User's Guide
Hammerfall DSP System Multiface II
The most compact professional multitrack recording system ever!
TotalMix 24 Bit / 96 kHz SyncAlign

SyncCheck

PCI Busmaster Digital I/O System PCI and CardBus Interface 8 + 8 + 2 Channels Analog / ADAT / Stereo Interface Hi-Power Hi-End Headphone Output 24 Bit / 96 kHz

General

5 Introduction...6 Package Contents...6 System Requirements...6 Brief Description and Characteristics.7 Hardware Installation 5.1 PCI Interface...7 5.2 CardBus Card..7 5.3 Notes on Power Supply..8 First Usage Quick Start 6.1 Connectors and Front Panel..8 6.2 Quick Start...9 6.3 Notes on Laptops and CardBus..10 Accessories...11 Warranty..12 Appendix...12
Driver Installation and Operation - Windows
Driver and Firmware 10.1 Driver Installation..16 10.2 Driver Update..16 10.3 Deinstalling the Drivers..16 10.4 Firmware Update..Configuring the Multiface II 11.1 Settings Dialog...18 11.2 Clock Modes Synchronization..Operation and Usage 12.1 Playback...22 12.2 DVD Playback (AC-3 / DTS)..23 12.3 Notes on WDM...24 12.4 Multi-client Operation..25 12.5 Digital Recording..26 12.6 Analog Recording..Operation under ASIO 2.0 13.1 General...27 13.2 Known Problems..Operation under GSIF..Using more than one Hammerfall DSP..DIGICheck...Hotline Troubleshooting 17.1 General...30 17.2 Installation..Diagrams 18.1 Channel Routing ASIO 96 kHz..32 18.2 Channel Routing WDM 96 kHz..33 10
User's Guide HDSP System Multiface II RME
Driver Installation and Operation - Mac OS X
19 Driver and Flash Update 19.1 Driver Installation.. 36 19.2 Driver Update.. 36 19.3 Flash Update... Configuring the Multiface II 20.1 Settings Dialog... 37 20.2 Clock Modes Synchronization. Mac OS X FAQ 21.1 Round about Driver Installation.. 41 21.2 MIDI doesn't work.. 41 21.3 Supported Sample Rates.. 42 21.4 Repairing Disk Permissions.. 42 21.5 PCI Compatibility.. 42 21.6 Various Information... Hotline Troubleshooting.. Diagram: Channel Routing at 96 kHz.. 44
Disconnect Mode, Connections and TotalMix
Disconnect Mode.. 46 Analog Connections 25.1 Line Inputs... 46 25.2 Line Outputs.. 47 25.3 Phones... Digital Connections 26.1 ADAT.. 48 26.2 SPDIF.. 48 26.3 Word Clock... 49 26.4 MIDI... Word Clock 27.1 Technical Description and Background.. 50 27.2 Cables and Termination.. 50 27.3 General Operation.. TotalMix: Routing and Monitoring 28.1 Overview.. 52 28.2 The User Interface.. 54 28.3 Elements of a Channel.. 55 28.4 Tour de TotalMix.. 55 28.5 Submix View... 57 28.6 Mute and Solo.. 57 28.7 Quick Access Panel.. 58 28.8 Presets... 58 28.9 Monitor Panel.. 60 28.10 Preferences... 60 28.11 Editing the Names... 61 28.12 Hotkeys.. 62 28.13 Menu Options... 63 28.14 Level Meter... 25
TotalMix: The Matrix 29.1 Overview..65 29.2 Elements of the Matrix View..65 29.3 Usage..65 29.4 Advantages of the Matrix..TotalMix Super-Features 30.1 ASIO Direct Monitoring (Windows only).66 30.2 Selection and Group based Operation.67 30.3 Copy Routings to other Channels.67 30.4 Delete Routings..67 30.5 Recording a Subgroup (Loopback)..68 30.6 Using external Effects Devices..TotalMix MIDI Remote Control 31.1 Overview..70 31.2 Mapping...70 31.3 Setup...71 31.4 Operation...71 31.5 Simple MIDI Control..72 31.6 Loopback Detection..73

