTE time code (LTC) being received via an analog input on any connected interface. To specify the analog input for time code, use the MOTU SMPTE Console application. For details, see SMPTE Source on page 104. 2408mk3: Video Choose this setting to resolve the PCI-424 card (and all connected interfaces) directly to video being received via the Video In BNC connector on a 2408mk3 interface. (Only the 2408mk3 interface supports this feature.) In this sync mode, the system can also reference SMPTE time code via any analog input. To specify the input for time code, use the MOTU SMPTE Console application. For details, see SMPTE Source on page 104. 2408mk3: Word Clock In 24I/O: Word Clock In HD192: Word Clock In These settings refer to the Word Clock In BNC connector on their respective interface. Choosing one of these settings allows the entire PCI-424 system (including other 2408mk3 I/Os connect to the PCI-424 card) to slave to an external word clock source, such as the word clock output from a digital mixer.
The 24I/O: Word Clock In setting is unique because it switches the operation of the single BNC word clock connector on the 24I/O interface. When you choose the 24I/O: Word Clock In setting, the 24I/Os word clock jack becomes a word clock input. When you choose any other clock source setting, it operates as a word clock output. 2408mk3: Bank A/B/C Optical In These settings refer to the clock provided by the ADAT optical inputs on the 2408mk3 interface. This setting can be used to slave the entire PCI-424 system directly to an optical input connection. These settings are useful if you just need to make a simple, click-free digital transfer between the 2408mk3 and another device where a time code reference and shared transport control are not needed without having to set up a full-edged synchronization scenario. In many cases, you can set up a better operating scenario that uses one of the other synchronization options. However, there may be occasions when you have an ADAT optical compatible device that has no way of synchronizing digitally to the 2408mk3 or an external synchronizer such as the Digital Timepiece. In this case, the Bank A/B/C Optical In setting lets you slave the 2408mk3 to the device itself via its digital input to the 2408mk3. Note: TDIF cant be used as a clock source Please note that TDIF cannot be used as a clock source. This is because the TDIF I/O format does not contain a stable clock source. Therefore, if you have selected TDIF as the audio format for one of the three banks, and you then try to choose ADAT optical from that bank as the clock source, the PCI Audio Console will alert you that it cannot use the TDIF input as a clock source.

Figure 6-6: Keep an eye on the PCI bus resources when using two or more audio interfaces.
The PCI Use status display tells you the approximate PCI bandwidth being used by the PCI-424 card for the currently enabled inputs and outputs. This display is mostly intended for expanded PCI-424 systems, which push the limits of the PCI bus itself. A higher number will alert you that there are a signicant number of inputs and outputs enabled, perhaps including the ones you are not currently viewing. While the theoretical maximum PCI bandwidth is 132 MB per second, there are no hard and fast rules for how much bandwidth is actually available on any given computer. Many factors come in to play, including the efciency of the bridge chip that controls the PCI bus and the number of other PCI devices on the bus competing for bandwidth. Practically speaking, most of todays personal
Figure 6-5: Check the Enable Routing check box (circled above) to expand the window. You can then disable (or enable) individual input and output pairs.
Remember: ADAT and TDIF banks show four channels (instead of eight) at sample rates higher than 48 kHz.
computers seem to have approximately 30-50 MB per second of PCI bandwidth for the 2408mk3 and other PCI cards in the computer.
By default, they mirror Bank A. To choose another bank, click the Interface Options button and choose the desired bank from the menu as shown above in Figure 6-7. Input Reference Level These settings let you specic the input reference level for the four analog input pairs on the 2408mk3 interface. The factory default setting is +4 dB. If an input signal sounds weak, try the -10 dB setting. Word Out Rate The Word Out Rate menu lets you either double or halve the current system word clock rate. If the current PCI-424 system word rate is a high sample rate (88.2 or 96 kHz), then the word clock output can either match it or operate at half the rate (44.1 or 48 kHz). If the current system word rate is a low sample rate (44.1 or 48 kHz), the word clock output can either match it or operate at twice the rate (88.2 or 96 kHz). 24I/O interface options Each 24I/O interface has the options shown below in Figure 6-8.
WAVE SUPPORT FOR LEGACY (MME) SOFTWARE
For complete Wave support while using applications which do not support WDM technology, check the Enable Full Wave Support for Legacy (MME) Software option. This option produces slightly less efcient operation, so only use it if your software is not WDM compatible.

