HDSP MADI

128-channel 96 kHz

MADI PCI Card

Overview
The Hammerfall DSP MADI is RMEs both inexpensive and outstanding PCI card with MADI interface. Hammerfall DSP MADI is based on the award-winning Hammerfall DSP technology, and represents the top model of this world-wide successful card line. The PCI card consequently uses all advantages of the MADI format: MADI, the professionals multi-channel audio interface, offers 64 channels of 24-Bit audio at a sample rate of up to 48 kHz and 32 channels at up to 96 kHz. Transmission is done via a single line, either coaxial with BNC plugs or with fiber cable. In both cases more than 100 m cable length can be achieved. HDSP MADI is fully compatible to all devices with MADI interface. In combination with the ADI-648 an 8 x ADAT optical PC interface is realized, unbeatable in price and performance. With the ADI-6432 a bidirectional AES/EBU frontend with 64 channels is available. On a powerful PC/Mac two HDSP MADI can be used in a combination, providing 128 inputs and 128 outputs on a single workstation simultaneously. RME also offers a PCI Express version: (HDSPe MADI).

Connectivity

1 x MADI I/O (optical and coaxial) 2 x MIDI I/O Stereo Analog Out Word Clock I/O

Features

MADI Multinorm MADI Dual I/O MIDI over MADI Instant Memory Intelligent Clock Control TotalMixTM RME Remote SteadyClockTM SyncCheckTM QuickBoot MeterBridge DigiCheck ZLMTM MultiSync Redundancy
Studiomagazin 12/2003. the most innovative I/O solution in the moment.
Engineered and Made in Germany

PREMIUM LINE

Hammerfall DSP MADI offers full support for 56 and 64 channel modes and double and single wire technology (96k frame) for 96 kHz. Full 64 channel support can also be found in the hardware mixer TotalMix. All 64 inputs and 64 playback channels can be routed and mixed to 64 physical outputs completely freely, which translates to a 8192 channel mixer. With that, Hammerfall DSP MADI offers the most powerful router/mixer ever implemented on a PCI card, and allows much more than a usage as pure computer I/O unit: - MADI optical patchbay and router - MADI coaxial/optical or vice versa converter and splitter - MADI redistributor, patchbay and router TotalMix can be completely remote controlled via MIDI. Furthermore, the hardware delivers RMS and peak level meters for full control over 192 audio channels at minimal CPU load. While most MADI-based devices require an additional word clock or AES line, the Hammerfall DSP MADI (like the ADI-648) uses SteadyClock(TM) to extract the reference clock at lowest jitter directly from the MADI signal, making long-distance connections even more convenient. As usual with RME, Hammerfall DSP MADI offers further sensible features. For instance an analog 24-Bit/96kHz line/headphone output with 110 dB dynamic range for direct control of all input and output signals. The included expansion board carries word clock I/O (BNC) and MIDI I/O. The word clock input is galvanically isolated via transformer and operates on both single and double speed signals automatically. MIDI I/O offers two completely independent MIDI inputs and outputs via breakout cable (4 DIN sockets). A virtual MIDI port allows for a direct transmission of MIDI data over MADI. For the first time, RME uses a configuration memory for the most important settings of the card. Instead of operating in a default mode on computer power-up until loading the driver, Hammerfall DSP MADI activates the last used sample rate, master/slave configuration and MADI format immediately when switched on. This eliminates disturbing noises and clock network problems during power-up or re-boot of the computer. Included software: - DIGICheck for Windows: Spectral Analyser, professional level meter for 2, 8, or 64 channels, Vector Audio Scope, various other audio analysis tools. - Drivers: Windows 2000/XP/Vista/64 (full ASIO multi-client operation of MME, GSIF 2.0 and ASIO 2.0, WDM), Mac OS X (Core Audio and Core MIDI).

Settings

Just click on the hammer symbol in the systray of the taskbar and the settings dialog of the HDSP MADI comes up. The clear structured, easy to understand window plus the unique informative status windows for input signal, clock mode and sample rate make your work with Hammerfall DSP to a real pleasure. When working with several digital sources it is not only necessary to know if these are properly locked, but also if they are totally synchronized. RMEs exclusive SyncCheck checks all input signals and displays their actual state, and thanks to our new Intelligent Clock Control (ICC) concept you have all clocks and states under control - with ease. SteadyClock(TM), RMEs unique sync and clock technology allows the HDSP MADI to control the sample rate freely on its own. The settings dialog includes a direct choice of the video and audio worlds most often used sample rates. Additionally, two faders can be used to set the sample rate freely and in real-time, within the range of +/- 4% and +/- 0.4%. Up to 3 HDSP MADI and HDSP AES-32 can be used simultaneously. With this up to 192 inputs and 192 outputs are available at 48 kHz, 96 inputs and 96 outputs at 96 kHz.