Technical Reference

Tech Info...76 Technical Specifications 33.1 Analog...77 33.2 Digital..77 33.3 Digital Inputs...78 33.4 Digital Outputs..78 33.5 MIDI...78 33.6 General...Technical Background 34.1 Lock and SyncCheck..79 34.2 Latency and Monitoring..80 34.3 DS Double Speed..81 34.4 AES/EBU SPDIF..Diagrams 35.1 Block Diagram Multiface II..83 35.2 Connector Pinouts..84

Multiface II

1. Introduction
Thank you for choosing the RME Hammerfall DSP system. This unique audio system is capable of transferring analog and digital audio data directly to a computer from practically any device. The latest Plug and Play technology guarantees a simple installation, even for the inexperienced user. The numerous unique features and well thought-out configuration dialog puts the Hammerfall DSP at the very top of the range of computer-based audio interfaces. The package contains drivers for Windows 2000 SP4, Windows XP/Vista/64, and Mac OS X PPC and Intel. Our high-performance philosophy guarantees maximum system performance by executing as many functions as possible not in the driver (i.e. the CPU), but directly within the audio hardware.

2. Package Contents

Please check your Hammerfall DSP component's package to include each of the following: PCI / PCIe Interface PCI card HDSP Rev 1.9 Quick Info guide RME Driver CD Cable IEEE1394, 4.5 m (15 ft) CardBus / ExpressCard Interface CardBus or ExpressCard card Quick Info guide RME Driver CD Cable IEEE1394, 4 m (13 ft) 12 V car cable Battery cable Power supply 12 V / 1.25 A and power cord Multiface II I/O-box Multiface II Quick Info guide RME Driver CD 1 optical cable (TOSLINK), 2 m (6.6 ft)

5.3 Notes on Power Supply
The CardBus card delivers no power to the Multiface. Therefore a hi-tech switching power supply is included. The PCI card operates as power supply for the attached Multiface via the FireWire cable. An external power supply is not required. The Multiface II draws a high startup current of more than 2 A during initialisation. Current at 12 Volt operating voltage: unloaded 720 mA (8.6 Watts), loaded 1 A (12 Watts). Supply voltage range DC 8 V 28 V, AC 8 V 20 V. The Multiface II has a higher power consumption as the original Multiface. Therefore the Multiface II will only work with a HDSP PCI card revision 1.9 or higher! While the Multiface causes a load of about 9 Watts to the PCI card, the Multiface II will cause a load of about 12 Watts. The HDSP PCI cards built until recently are not designed for such a load. The voltage regulator found on the PCI card will switch off after a short time due to overheating. The HDSP PCI revision 1.9 uses a more powerful regulator. Still the Multiface II can also be used with an older HDSP PCI card, in case the Multiface II is powered by an external power supply. With a voltage higher than 10 Volts, the power supply of the PCI card is automatically switched off. We recommend the RME switching power supply 12 V / 1.25 A, included with the CardBus card, but also available separately.
6. First Usage Quick Start
6.1 Connectors and Front Panel
The front of the Multiface II features a MIDI input and output, a stereo headphone output with volume control, two switches to select the analog reference level, and several status LEDs. MIDI IN and OUT represent the MIDI input and output, realized as 5-pin DIN jacks. The LEDs MIDI IN and OUT indicate sent or received data for the MIDI ports. The Digital State LEDs (WC, SPDIF, ADAT) indicate a valid input signal separately for each digital input. Additionally, RME's exclusive SyncCheck indicates if one of these inputs is locked, but not synchronous to the others, in which case the LED will flash. See also chapter 11.2 / 20.2, Clock Modes - Synchronization. The red HOST LED lights up when the power supply or the computer is switched on, thus signalling the presence of operating voltage. At the same time it operates as Error LED, in case the I/O-box wasnt initialised, or the connection to the interface has been interrupted (Error, cable not connected etc.). It flashes then. After the firmware had been loaded the LED turns off, thus signalling a proper operation. ANALOG LEVEL has two switches with three positions each, to select the reference level of the eight analog inputs and outputs on the rear. Phones is a low impedance line output of highest quality, which can produce a sufficient volume undistorted even when used with headphones. The volume of the phones output is adjusted with the pot VOL.

Each individual Hammerfall DSP undergoes comprehensive quality control and a complete test at IMM before shipping. The usage of high grade components allow us to offer a full two year warranty. We accept a copy of the sales receipt as valid warranty legitimation. If you suspect that your product is faulty, please contact your local retailer. The warranty does not cover damage caused by improper installation or maltreatment - replacement or repair in such cases can only be carried out at the owners expense. Audio AG does not accept claims for damages of any kind, especially consequential damage. Liability is limited to the value of the Hammerfall DSP. The general terms of business drawn up by Audio AG apply at all times.