SAVING AND RECALLING ROUTINGS
If you have several interfaces connected to your system, there are a lot of banks to congure in the middle portion of the PCI Audio Console window (one entire page for each). For your convenience, the Save button lets you save the current routing conguration (including the routing for the 2nd, 3rd and 4th interfaces, if you have them) so you can recall the conguration later on with an easy click of the Load button. Save the le in the standard fashion. Note that only the settings in the middle portion of the window (i.e. the input and output routings) are saved. The PCI-424 settings are not included as part of the conguration, as they are usually system-wide settings that you wont change very often.

CHAPTER 7

Cubase, Nuendo and other ASIO Software

PREPARATION

To make sure that everything is ready for Cubase, install Cubase rst (if you havent already done so), and then see these chapters before proceeding:
chapter 4, Installing the PCI-424 Hardware (page 27). chapter 3, Installing the PCI-424 Windows Software (page 25)
The PCI-424 system includes an ASIO driver that provides multi-channel I/O and sample-accurate synchronization with Steinbergs Cubase family of digital audio sequencers, including Cubase VST, Cubase SX and Nuendo. The 2408mk3 requires Cubase for Windows Version 3.553 or higher. Preparation.75 Run MOTU PCI Audio Console before Cubase 75 Choosing the PCI-424 driver in Cubase.76 Number of channels.76 Reducing delay when processing live inputs with plug-ins.76 Audio clock source.76 Other System dialog settings.77 Activating PCI-424 inputs.77 Assigning inputs.77 Assigning outputs.78 Changing PCI-424 settings.78 Synchronization.79 24-bit operation.81 Monitoring system performance.81
RUN MOTU PCI AUDIO CONSOLE BEFORE CUBASE
Before you run Cubase, launch the MOTU PCI Audio Console to congure your PCI-424 hardware. The MOTU PCI Audio Console lets you congure your audio interface, and it lets you enable the desired inputs and outputs. Only enabled inputs and outputs will be available to Cubase, so this is an important step. For complete details regarding the MOTU PCI Audio Console, see chapter 6, MOTU PCI Audio Console (page 63).
Figure 7-1: This example shows a 2408mk3 interface. Congure the three banks as you would like to use them in Cubase. Only activate the banks you really need, though, to conserve CPU and PCI bandwidth.

CUBASE, NUENDO AND OTHER ASIO SOFTWARE
OTHER SYSTEM DIALOG SETTINGS
Consult your Cubase or Nuendo documentation for details about the rest of the settings in this dialog.
ACTIVATING PCI-424 INPUTS
Once youve chosen the MOTU PCI-424 ASIO driver in the Audio System dialog, choose VST Inputs from the Panels menu (or the Devices menu in Cubase SX) to see the PCI-424 inputs. To activate them, click the Active light next to each input. The inputs that appear in the VST Inputs window correspond to the banks you enabled (or individual inputs you checked) in the MOTU PCI Audio Console, as shown in Figure 7-1 on page 75.
Figure 7-4: Activating PCI-424 inputs in Nuendo or Cubase SX.

ASSIGNING INPUTS

Once youve activated the PCI-424 system inputs as shown in the previous section, you can then assign them to Cubase or Nuendo audio channels in the channel mixers in the usual fashion.
Figure 7-3: Activating PCI-424 inputs in Cubase VST.
Figure 7-5: To assign a PCI-424 input to a Cubase VST audio channel: control-click the input button at the top of the channel strip. For Nuendo or Cubase SX, consult your documentation.

ASSIGNING OUTPUTS

As shown earlier in Figure 7-1 on page 75, any banks that you have enabled in the MOTU PCI Audio Console will be available in Cubase or Nuendo as outputs. In Cubase VST, these outputs appear in the VST Master Mixer window as output assignments for the master fader and busses, as shown below in Figure 7-6. In NuendoCubase SX, they appear in the VST Outputs window.
CHANGING PCI-424 SETTINGS
To change the PCI-424 settings at any time, go to the Audio System Setup window in Cubase VST or the Device Setup window in Nuendo or Cubase SX and click the ASIO Control Panel button, as shown in Figure 7-2 on page 76.
In Cubase VST, use the output buttons at the bottom of each channel strip, including the master fader, to assign PCI-424 outputs to busses. You can then assign channels in the VST Master Mixer window to each bus as desired.
In Nuendo or Cubase SX, access the PCI-424 outputs via the busses in the VST Outputs window.
Figure 7-6: Working with PCI-424 outputs in Nuendo or Cubase.