Tech Specs

8 buffer sizes/latencies available: 1.5 ms, 3 ms, 6 ms, 12 ms, 23 ms, 46 ms, 93 ms, 186 ms ASIO zero CPU load technology: 0 (zero!)% CPU load when using ALL 128 channels! All settings changeable in realtime Clock modes slave and master Automatic and intelligent master/slave clock control Enhanced Zero Latency Monitoring for latency-free submixes and perfect ASIO Direct Monitoring Sync sources: MADI coaxial, MADI optical, word clock, internal Varipitch: by input signal or word clock Sample rates: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, variable (Sync/word clock) Sample Rate Range: MADI: 32 kHz - 96 kHz, word clock: 27 kHz-105 kHz Jitter: < 1 ns, internal and all inputs Jitter sensitivity: PLL operates even at 100 ns Jitter without problems Comes with DIGICheck: the ultimate measurement, analysis and test tool Input MADI optical, MADI coaxial (BNC), 2 x MIDI, word clock (BNC) Output MADI optical, MADI coaxial (BNC), 2 x MIDI, word clock (BNC), stereo analog line/phones Input Word Clock: BNC, Signal Adaptation Circuit (functional from 1.2 Vpp input signal), switchable termination Output Word Clock: BNC, low-impedance driver stage, 4 Vpp into 75 Ohms, short-circuit-proof MIDI input and output: via four 5-pin DIN jacks

Worldwide Distribution

Am Pfanderling 60. 85778 Haimhausen. Germany Tel.: +49-08133-91810 Fax: +49-08133-9166

www.rme-audio.de

This product has been soldered lead-free and fulfils the requirements of the RoHS directive.

ISO 9001

This product has been manufactured under ISO 9001 quality management. The manufacturer, IMM Elektronik GmbH, is also certified for ISO 14001 (Environment) and ISO 13485 (medical devices).

Note on Disposal

According to the guide line RL2002/96/EG (WEEE Directive on Waste Electrical and Electronic Equipment), valid for all european countries, this product has to be recycled at the end of its lifetime. In case a disposal of electronic waste is not possible, the recycling can also be done by IMM Elektronik GmbH, the manufacturer of the HDSP MADI. For this the device has to be sent free to the door to: IMM Elektronik GmbH Leipziger Strae 32 D-09648 Mittweida Germany Shipments not prepaid will be rejected and returned on the original sender's costs.

10. Driver and Firmware

10.1 Driver Installation
After the HDSP MADI has been installed correctly (see 5. Hardware Installation), and the computer has been switched on, Windows will recognize the new hardware component and start its Hardware Wizard. Insert the RME Driver CD into your CD-ROM drive, and follow further instructions which appear on your computer screen. The driver files are located in the directory \WDM on the RME Driver CD. Windows will install the Hammerfall DSP System driver, and will register the card in the system as a new audio device. After a reboot the HDSP MADI is ready for use. In case the warning messages 'Digital signature not found', 'Do not install driver', 'not certified driver' or similar come up: simply ignore them and continue with the installation. In case the Hardware Wizard does not show up automatically after installation of the card, do not attempt to install the drivers manually! An installation of drivers for non-recognized hardware will cause a blue screen when booting Windows! In Windows 7 Microsoft removed the automatic start of the Driver Software Update dialog. Therefore this dialog has to be started manually after the failed driver installation. Hit the Win key, type 'Device Manager', start the Device Manager by selecting it from the list and hit Enter. The device is shown with a yellow warning symbol. Usually it is already found in the correct category, Sound, Video and Game Controller (Plug & Play detects a multimedia device). Right click on the device and select 'Update Driver Software' from the context menu. The dialog Update Driver Software appears. Now follow the instructions given below.

10.2 Driver Update

When facing problems with the automatic driver update, the user-driven way of driver installation will work. Under >Control Panel /System /Device Manager /Sound, Video and Game Controllers /RME Hammerfall DSP MADI /Properties /Driver< you'll find the 'Update Driver' button. XP: Select 'Install from a list or specific location (advanced)', click 'Next', select 'Don't search I will choose the driver to install', click 'Next', then 'Have Disk'. Now point to the driver update's directory. Vista/7: Select 'Browse my computer for driver software', then 'Let me pick from a list of device drivers from my computer', then 'Have Disk'. Now point to the driver update's directory. This method also allows for the installation of older drivers than the currently installed ones.