9. Appendix

RME news, driver updates and further product information are available on our website: http://www.rme-audio.com Manufacturer: IMM Elektronik GmbH, Leipziger Strasse 32, D-09648 Mittweida
Trademarks All trademarks, registered or otherwise, are the property of their respective owners. RME, DIGI96, SyncAlign, ZLM, SyncCheck, DIGICheck and Hammerfall are registered trademarks of RME Intelligent Audio Solutions. Multiface, TMS and TotalMix are trademarks of RME Intelligent Audio Solutions. Alesis and ADAT are registered trademarks of Alesis Corp. ADAT optical is a trademark of Alesis Corp. Microsoft, Windows 2000 and Windows XP are registered trademarks or trademarks of Microsoft Corp. Steinberg, Cubase and VST are registered trademarks of Steinberg Media Technologies GmbH. ASIO is a trademark of Steinberg Media Technologies GmbH.
Copyright Matthias Carstens, 12/2007. Version 3.0 Current driver version: W2k/XP: 3.056, Mac OS X Intel: 1.71 Although the contents of this Users Guide have been thoroughly checked for errors, RME can not guarantee that it is correct throughout. RME does not accept responsibility for any misleading or incorrect information within this guide. Lending or copying any part of the guide or the RME Driver CD, or any commercial exploitation of these media without express written permission from RME Intelligent Audio Solutions is prohibited. RME reserves the right to change specifications at any time without notice.

CE / FCC Compliance

This device has been tested and found to comply with the limits of the European Council Directive on the approximation of the laws of the member states relating to electromagnetic compatibility according to RL89/336/EWG and RL73/23/EWG.
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: - Reorient or relocate the receiving antenna. - Increase the separation between the equipment and receiver. - Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. - Consult the dealer or an experienced radio/TV technician for help.

12.3 Notes on WDM

The driver offers a WDM streaming device per stereo pair, like HDSP Multiface (1+2). WDM streaming is Microsoft's current driver and audio system, directly embedded into the operating system. WDM streaming is nearly unusable for professional music purposes, as all data is processed by the so called Kernel Mixer, causing a latency of at least 30 ms. Additionally, WDM can perform sample rate conversions unnoticed, cause offsets between record and playback data, block channels unintentionally and much more. Therefore, for general operation, RME recommend not to use WDM devices. WDM streaming also replaces the former DirectSound. Synthesizers and Samplers, which achieved latencies below 10 ms using DirectSound, are forced to use WDM in Windows XP, now operating at high latency. Meanwhile most of these programs support ASIO as low latency driver interface. Several programs do not offer any direct device selection. Instead they use the playback device selected in Windows under <Control Panel/ Sounds and Multimedia/ Audio>. Such software often requires the special functions provided by WDM, and therefore will operate better when using a WDM device. Please note that selecting the HDSP to be used as system playback device is against our recommendations, as professional interfaces should not be disturbed by system events. The program Sonar from Cakewalk is unique in many ways. Sonar uses the so called WDM Kernel Streaming, bypassing the WDM mixer, thus achieves a similar performance to ASIO. Because of the driver's multichannel streaming ability (option Interleaved, see chapter 12.4), Sonar not only finds the stereo device mentioned above, but also the 8-channel interleaved devices, and adds the channel number at the end: HDSP Multiface (1+2) is the first stereo device HDSP Multiface (3+4) is the next stereo device HDSP Multiface (1+2) 3/4 are the channels 3/4 of the first 8-channel interleaved device. We recommend to not use these special interleaved devices. Also note that it is not possible to use one stereo channel twice (the basic and the interleaved device), even with different applications.

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 included a comprehensive I/O signal status display (showing sample frequency, lock and sync status) in the Settings dialog, and status LEDs for each input. If a 48 kHz signal is fed to the input and the application is set to 44.1 kHz, Check Input stops the system from recording. This prevents faulty takes, which often go unnoticed until later on in the production. Such tracks appear to have the wrong playback rate - the audio quality as such is not affected. 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, Hammerfall DSP 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 28). 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).
Note: Under MME the feature 'Check Input' prevented recordings done at wrong sample rates. Under WDM this functionality is limited. With Check Input activated Windows will automatically (and without notice) perform a sample rate conversion. With Check Input deactivated the recording will simply be performed with the wrong sample rate, with a detuned playback later on. Therefore Check Input has been removed from the Settings dialog of the WDM driver.