SYNCHRONIZATION

Cubase or Nuendo can run under its own transport control or slave to SMPTE time code. It can also perform sample-accurate digital audio transfers with Alesis digital recorders and Tascam family digital recorders. As you read through the following sections to decide what form of synchronization you might need with other devices in your studio, be sure to consult chapter 4, Installing the PCI-424 Hardware (page 27) for the proper hardware connections. Use the synchronization diagrams in that chapter to be clear about how you will be synchronizing Cubase to the other components of your system. Running Cubase or Nuendo under its own transport control If you do not need to synchronize Cubase or Nuendo with time code or another recording device, such as a tape deck, just leave its SMPTE time code synchronization features disabled. However, even though Cubase or Nuendo is not slaving to SMPTE time code, you still need to be concerned with the synchronization of the PCI-424 systems digital audio clock with other devices connected to it digitally (if any). For example, if you have a digital mixer connected to a 2408mk3 interface via an ADAT optical lightpipe cable, you need to make sure that their audio clocks are phase-locked. For details, see Syncing ADAT lightpipe devices on page 48 and Make sync connections on page 37. If you dont have any digital audio devices connected, digital audio phase-lock does not apply to you. Resolving Cubase or Nuendo and the PCI-424 to video and/or SMPTE time code If you need to slave Cubase or Nuendo and the PCI-424 system to video and/or SMPTE time code, you can do so with or without a dedicated synchronizer. SMPTE time code synchronization

Nuendo or Cubase SX

Figure 7-7: Setting up sample-accurate sync via ASIO 2.
Similarly, with the help of a MOTU Digital Timepiece universal A/V synchronizer, Cubase (or Nuendo) and a 2408mk3-based PCI-424 system can perform sample-accurate transfers with Tascam digital recorders. A sample-accurate transfer is one in which the original location of the audio is preserved in the transfer, down to the sample. For details on how to connect your hardware for sample-accurate sync, see Sample-accurate sync on page 39. Then, set up Cubase as follows: 1 Choose PCI-424: ADAT as the Audio Clock Source setting. In Cubase VST, this setting is in the Audio System Setup window (Audio menu). In Nuendo or Cubase SX, this setting is in the Device Setup window (Options menu). 2 Go to Cubase or Nuendos Synchronization window, as shown below:
3 If you are not using an MMC-compatible synchronizer (such as a MOTU MIDI Timepiece AV, Digital Timepiece or Alesis BRC), choose the settings shown above in Figure 7-7 that applies to you. In this scenario, transport control is handled by the ADAT (or other sample-accurate sync source). 4 If you are using an MMC-compatible synchronizer (such as a MOTU MIDI Timepiece AV, Digital Timepiece or Alesis BRC), set Cubase VSTs Sync Source Timecode Base to ASIO 2.0 MMC or enable Nuendos (or Cubase SXs) MIDI Machine Control option. In addition, choose the appropriate MIDI port for the MMC synchronizer from VSTs Output menu or Nuendo/ SXs MIDI machine Control MIDI Output menu. If youre using a MIDI Timepiece AV, you can choose any of its MIDI ports in this menu. Doing so makes Cubase or Nuendo send the MMC control messages to the MTP AV (or other MMC device). In this scenario, transport control is handled by Cubase or Nuendo itself.
5 In Cubase VSTs Controls window, enable SYNC. In Nuendo or Cubase SX, enable (check) the Sync Online command in the Transport menu.
MONITORING SYSTEM PERFORMANCE
Because it has so many inputs and outputs, the PCI-424 system pushes the limits of your computers processing power. Keep the VST Performance window open to keep tabs on the load on your CPU and disk buffers. If the meters get too high, you can reduce the load by reducing the number of inputs and outputs you are working with. Use the MOTU PCI Audio Console to uncheck input check boxes and set output source menus to None.
Figure 7-8: Enabling the SYNC button.

CHOOSING INPUTS AND OUTPUTS
Use the MOTU PCI Audio Console application to congure the audio interface inputs and outputs for your MOTU audio interface. For example, if you have a 2408mk3 interface, you need to congure the three 2408mk3 format banks as desired. You also use the MOTU PCI Audio Console to make other important 2408mk3 settings, such the 2408mk3s clock source, and others.
Figure 8-2: The PCI-424 systems inputs and outputs appear in the Audio Options window under the Drivers tab. If you highlight them, they appear in the track input and port menus for each track.
Figure 8-3: Make sure you have chosen a PCI-424 input and output for the playback and record timing master settings.