DDS Activates all settings of this dialog. Value Shows the sample rate as adjusted in this dialog. The sample rate is defined by the basic setting (frequency), the multiplier, and the position of the activated fader. Frequency Sets a fixed basic sample rate, which can be modified by multiplier and fader. Freq. Multiplier Changes the basic sample rate into Single, Double or Quad Speed mode. Coarse Fader for coarse modification of the basic sample rate. Click Active to activate it. Minimum step size 1 Hz. Fine Fader for fine modification of the basic sample rate. Click Active to activate it. Minimum step size 1 Hz.
Notes on the faders A mouse click within the fader area, above or below the fader know, will move the fader with the smallest step size up or down. Holding the Ctrl key while clicking will cause the fader to jump to its center (0) position.
11.3 Clock Modes - Synchronisation
AutoSync The HDSP MADI has been equipped with AutoSync, an automatic clock source selection, which adopts the first available input with a valid digital signal as the clock reference input. The input currently used as sync reference is shown in the AutoSync Ref status field, together with its current sample frequency. AutoSync guarantees that normal record and record-while-play will always work correctly. In certain cases however, AutoSync may cause feedback in the digital carrier, so synchronization breaks down. To remedy this, switch the HDSPs clock mode over to 'Master'. Via Pref. Sync Ref (preferred synchronization reference) a preferred input can be defined. As long as the card sees a valid signal there, this input will be designated as the sync source, otherwise the other inputs will be scanned in turn. If none of the inputs are receiving a valid signal, the card automatically switches clock mode to Master. Thanks to its AutoSync technique and lightning fast PLLs, the HDSP is not only capable of handling standard frequencies, but also any sample rate between 28 and 105 kHz. Even the word clock input, which most users will use in varispeed operation, allows any frequency between 28 kHz and 105 kHz.

ASIO-Multiclient RME audio interfaces support ASIO multi-client operation. It is possible to use more than one ASIO software at the same time. Again the sample rate has to be identical, and each software has to use its own playback channels. Again the inputs can be used simultaneously. RME's sophisticated tool DIGICheck is an exception to this rule. It operates like an ASIO host, using a special technique to access playback channels already occupied. Therefore DIGICheck is able to analyse and display playback data from any software, no matter which format the software uses. Multi-Client and Multi-Channel using WDM The WDM Streaming devices of our driver can operate as usual stereo devices, or as 8-channel devices. The option Interleaved in the Settings dialog determines the current mode. Interleaved not active: The WDM devices operate as usual stereo devices. The multi-client operation works as described above with WDM, ASIO and GSIF. Interleaved active: The WDM devices can also be used as 8-channel devices. Unfortunately the Kernel Mixer, active with any WDM playback, then always occupies and blocks 8 channels at once, even when WaveLab or the Media Player perform just a stereo playback (2 channels). So: If the Loudspeaker device is used, the whole 8-channel group is blocked. As a result, no second stereo pair of this group can be used, neither with ASIO nor GSIF. Starting ASIO or GSIF playback on any of the stereo pairs of an 8-channel group prior to starting a WDM playback will prevent the Kernel Mixer from opening the 8-channel device, as two of its channels are already in use. The Kernel Mixer then automatically reverts to opening a stereo device for a stereo playback. An 8-channel playback using the Windows Media Player requires the speaker setup 7.1 Surround. Configure as follows: XP: >Control Panel /Sounds and Multimedia /Audio /Volume /Speaker Settings /Advanced < Vista/7: >Control Panel /Sound /Playback /Loudspeaker /Configure <

12.5 Digital Recording

Unlike analog soundcards which produce empty wave files (or noise) when no input signal is present, digital I/O cards always need a valid input signal to start recording. To take this into account, RME has included a comprehensive I/O signal status display (showing sample frequency, lock and sync status) in the Settings dialog. The sample frequency shown in the Settings dialog (see chapter 11, screenshot Settings) is useful as a quick display of the current configuration (the box itself and all connected external equipment). If no sample frequency is recognized, it will read No Lock. This way, configuring any suitable audio application for digital recording is simple. After selecting the required input, HDSP MADI displays the current sample frequency. This parameter can then be changed in the applications audio attributes (or similar) dialog. The screenshot to the right shows a typical dialog used for changing basic parameters such as sample frequency and resolution in an audio application. Any bit resolution can be selected, providing it is supported by both the audio hardware and the software. Even if the input signal is 24 bit, the application can still be set to record at 16-bit resolution. The lower 8 bits (and therefore any signals about 96dB below maximum level) are lost entirely. On the other hand, there is nothing to gain from recording a 16-bit signal at 24-bit resolution this would only waste precious space on the hard disk. It often makes sense to monitor the input signal or send it directly to the output. This can be done at zero latency using TotalMix (see chapter 24). An automated control of real-time monitoring can be achieved by Steinbergs ASIO protocol with our ASIO 2.0 drivers and all ASIO 2.0 compatible programs. When 'ASIO Direct Monitoring' has been switched on, the input signal is routed in real-time to the output whenever a recording is started (punch-in).