Windows 2000/XP

The GSIF interface of the Hammerfall DSP allows direct operation with Gigastudio, with up to 18 channels, 96 kHz and 24 bit. The new GSIF 2.0 is also supported with both audio and MIDI. Gigastudio requires a lot of the computers calculation power. An optimum performance is achieved with a stand-alone GSIF PC. However, when using the Hammerfall DSP, the latency is always the same as the one selected for ASIO operation. This can cause performance problems on slower machines when using GSIF and ASIO at the same time. Please note that the W2k/XP driver fully supports multi-client operation, including the combination MME/ASIO. So for example Cubase, Gigastudio and Sonar can be used simultaneously, provided each of these programs uses its own audio channels exclusively. For example ASIO could use channels 1/2 and Gigastudio (with GSIF) channels 3/4 simultaneously, and so on. Simultaneous operation of GSIF and ASIO requires to use different channels. For example, if Cubase uses tracks 1/2 these tracks can not be used by Gigastudio.
Common Problems Please note that Gigastudio is running unexpectedly in the background (thus blocking its assigned audio channels), as soon as the Gigastudio MIDI ports are used even when Gigastudio itself hasn't been started. This causes a lot of confusion, as the driver seems to behave completely buggy, and the user does not recognize the simple reason for it for example simultaneous operation of ASIO and GSIF on the same channels. In case Gigastudio loads well, loads gig files too, but won't play at all even when using the virtual keyboard: Go to Hardware/Routing and select a valid MIDI input port. Note that blank is not valid, but <none> is.
15. Using more than one Hammerfall DSP
The current drivers support operation of up to three Hammerfall DSP systems. Different I/Oboxes may be used, in any combination. Multiface, Multiface II, Digiface, HDSP 9632 and HDSP 9652 use the same driver, therefore can be used at the same time. Please note that only one ADAT Sync In can be used (of course). 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 Windows software is fairly self-explanatory, it still includes a comprehensive online help. DIGICheck 4.52 operates as multi-client ASIO host, therefore can be used in parallel to any software, be it MME, ASIO or GSIF, with both inputs and outputs (!). The following is a short summary of the currently available functions: Level Meter. High precision 24-bit resolution, 2/8/18 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. 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. Detailled analyzis 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 conctantly improved. The latest version is always found on our website www.rme-audio.de, section Downloads/Add-Ons.

If several digital devices are to be used simultaneously in a system, they not only have to operate with the same sample frequency but also be synchronous with each other. This is why digital systems always need a single device defined as master, which sends the same clock signal to all the other (slave) devices. RMEs exclusive SyncCheck technology (first implemented in the Hammerfall) enables an easy to use check and display of the current clock status. The SyncCheck field indicates whether no signal (No Lock), a valid signal (Lock) or a valid and synchronous signal (Sync) is present at each of the digital clock source inputs. The AutoSync Reference display shows the current sync source and the measured frequency.
In practice, SyncCheck provides the user with an easy way of checking whether all digital devices connected to the system are properly configured. With SyncCheck, finally anyone can master this common source of error, previously one of the most complex issues in the digital studio world. 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 103 kHz. Even the word clock input, which most users will use in varispeed operation, allows any frequency between 28 kHz and 105 kHz. At 88.2 or 96 kHz: If one of the ADAT inputs has been selected in Pref Sync Ref, the sample frequency shown in the SPDIF In field differs from the one shown in AutoSync Ref. The card automatically switches to its Sample Split mode here, because ADAT optical inputs and outputs are only specified up to 48 kHz. Data from/to a single input/output is spread over two channels, the internal frequency stays at 44.1 or 48 kHz. In such cases, the ADAT sample frequency is only half the SPDIF frequency.