SONAR AUDIO SETTINGS

Only a few of Sonars audio settings require specic settings for the PCI-424 system. Playback/Record Timing Master In the Audio Options window, under the General tab, be sure to choose a PCI-424 output and input for playback and recording timing. It doesnt matter which input or output you choose. Consult your Sonar documentation for the other settings in the General tab of the Audio Options window.
The Wave Proler If you see the alert shown below in Figure 8-4 when launching Sonar, go to the Audio Options window (Figure 8-3) and click the Wave Proler button. Doing so adjust the DMA buffers, and other settings, so that Sonar can successfully use all PCI-424 inputs and outputs.
Figure 8-4: Recommended Advanced settings.
SONAR AND OTHER WDM SOFTWARE
OTHER WDM AUDIO COMPATIBLE SOFTWARE
The PCI-424 system can be used with any WDM audio-compatible audio software. Use the MOTU PCI Audio Console application to congure PCI-424 hardware as described earlier in this chapter in Choosing inputs and outputs on page 83. Then consult the documentation for your audio software.
The MOTU PCI WDM driver provides legacy Wave driver support for MME-compatible audio software. For details, see Wave support for legacy (MME) software on page 70.
A NOTE TO SOUND FORGE USERS
If the Smooth Scroll option under the Options menu is turned on, you may experience clicks and pops or other anomalies in audio playback. This gets worse as you zoom in more to the waveform while playing. For the best quality playback, turn this option off.

2408mk3 #1

2408mk3 #2

2408mk3 #3

24I/O (on Audio Wire port #4)
Working with input and output menus With multiple interfaces connected, input and output menus show all available ports on all interfaces, as demonstrated below in Figure 9-3. If interfaces are congured to share the same type of I/O format (analog, for example), their outputs are labeled with the bank letter (A, B or C) and interface name, along with numbered sufxes (e.g. 2408mk3-1, 2408mk3-2, etc.) according to the order in which they are connected to the PCI-424 card as shown in Figure 9-1 on page 87. Notice that in the example below, the second 2408mk3 interface is congured for three ADAT banks, but since no other interface is congured for the ADAT format, the interface name is not included in the name of the input or output.
Figure 9-3: Input and output menus show the ports of all connected interfaces. In this example, there are three 2408mk3 interfaces and one 24I/O interface.
CUEMIX DSP ROUTING AMONG INTERFACES
The PCI-424 card, with its CueMix DSP engine, ties all connected audio interfaces together, allowing them to act as a massive audio routing matrix for mixing, merging, splitting and routing to/from all connected inputs and outputs. You can route any input to any output, create multiple mix busses and mix inputs to outputs across all interfaces. For details, see chapter 11, CueMix Console (page 97).
EXPANDING YOUR PCI-424 SYSTEM
SYNCHRONIZING MULTIPLE INTERFACES
The entire PCI-424 system gets its clock from whatever you choose from the Clock Source menu in the MOTU PCI Audio Console window. Synchronization across all connected interfaces is sample-accurate. All available sync sources on all connected interfaces are displayed in the menu as demonstrated below in Figure 9-4.
Word clock connections are not necessary Each MOTU PCI audio interface in the system gets its clock from the Audio Wire cable connection to the PCI-424 card (unless it is the master clock itself). There is no need to make word clock connections between interfaces.

SAMPLE RATE ISSUES

While the PCI-424 card can operate at sample rates as high as 192 kHz, not all MOTU PCI audio interfaces support the higher rates. When choosing high sample rates (above 48 kHz) interfaces that do not support the rate will be temporarily taken off line by the system. For complete details, see Clock Source on page 64.

PCI BANDWIDTH ISSUES

Attempting to run 96 channels of 96 kHz audio input and output (thats 192 channels total) places extreme demands on your computers PCI bus. Todays fastest computers can just barely handle this much data on their PCI bus. Slower computers will lower the number of banks you can use at one time. See Disabling banks to conserve resources on page 68 and PCI use on page 69 to learn more about managing your systems PCI resources.