13. Operation under ASIO

13.1 General
Start the ASIO software and select ASIO Hammerfall DSP as the audio I/O device. The 'ASIO system control' button opens the HDSP's Settings dialog (see chapter 11, Configuration). At a sample rate of 88.2 or 96 kHz (Double Speed mode), the number of channels available at the MADI input and output is halved.

15. Using multiple Hammerfall DSP
The current driver supports operation of up to three HDSP MADI. All cards of the HDSP and HDSPe system use the same driver, therefore can be used at the same time. All units have to be in sync, i.e. have to receive valid sync information either via word clock or by using AutoSync and feeding synchronized signals. If one of the HDSP systems is set to clock mode Master, all others have to be set to clock mode AutoSync, and have to be synced from the master, for example by feeding word clock. The clock modes of all units have to be set up correctly in their Settings dialog. If all units are fed with a synchronous clock, i.e. all units show Sync in their Settings dialog, all channels can be used at once. This is especially easy to handle under ASIO, as the ASIO driver presents all units as one.
Note: TotalMix is part of the hardware of each HDSP system. Up to three mixers are available, but these are separated and can't interchange data. Therefore a global mixer for all units is not possible.

16. DIGICheck

The DIGICheck software is a unique utility developed for testing, measuring and analysing digital audio streams. Although this software is fairly self-explanatory, it still includes a comprehensive online help. DIGICheck 5.2 operates as multi-client ASIO host, therefore can be used in parallel to any software with both inputs and outputs (!). The following is a short summary of the currently available functions: Level Meter. High precision 24-bit resolution, 2/8/64 channels. Application examples: Peak level measurement, RMS level measurement, over-detection, phase correlation measurement, dynamic range and signal-to-noise ratios, RMS to peak difference (loudness), long term peak measurement, input check. Oversampling mode for levels higher than 0 dBFS. Vertical and horizontal mode. Slow RMS and RLB weighting filter. Supports visualization according to the K-system. Hardware Level Meter for Input, Playback and Output. As above, received pre-calculated directly from the HDSP system hardware with near zero CPU load. Spectral Analyser. World wide unique 10-, 20- or 30-band display in analog bandpass-filter technology. 192 kHz-capable! Vector Audio Scope. World wide unique Goniometer showing the typical afterglow of an oscilloscope-tube. Includes Correlation meter and level meter. Surround Audio Scope. Professional Surround Level Meter with extended correlation analysis. Totalyser. Spectral Analyser, Level Meter and Vector Audio Scope in a single window. Bit Statistics & Noise. Shows the true resolution of audio signals as well as errors and DC offset. Includes Signal to Noise measurement in dB and dBA, plus DC measurement. Channel Status Display. Detailed analysis and display of SPDIF and AES/EBU Channel Status data. Global Record. Long-term recording of all channels at lowest system load. Completely multi-client. Open as many measurement windows as you like, on any channels and inputs or outputs! To install DIGICheck, go to the \DIGICheck directory on the RME Driver CD and run setup.exe. Follow the instructions prompted on the screen. DIGICheck is constantly improved. The latest version is always found on our website www.rme-audio.de, section Downloads / DIGICheck.

The received word clock signal can be distributed to other devices by using the word clock output. With this the usual T-adapter can be avoided, and the HDSP MADI operates as Signal Refresher. This kind of operation is highly recommended, because input and output are phase-locked and in phase (0) to each other SteadyClock removes nearly all jitter from the input signal the exceptional input (1 Vpp sensitivity instead of the usual 2.5 Vpp, dc cut, Signal Adaptation Circuit) plus SteadyClock guarantee a secure function even with highly critical word clock signals the Expansion Board provides two word clock outputs with separated driver stages
Thanks to a low impedance, but short circuit proof output, the HDSP MADI delivers 4 Vpp to 75 Ohms. For wrong termination with 2 x 75 Ohms (37.5 Ohms), there are still 3.3 Vpp fed into the network per output!
23.2 Technical Description and Usage
In the analog domain one can connect any device to another device, a synchronization is not necessary. Digital audio is different. It uses a clock, the sample frequency. The signal can only be processed and transmitted when all participating devices share the same clock. If not, the signal will suffer from wrong samples, distortion, crackle sounds and drop outs. AES/EBU, SPDIF, ADAT and MADI are self-clocking, an additional word clock connection in principle isn't necessary. But when using more than one device simultaneously problems are likely to happen. For example any self-clocking will not work in a loop cabling, when there is no 'master' (main clock) inside the loop. Additionally the clock of all participating devices has to be synchronous. This is often impossible with devices limited to playback, for example CD players, as these have no SPDIF input, thus can't use the self clocking technique as clock reference. In a digital studio synchronisation is maintained by connecting all devices to a central sync source. For example the mixing desk works as master and sends a reference signal, the word clock, to all other devices. Of course this will only work as long as all other devices are equipped with a word clock or sync input, thus being able to work as slave (some professional CD players indeed have a word clock input). Then all devices get the same clock and will work in every possible combination with each other. Remember that a digital system can only have one master!