21. Mac OS X FAQ

21.1 Round about Driver Installation
The driver with the file suffix gz provided by RME is a compressed TAR archive. TAR bundles multiple files and folders into one file, but does not save memory space nor download time. Both TAR and gz are supported natively by OS X, a double click on the file is all you need to do. Older browsers do not recognize gz as an archive, loading the file as a document. This results in a cryptic looking text within the browser window. Downloading the file can be done via the right mouse key, Save Target as. Despite this procedure, some older browsers like Netscape 4.78 will not save the file correctly - the archive will be corrupted. The driver consists of a package file (pkg), which contains various folders and files, similar to TAR. A double click will start the OS X installer. To save you the hassle of installing both audio and MIDI drivers separately, the HDSP driver contains an additional meta package (mpkg), that points to the single packages. Those single packages are not shown in the Finder, as they reside within the invisible folder '.contained_packages'. Only the mpkg is visible. Important: an installation can only be done with the complete folder. If only the mpkg is copied to a different place, it will not find the single driver packages! The actual audio driver appears as a kernel extension file. The installer copies it to >System/ Library/ Extensions<. Its name is HammerfallDSP.kext. It is visible in the Finder, allowing you to verify date and driver version. Yet, in fact this again is a folder containing subdirectories and files. Nonetheless, this 'driver file' can be removed by simply dragging it to the trash bin. This can be helpful in case a driver installation fails. An incomplete installation can currently (10.3.2) only be detected indirectly: The installation routine does not open a message window with a note about a restart of the computer. This indicates that the driver file was not copied and the driver was not installed! Several users have observed that the installation routine occasionally stops and no longer works correctly. This can be fixed by removing the corresponding extension file prior to installation. In some cases, also (or only) a repair of the disk permission will help. We have also received reports saying the driver update could not be installed on the system disk - shown red crossed during the installation. Repairing permission may also help here. If not, we're sorry, but have to recommend to contact Apple. Our driver has no knowledge of folders, disks etc., the installation is handled completely by the OS X installer.

21.2 MIDI doesn't work

In some cases MIDI does not work after the installation of the HDSP driver. To be precise, applications do not show an installed MIDI port. The reason for this is usually visible within the Audio MIDI Setup. It displays no RME MIDI device, or the device is greyed out and therefore inactive. Mostly, removing the greyed out device and searching for MIDI devices again will solve the problem. If this does not help, we recommend manual removal of the MIDI driver and reinstallation of the complete driver. Otherwise repairing permissions may help. The HDSP MIDI driver is a plugin. During installation it will be copied to >Library/ Audio/ MIDI Drivers<. It's name is Hammerfall DSP MIDI.plugin. The file can be displayed in the Finder and also be removed by simply dragging it to the trash bin.
21.3 Supported Sample Rates
RME's Mac OS X driver supports all sampling frequencies provided by the hardware. Besides 96 kHz this also includes 32 kHz and 64 kHz. But not every software will support all the hardware's sample rates. For example Spark does not display 32 kHz and 64 kHz. The hardware's capabilities can easily be verified in the Audio MIDI Setup. Select Audio devices under Properties of: and choose the Hammerfall DSP. A click on Format will list the supported sample frequencies. If the unit is in clock mode Master, selecting a sample rate will immediately set the device to this frequency, which can be verified in the HDSP's settings dialog (System Clock). Format thus allows you to activate any sampling frequency quickly and easily.
21.4 Repairing Disk Permissions
Repairing permission can solve problems with the installation process - plus many others. To do this, launch Disk Utility located in Utilities. Select your system drive in the drive/volume list to the left. The First Aid tab to the right now allows you to check and repair disk permissions.
21.5 PCI card and PCI slot compatibility
Unfortunately not every RME card will work in every PCI slot of an Apple computer. To our knowledge, the current Hammerfall DSP systems can be used in any PCI slot of all G4 and G5 models. In case additional PCI cards of any manufacturer are used, it might happen that the RME card is no longer found by the system. Swapping cards between slots can be helpful in this case.

21.6 Various Information

The driver requires 10.2.8 or higher. Older versions of OS X are not and will not be supported. Via >System Preferences/ Audio-MIDI Setup< the hardware can be configured for the system wide usage. Programs that don't support card or channel selection will use the device selected as Standard-Input and Standard-Output. (Soundstudio, Mplayer, Amplitube etc.). In the lower part of the window, the audio hardware's capabilities are shown and can be changed in some cases. On the record side no changes are possible. Programs that don't support channel selection will always use channels 1/2, the first stereo pair. To access other inputs use the following workaround with TotalMix: route the desired input signal to output channels 1/2. Hold the Ctrl key down and click on the labels AN1 and AN2 in the third row. Their labels turn red, the internal loop mode is active. Result: the desired input signal is now available at input channel 1/2, without further delay/latency. Since OS X 10.3 playback can be configured freely and to any of the available playback channels. This is done via Speaker Setup. Even multichannel playback (Surround, DVD Player) can be set up easily.