Secondly, CueMix DSP imposes no strain on the computer.
The trade-off, however, is that CueMix DSP bypasses your host audio software. Instead, live audio inputs are patched directly through to outputs in the PCI-424 card itself and are mixed with disk tracks playing back from your audio software. This means that you cannot apply plug-ins, mix automation, or other real-time effects that your audio software provides. But for inputs that dont need these types of features, CueMix DSP is the way to go.
Note to PCI-324 users who have upgraded to a PCI-424 system: CueMix DSP monitoring in Cubase no longer affects the settings in CueMix Console. Instead, you now enjoy the benets of CueMix DSP monitoring in Cubase, plus separate, independent mixing under CueMix Console, thanks to the much more powerful CueMix DSP engine. Other ASIO-compatible host software If your ASIO-compatible host audio software supports ASIOs direct monitoring feature, consult your software documentation to learn how to enable this feature. Once enabled, it should work similarly as described for Cubase (as explained in the previous section).
Using CueMix DSP with WDM- or Wavecompatible software Run CueMix Console (chapter 11, CueMix Console (page 97)) and use it to route live inputs directly to outputs, control their volume and panning, etc. If necessary, you can save your CueMix Console setup with your project le. Using CueMix Console If you are not using ASIO compatible software, or if your host audio software does not support ASIOs direct hardware monitoring features, you can set up your monitor mix in CueMix Console. CueMix Console allows you to set up monitor mixes, or any other desired routing congurations, that are independent of your host audio software. See chapter 11, CueMix Console (page 97).

CHAPTER 11

Advantages of CueMix monitoring. 98 CueMix Console installation. 98 Cuemix Console basic operation. 98 Working with a mix. 98 Shortcuts. 99 Copying & pasting (duplicating) entire mixes. 99 Message center. 99 Global mute and trim. 99 Saving and loading CueMix congurations.100 Managing CueMix DSP resources.100 CueMix Console examples.101

MOTU PCI Audio Software Update Notes

ABOUT THIS DOCUMENT

This document provides information about new features in MOTU PCI Audio Console and CueMix Console that are not documented in your PCI-424 system manual.
Panther compatibility.1 Default stereo input/output.1 Input and output naming.1 Talkback and Listenback.1 Control Surfaces menu.3

INPUT AND OUTPUT NAMING

You can now edit the names of the inputs as they are displayed in the CueMix Console window. To change an input name, click it and then type the new name as demonstrated below in Figure 2:

PANTHER COMPATIBILITY

The MOTU PCI audio driver and console software is now fully compatible with Mac OS X Version 10.3 (code-named Panther) and higher.
DEFAULT STEREO INPUT/OUTPUT
Apples Audio MIDI Setup utility lets you choose a default stereo input and output for any audio being recorded or played by Mac OS X applications such as iTunes, iMovie or DVD Player. In Jaguar (Mac OS X Version 10.2.x), you can choose your MOTU audio interface for default audio input and output, but you are restricted to using only channels 1-2. Under Panther (Mac OS X 10.3 or later), the MOTU PCI Audio Console lets you specify any input or output pair you wish.
Figure 2: Changing an input name.
You can also change both input and output names by choosing Edit Channel Names from the CueMix Console File menu or by clicking the Edit Channel Names button in the MOTU PCI Audio Console.
Figure 3: Editing channel names via the Edit Channels Names button in the MOTU PCI Audio Console.
Note: these menus only appear in Panther (Mac OS X Version 10.3) or when QuickTime 6.4 or later is installed.

TALKBACK AND LISTENBACK

CueMix Console now provides Talkback and Listenback buttons. Talkback allows an engineer in the control room to temporarily dim all audio and talk to musicians in the live room. Conversely, Listenback allows musicians to talk to the control room. Hardware setup Figure 4 below shows a typical hardware setup for Talkback and Listenback. For Talkback, set up a dedicated mic in your control room and connect it (via a mic preamp of some kind) to any input on your PCI-424 system. For Listenback, set up a dedicated
Figure 1: Choose the Default Stereo Input and Output in the interface tab, as shown here for the 2408mk3. This feature is available for any MOTU PCI audio interface, including PCI-324 interfaces.
listenback mic in the live room for the musicians and connect it to another input. For talkback output, set up a headphone distribution amp or set of speakers in the live room, and connect it to any pair of outputs. For example, you might connect a headphone distribution amp to outputs 7-8 on a 2408mk3, as demonstrated below.
Control room Talkback mic
Talkback / Listenback Mic Input Choose the PCI-424 input to which your Talkback and/or Listenback mic is connected. These inputs are labeled with a purple and blue swatch, respectively, just above the channel fader.
These labels identify the Talkback and Listenback mic inputs.