Word clock signals are usually distributed in the form of a network, split with BNC T-adapters and terminated with resistors. We recommend using off-the-shelf BNC cables to connect all devices, as this type of cable is used for most computer networks. You will find all the necessary components (T-adapters, terminators, cables) in most electronics and/or computer stores. The latter usually carries 50 Ohms components. The 75 Ohms components used for word clock are part of video technology (RG59). Ideally, the word clock signal is a 5 Volt square wave with the frequency of the sample rate, of which the harmonics go up to far above 500 kHz. To avoid voltage loss and reflections, both the cable itself and the terminating resistor at the end of the chain should have an impedance of 75 Ohm. If the voltage is too low, synchronization will fail. High frequency reflection effects can cause both jitter and sync failure. Unfortunately there are still many devices on the market, even newer digital mixing consoles, which are supplied with a word clock output that can only be called unsatisfactory. If the output breaks down to 3 Volts when terminating with 75 Ohms, you have to take into account that a device, of which the input only works from 2.8 Volts and above, does not function correctly already after 3 meter cable length. So it is not astonishing that because of the higher voltage, word clock networks are in some cases more stable and reliable if cables are not terminated at all. Ideally all outputs of word clock delivering devices are designed with very low impedance, but all word clock inputs with high impedance, in order to not weaken the signal on the chain. But there are also negative examples, when the 75 Ohms are built into the device and cannot be switched off. In this case the network load is often 2 x 75 Ohms, and the user is forced to buy a special word clock distributor. Note that such a device is generally recommended for bigger studios. The HDSP MADI's word clock input can be high-impedance or terminated internally, ensuring maximum flexibility. If termination is necessary (e.g. because the card is the last device in the chain), activate the switch TERM between the BNC jacks on the Expansion Board so that the yellow TERM LED lights up (see chapter 23.1). In case the HDSP MADI resides within a chain of devices receiving word clock, plug a Tadapter into its BNC input jack, and the cable supplying the word clock signal to one end of the adapter. Connect the free end to the next device in the chain via a further BNC cable. The last device in the chain should be terminated using another T-adapter and a 75 Ohm resistor (available as short BNC plug). Of course devices with internal termination do not need T-adaptor and terminator plug. Due to the outstanding SteadyClock technology of the HDSP MADI, we recommend not to pass the input signal via T-adapter, but to use the card's word clock output instead. Thanks to SteadyClock, the input signal will both be freed from jitter and - in case of loss or drop out be reset to a valid frequency.

24.6 Mute und Solo

Mute operates pre-fader, thus mutes all currently active routings of the channel. As soon as any Mute button is pressed, the Mute Master button lights up in the Quick Access area. With this all selected mutes can be switched off and on again. You can comfortably make mute-groups or activate and deactivate several Mutes simultaneously. The same holds true for the Solo and the Solo Master buttons. As with conventional mixing desks, Solo operates only for the output defined as Monitor Main, as a solo-in-place, post fader. As soon as one Solo button is pressed, the Solo Master button lights up in the Quick Access area. With this all selected Solos can be switched off and on again. You can comfortably make solo-groups or activate and deactivate several Solos simultaneously.
24.7 The Quick Access Panel
This section includes additional options, further improving the handling of TotalMix. The Master buttons for Mute and Solo have already been described, they allow for group-based working with these functions. In the View section the single mixer rows can be made visible or invisible. If the inputs are not needed for a pristine playback mix, the whole upper row falls out of the picture after a click on the Input button. If the hardware outputs don't interest you either, the window can thus be reduced to the playback channels to save space. All combinations are possible and allowed. As described earlier, Submix sets all routing windows to the same selection. Deactivating Submix automatically recalls the previous view. The mixer can be made smaller horizontally and vertically. This way TotalMix can be made substantially smaller and space-saving on the desktop/screen, if you have to monitor or set only a few channels or level meters. The Presets are one of the most powerful and useful features of TotalMix. Behind the eight buttons, eight files are hidden (see next chapter). These contain the complete mixer state. All faders and other settings follow the changing of preset(s) in real-time, just by a single mouse click. The Save button allows for storing the present settings in any preset. You can change back and forth between a signal distribution, complete input monitoring, a stereo and mono mix, and various submixes without any problem. If any parameter is being altered after loading a preset (e. g. moving a fader), the preset display flashes in order to announce that something has been changed, still showing which state the present mix is based on. If no preset button is lit, another preset had been loaded via the File menu and Open file. Mixer settings can be saved the usual way and have long file names. Instead of single presets a complete bank of (8) presets can be loaded at once. Advantage: The names defined for the preset buttons will be stored and loaded automatically. Up to three HDSP MADI can be used simultaneously. The Unit buttons switch between the cards. Holding down Ctrl while clicking on button Unit 2 or Unit 3 will open another TotalMix window.