26. Digital Connections

26.1 ADAT
The ADAT optical input of the HDSP system is fully compatible with all ADAT optical outputs. RME's unsurpassed Bitclock PLL prevents clicks and drop outs even in extreme varipitch operation, and guarantees a fast and low jitter lock to the digital input signal. A usual TOSLINK cable is sufficient for connection. More information on Double Speed (S/MUX) can be found in chapter 34.3. ADAT In Interface for a device sending an ADAT signal to the Multiface. Carries the channels 1 to 8. When receiving a Double Speed signal, this input carries the channels 1 to 4. Can also be used as SPDIF optical input. ADAT Out Interface for a device receiving an ADAT signal from the Multiface. Transmits channels 1 to 8. When sending a Double Speed signal, this port carries channels 1 to 4. Can also be used as SPDIF optical output.

26.2 SPDIF

Input The SPDIF input is configured in the Settings dialog, available by a click on the hammer symbol in the Task Bar's system tray. The HDSP system accepts all commonly used digital sources as well as SPDIF and AES/EBU. Channel status and copy protection are ignored. To receive signals in AES/EBU format, an adapter cable is required. Pins 2 and 3 of a female XLR plug are connected individually to the two pins of a phono plug. The cable shielding is only connected to pin 1 of the XLR - not to the phono plug.
The ground-free design, with transformers for coaxial digital inputs and outputs, offers a troublefree connection of all devices along with perfect hum rejection and full AES/EBU compatibility. Output In SPDIF mode, identical signals are available at both the optical and the coaxial output. An obvious use for this would be to connect two devices, i.e. using the HDSP as a splitter (distribution 1 on 2). Apart from the audio data itself, digital signals in SPDIF or AES/EBU format have a header containing channel status information. False channel status is a common cause of malfunction. The HDSP system ignores the received header and creates a totally new one for its output signal. Note that in record or monitor modes, set emphasis bits will disappear. Recordings originally done with emphasis should always be played back with the emphasis bit set! This can be done by selecting the Emphasis switch in the Settings dialog (field SPDIF Out). This setting is updated immediately, even during playback. Note: Recordings with (pre-) emphasis show a treble boost (50/15 s), which has to be compensated at playback. Therefore, when selecting Emphasis all analog outputs will be processed by a treble filter based on 50/15s, which sounds like a high cut.

27. Word Clock

27.1 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 and ADAT 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!
27.2 Cabling and Termination
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. 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.

28.2 The User Interface

The visual design of the TotalMix mixer is a result of its capability to route hardware inputs and software playback channels to any hardware output. The Multiface provides 18 input channels, 18 software playback channels, and 20 hardware output channels:
36 channels don't fit on the screen side by side, neither does such an arrangement provide a useful overview. The input channel should be placed above the corresponding output channel. Therefore, the channels have been arranged as known from an Inline desk, so that the row Software Playback equals the Tape Return of a real mixing desk:
Top row: Hardware inputs. The level shown is that of the input signal, i. e. fader independent. Via fader and routing field, any input channel can be routed and mixed to any hardware output (bottom row). Middle row: Playback channels (playback tracks of the audio software). Via fader and routing field, any playback channel can be routed and mixed to any hardware output (third row).
Bottom row (third row): Hardware outputs. Here, the total level of the output can be adjusted.
This may be the level of connected loudspeakers, or the necessity to reduce the level of an overloaded submix. The following chapters explain step by step all functions of the user interface.
28.3 Elements of a Channel
A single channel consists of various elements: Input channels and playback channels each have a mute and solo button. Below there is the panpot, realized as indicator bar (L/R) in order to save space. In the field below, the present level is displayed in RMS or Peak, being updated about every half a second. Overs (overload) are indicated here by an additional red dot. Next is the fader with a level meter. The meter shows both peak values (zero attack, 1 sample is enough for a full scale display) by means of a yellow line, and mathematically correct RMS values by means of a green bar. The RMS display has a relatively slow time constant, so that it shows the average loudness quite well. Below the fader, the current gain and panorama values are shown. The white area shows the channel name. Selecting one or more channels is done by clicking on the white label which turns orange then. A click in the third row with pressed Ctrl-key activates internal loopback mode, the label turns red. A right mouse click opens a dialog to type in a new name. The black area (routing field) shows the current routing target. A mouse click opens the routing window to select a routing target. The list shows all currently activated routings by checkmarks in front of the routing targets.