mic preamp Main outs

Outs 7-8 mic preamp Live room Headphone distribution amp
Figure 6: The purple label identies the Talkback mic input; the blue label indicates the Listenback mic. Use the input fader to control the mic volume.
Talkback / Listenback Monitor Dim Choose the amount of attenuation you would like to apply to all other audio signals (besides the talkback volume) when Talkback and/or Listenback is engaged. To completely silence all other audio, move the slider all the way to the left (-Inf). Talk / Listen signal routing As shown in Figure 5, check the boxes next to the outputs on which youd like to hear the Talkback mic and/or Listenback mic. For example, as demonstrated in the diagram in Figure 4, to hear the Talkback mic on the headphones in the live room, check the Anlg 7-8 check box in the Talk column as demonstrated in Figure 5. To hear the Listenback mic on the main monitors in the control room, check the Anlg 1-2 check box in the Listen column, also demonstrated in Figure 5. Engaging/disengaging Talkback and Listenback To engage Talk back or Listenback, press on the Talk or Listen buttons and then release to disengage. Talkback and/or Listenback is engaged for as long as you hold down the mouse button. Option-click to make the buttons sticky (stay engaged until you click them again so you dont have to hold down the mouse). If you would like to engage both Talkback and Listenback at the same time, enable the Link button.

Figure 4: Typical hardware setup for Talkback and Listenback.
CueMix Console setup To set up Talkback and/or Listenback in CueMix Console, choose File menu> Talkback settings> Congure Talkback/Listenback to open the window shown in Figure 5:
Figure 5: Conguring Talkback and Listenback. Figure 7: The Talkback and Listenback buttons. MOTU PCI AUDIO UPDATE NOTES 2
Controlling Talkback and Listenback volume To control the volume of the Talkback and/or Listenback mics, adjust their input fader in CueMix Console. This fader controls the volume of the input, regardless of which bus mix is being displayed in the CueMix Console window. In other words, once an input has been designated as a Talkback or Listenback input, its fader becomes global for all CueMix buses.
Enabled Check this menu item to turn on control surface operation of CueMix Console. Uncheck it to turn off control surface support. Congure Choose this menu item to congure your control surface product. Launch the on-line help for specic, detailed instructions for conguring CueMix Console for operation with your control surface product.

CONTROL SURFACES MENU

CueMix Console can now be controlled from an automated control surface such as the Mackie Control. Use the commands in the new Control Surfaces menu to enable and congure this feature. Application follows control surface When checked, the Application follows control surface menu command makes the CueMix Console window scroll to the channel you are currently adjusting with the control surface, if the channel is not visible when you begin adjusting it. The same is true for the bus tabs: if you adjust a control in a bus that is not currently being displayed, CueMix Console will jump to the appropriate tab to display the control you are adjusting. Share surfaces with other applications When the Share surfaces with other applications menu command is checked, CueMix Console releases the control surface when you switch to another application. This allows you to control your other software with the control surface. Heres a simple way to understand this mode: the control surface will always control the front-most application. Just bring the desired application to the front (make it the active application), and your control surface will control it. When youd like to make changes to CueMix Console from the control surface, just bring CueMix Console to the front (make it the active application). When this menu item is unchecked, your control surface will affect CueMix Console all the time, even when CueMix Console is not the front-most application. In addition, you will not be able to control other host audio software with the control surface at any time (because CueMix Console retains control over it at all times). This mode is useful when you do not need to use the control surface with any other software. Mackie Control Surfaces CueMix Console includes support for the following control surface products:

Figure 8: Refer to the extensive on-line help for details about conguring CueMix Console for operation with your control surface product.
Other HUI-compatible control surfaces Any control surface that has the ability to emulate a HUI should be compatible with CueMix Console. Just add a Mackie HUI to Audio MIDI Setup and put the control surface hardware into HUI emulation mode. Consult the manual for the control surface for details about how put it into HUI emulation mode. Other control surface hardware products If you install other control surface drivers written for CueMix Console, they will appear as separate menu items at the bottom of the Control Surfaces menu, with the same sub-menu items described above.
Mackie Control Mackie HUI Mackie Baby HUI
Use the sub-menu commands in the Mackie Control Surfaces menu item to turn on and congure control surface support, as described briey below.
MOTU PCI AUDIO UPDATE NOTES
2004 Mark of the Unicorn, Inc.