Preset Banks Instead of a single preset, all eight presets can be stored and loaded at once. This is done via Menu File, Save All Presets as and Open All Presets (file suffix.mpr). After the loading the presets can be activated by the preset buttons. In case the presets have been renamed (see chapter 24.11), these names will be stored and loaded too.

24.9 The Monitor Panel

The Monitor panel provides several options usually found on analog mixing desks. It offers quick access to monitoring functions which are needed all the time in typical studio work. Monitor Main Use the drop down menu to select the hardware outputs where your main monitors are connected to. Dim A click on this button will lower the volume of the Monitor Main output by an amount set up in the Preferences dialog (see below). This is the same as moving the third row faders down a bit, but much more convenient, as the old setting is back by a simple mouse click. Mono Sets the stereo output defined above to monaural playback. Useful to check for mono compatibility and phase problems. Talkback A click on this button will dim all signals on the Monitor Phones outputs by an amount set up in the Preferences dialog. At the same time the control room's microphone signal (source defined in Preferences) is sent to the three destinations Monitor Phones described below. The microphone level is adjusted with the channel's input fader. Monitor Phones 1/2/3 Use the drop down menu to select the hardware outputs where the submixes are sent to. These submixes are usually phones mixdowns for the musicians. A click on the button allows for the monitoring of the specific submix via the Monitor Main output. So when setting up or modifying the submix for the musician this process can be monitored easily and any time.

24.10 Preferences

The dialog box Preferences is available via the menu Options or directly via F3. Talkback Input: Select the input channel of the Talkback signal (microphone in control room). Dim: Amount of attenuation of the signals routed to the Monitor Phones in dB. Listenback Input: Select the input channel of the Listenback signal (microphone in recording room). Dim: Amount of attenuation of the signals routed to the Monitor Main in dB. Note: The Mute button of the Talkback and Listenback channel is still active. Therefore it is not necessary to select <NONE>, in case one of both shall be deactivated. MIDI Controller, Full LC Display Support See chapter 27.3 and 27.4 for details.

26.4 Delete Routings

The fastest way to delete complex routings: select a channel in the mixer view, click on the menu entry Edit and select Delete. Or simply hit the Del-key. Attention: there is no undo in TotalMix, so be careful with this function!
26.5 Recording a Subgroup (Loopback)
The HDSP series uses TotalMix also for a routings of the subgroup outputs (=hardware outputs, bottom row) to the recording software. Unfortunately this feature is not available with the HDSP MADI, as the FPGA of the card has no resources left. Therefore this chapter describes the loopback mode when used with an external cable loop. As the HDSP MADI has only one input, an external cable loop will only make sense for the following examples in case the signal had been split up into several wires. This can be done easily when using the ADI-648, splitting the MADI line into eight 8-channel ADAT lines. Then a loopback of specific channels is possible. A loopback is used to record the playback signal. This way, complete submixes can be recorded, the playback of a software can be recorded by another software, and several input signals can be mixed into one record channel. Please note these important issues: The connection of digital output and input generates a clock loop, and with this a malfunction, in case the card has not been switched into clock mode Master, or an external clock signal of highest priority is used. The latter is the case when the card is in AutoSync mode, and is synchronized by an external clock signal from the input selected in Pref Sync Ref. Connecting digital output and input can cause a digital feedback, which is more severe than any analog one. Caution! This is a problem for both TotalMix (monitoring an input signal to the same output channel) and the DAW software (which usually activates monitoring in the same way). Recording a Software's playback In real world application, recording a software's output with another software will show the following problem: The record software tries to open the same playback channel as the playback software (already active), or the playback one has already opened the input channel which should be used by the record software. This problem can easily be solved. First make sure that all rules for proper multi-client operation are met (not using the same record/playback channels in both programs). Then route the playback signal via TotalMix to a hardware output in the range of the record software, and send it to the record software via the loopback cable. Mixing several input signals into one record channel In some cases it is useful to record several sources in only one track. For example when using two microphones when recording instruments and loudspeakers, TotalMix loopback saves an external mixing desk. Simply route/mix the input signals all to the same output (third row), then send this output to a record channel via the loopback cable. This way any number of input channels from different sources can be recorded into one single track.

TotalMix can be remote controlled via MIDI. It is compatible to the widely spread Mackie Control protocol, so TotalMix can be controlled with all hardware controllers supporting this standard. Examples are the Mackie Control, Tascam US-2400 or Behringer BCF 2000. Additionally, the stereo output faders (lowest row) which are set up as Monitor Main outputs in the Monitor panel can also be controlled by the standard Control Change Volume via MIDI channel 1. With this, the main volume of the HDSP MADI is controllable from nearly any MIDI equipped hardware device.

27.2 Mapping

TotalMix supports the following Mackie Control surface elements*: Element: Channel faders Master fader SEL(1-8) + DYNAMICS V-Pots pressing V-Pot knobs CHANNEL LEFT or REWIND CHANNEL RIGHT or FAST FORWARD BANK LEFT or ARROW LEFT BANK RIGHT or ARROW RIGHT ARROW UP or Assignable1/PAGE+ ARROW DOWN or Assignable2/PAGEEQ PLUGINS/INSERT STOP PLAY PAN MUTE Ch. SOLO Ch. SELECT Ch. REC Ch. F1 - F8 F9 F10 - F12 Meaning in TotalMix: volume Main Monitor channel's faders reset fader to Unity Gain pan pan = center move one channel left move one channel right move eight channels left move eight channels right move one row up move one row down Master Mute Master Solo Dim Main Monitor Talkback Mono Main Monitor Mute Solo Select in Submix mode only: select output bus load preset 1 - 8 select Main Monitor Monitor Phones 1 - 3
*Tested with Behringer BCF2000 Firmware v1.07 in Mackie Control emulation for Steinberg mode and with Mackie Control under Mac OS X.

27.3 Setup

Open the Preferences dialog (menu Options or F3). Select the MIDI Input and MIDI Output port where your controller is connected to. When no feedback is needed (when using only standard MIDI commands instead of Mackie Control protocol) select NONE as MIDI Output. Check Enable MIDI Control in the Options menu.

27.4 Operation

The channels being under MIDI control are indicated by a colour change of the info field below the faders, black turns to yellow. The 8-fader block can be moved horizontally and vertically, in steps of one or eight channels. Faders can be selected to gang them. In Submix View mode, the current routing destination (output bus) can be selected via REC Ch. 1 8. This equals the selection of a different output channel in the lowest row by a mouse click when in Submix View. In MIDI operation it is not necessary to jump to the lowest row to perform this selection. This way even the routing can be easily changed via MIDI. Full LC Display Support: This option in Preferences (F3) activates complete Mackie Control LCD support with eight channel names and eight volume/pan values. Attention: this feature causes heavy overload of the MIDI port when ganging more than 2 faders! In such a case, or when using the Behringer BCF2000, turn off this option. When Full LC Display Support is turned off, only a brief information about the first fader of the block (channel and row) is sent. This brief information is also available on the LED display of the Behringer BCF2000. Tip for Mac OS X users: LC Xview (www.opuslocus.com) provides an on-screen display emulating the hardware displays of a Logic/Mackie Control, for use with controllers that can emulate a Logic/Mackie Control but do not have a display. Examples include the Behringer BCF2000 and Edirol PCR series. Deactivate MIDI in Background (menu Options) disables the MIDI control as soon as another application is in the focus, or in case TotalMix has been minimized. This way the hardware controller will control the main DAW application only, except when TotalMix is in the foreground. Often the DAW application can be set to become inactive in background too, so that MIDI control is switched between TotalMix and the application automatically when switching between both applications. TotalMix also supports the 9th fader of the Mackie Control. This fader (labelled Master) will control the stereo output faders (lowest row) which are set up as Main Monitor outputs in the Monitor panel. Always and only.

30.2 Lock and SyncCheck

Digital signals consist of a carrier and the data. If a digital signal is applied to an input, the receiver has to synchronize to the carrier clock in order to read the data correctly. To achieve this, the receiver uses a PLL (Phase Locked Loop). As soon as the receiver meets the exact frequency of the incoming signal, it is locked. This Lock state remains even with small changes of the frequency, because the PLL tracks the receiver's frequency. If a MADI signal is applied to the HDSP MADI, the unit indicates LOCK, i. e. a valid input signal. This information is presented in the HDSP MADI's Settings dialog. In the status display SyncCheck, the state of all clocks is decoded and shown as simple text (No Lock, Lock, Sync). Unfortunately, LOCK does not necessarily mean that the received signal is correct with respect to the clock which processes the read out of the embedded data. Example: The HDSP MADI is set to 44.1 kHz internally (clock mode Master), and a mixing desk with MADI output is connected to the card's MADI input. The status display will show LOCK immediately, but usually the mixing desk's sample rate is generated internally (it is Master too), and thus slightly higher or lower than the HDSP MADI's internal sample rate. Result: When reading out the data, there will frequently be read errors that cause clicks and drop outs. Also when using multiple clock signals, a simple LOCK is not sufficient. The above described problem can be solved elegantly by setting the HDSP MADI from Master to AutoSync (its internal clock will then be the clock delivered by the mixing desk). But in case the card is clocked to word clock, this signal can also be un-synchronous, and there will again be a slight difference in the sample rate, and therefore clicks and drop outs. In order to display those problems, the HDSP MADI includes SyncCheck. It checks all clocks used for synchronicity. If they are not synchronous to each other, the status display will show LOCK. If they are synchronous to each other (i.e. absolutely identical), the status display will change to SYNC. In the example above it would have been obvious immediately that the entry LOCK is shown in SyncCheck instead of SYNC, right after connecting the mixing desk. With external synchronisation via word clock, both entries Word Clock and MADI must display SYNC. In practice, SyncCheck allows for a quick overview of the correct configuration of all digital devices. So one of the most difficult and error-prone topics of the digital studio world finally becomes easy to handle.

Note: Cubase and Nuendo display the latency values signalled from the driver separately for record and playback. The current driver includes a safety offset of 32 samples for the playback side only, which will be included in the shown value. Core Audios Safety Offset Under OS X, every audio interface has to use a so called safety offset, otherwise Core Audio won't operate click-free. The HDSP MADI uses a safety offset of 32 samples. This offset is signalled to the system, and the software can calculate and display the total latency of buffer size plus offset plus safety offset for the current sample rate.

30.4 DS - Double Speed

When activating the Double Speed mode the HDSP MADI operates at double sample rate. The internal clock 44.1 kHz turns to 88.2 kHz, 48 kHz to 96 kHz. The internal resolution is still 24 bit. Sample rates above 48 kHz were not always taken for granted, and are still not widely used because of the CD format (44.1 kHz) dominating everything. Before 1998 there were no receiver/transmitter circuits available that could receive or transmit more than 48 kHz. Therefore a work-around was used: instead of two channels, one AES line only carries one channel, whose odd and even samples are being distributed to the former left and right channels. By this, you get the double amount of data, i. e. also double sample rate. Of course in order to transmit a stereo signal two AES/EBU ports are necessary then. This transmission mode is called Double Wire in the professional studio world, and is also known as S/MUX (abbreviation for Sample Multiplexing) in connection with the multichannel ADAT format. The AES3 specification uses the uncommon term Single channel double sampling frequency mode. Not before February 1998, Crystal shipped the first 'single wire' receiver/transmitters that could also work with double sample rate. It was then possible to transmit two channels of 96 kHz data via one AES/EBU port. But Double Wire is still far from being dead. On one hand, there are still many devices which can't handle more than 48 kHz, e. g. digital tape recorders. But also other common interfaces like ADAT or TDIF are still using this technique. With MADI, sample multiplexing is often used as well to offer sample rates higher than 48 kHz. The HDSP MADI supports all formats. 96 kHz can be received and transmitted both as 48K Frame (using S/MUX) and as native 96K Frame. In 48K Frame Double Speed mode, the HDSP MADI distributes the data of one channel to two consecutive MADI channels. This reduces the available channel count from 64 to 32. As the transmission of double rate signals with 48K Frame is done at standard sample rate (Single Speed), the MADI ports still operate at 44.1 kHz or 48 kHz.

30.5 QS Quad Speed

Due to the small number of available devices that use sample rates up to 192 kHz, but even more due to a missing real world application (CD.), Quad Speed has had no broad success so far. An implementation of the ADAT format as double S/MUX (S/MUX4) results in only two channels per optical output. Devices using this method are few. In earlier times the transmission of 192 kHz had not been possible via Single Wire, so once again sample multiplexing was used: instead of two channels, one AES line transmits only one half of a channel. A transmission of one channel requires two AES/EBU lines, stereo requires even four. This transmission mode is being called Quad Wire in the professional studio world. The AES3 specification does not mention Quad Wire. With MADI, sample multiplexing is used as well to offer sample rates higher than 96 kHz. In fact, technical reasons require the use of this method beyond 96 kHz. A 192K or 384K Frame format would not be fully compatible to the MADI standard. Therefore 192 kHz is supported as S/MUX4 only. So in 48K Frame Quad Speed mode, a MADI device distributes the data of one channel to four consecutive MADI channels. This reduces the available channel count from 64 to 16.* As the transmission of quad rate signals with 48K Frame is done at standard sample rate (Single Speed), the MADI ports still operate at 44.1 kHz or 48 kHz.