28.4 Tour de TotalMix

This chapter is a practical guide and introduction on how to use TotalMix and on how TotalMix works. Starting up TotalMix the last settings are recalled automatically. When executing the application for the first time, a default file is loaded, sending all playback tracks 1:1 to the corresponding hardware outputs with 0 dB gain, and activating phones monitoring. Hold down Ctrl and click on preset button 1 to make sure that factory preset 1 is loaded. The faders in the top row are set to maximum attenuation (called m.a. in the following), so there is no monitoring of the input channels. The Submix View is active, therefore for improved overview all outputs except Phones are greyed out. Additionally all faders are set to the routing target Phones. All faders of the middle row are set to 0 dB, so no matter on which channels a playback happens, the audio will be audible via the Phones output. Just try it! We will now create a submix on analog outputs 1/2. Please start a multitrack playback. In the third row, click on the channels of hardware output AN1 or AN2. The Submix View changes from Phones to AN1/AN2. Both the fader settings and the output levels of all other channels are still visible, but greyed out for improved orientation. As soon as AN1/AN2 became active, all faders of the second row jumped to their bottom position except those of playback channel 1/2. This is correct, because as mentioned above the factory preset includes a 1:1 routing. Click on AN 3/4 and the faders above are the only active ones, same for AN5/6 and so on. Back to AN1/2. Now you can change all the faders of all inputs and playback channels just as you like, thus making any input and playback signals audible via the outputs AN1/2. The panorama can be changed too. Click into the area above the fader and drag the green bar in order to set the panorama between left and right. The level meters of the third row display the level changes in real-time.

31.5 Simple MIDI Control

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 Multiface is controlable from nearly any MIDI equipped hardware device. Even if you don't want to control all faders and pans, some buttons are highly desired to be available in 'hardware'. These are mainly the Talkback and the Dim button, and the new monitoring options (listen to Phones submixes). Fortunately a Mackie Control compatible controller is not required to control these buttons, as they are steered by simple Note On/Off commands on MIDI channel 1. The notes are (hex / decimal / keys): Monitor Main: 3E / 62 / D 3 Dim: 5D / 93 / A 5 Mono: 2A / 42 / #F 1 Talkback: 5E / 94 / #A 5 Monitor Phones 1: 3F / 63 / #D 3 Monitor Phones 2: 40 / 64 / E 3 Monitor Phones 3: 41 / 65 / F 3 Preset 1: 36 / 54 / #F 2 Preset 2: 37 / 55 / G 2 Preset 3: 38 / 56 / #G 2 Preset 4: 39 / 57 / A 2 Preset 5: 3A / 58 / #A 2 Preset 6: 3B / 59 / B 2 Preset 7: 3C / 60 / C 3 Preset 8: 3D / 61 / #C 3 An example of a small MIDI controller covering such MIDI functionality (and even some more) is the Behringer BCN44. This little box has 4 pots and 8 buttons for all the above functions for less than 60 Euros. Furthermore TotalMix allows to control all faders of all three rows via simple Control Change commands. The format for the Control Change commands is: Bx yy zz x = MIDI channel yy = control number zz = value The first row in TotalMix is adressed by MIDI channels 0 up to 3, the middle row by channels 4 up to 7 and the bottom row by channels 8 up to 11. 16 Controller numbers are used: 102 up to 117 (= hex 66 bis 75). With these 16 Controllers (= faders) and 4 MIDI channels each per row, up to 64 faders can be controlled per row (as required by the HDSPe MADI).
Examples for sending MIDI strings*: - Set input 1 to 0 dB: B40 - Set input 17 to maximum attenuation: B0 - Set playback 1 to maximum: B7F - Set Output 16 to 0 dB setzen B40 *Note: Sending MIDI strings might require to use programmer's logic for the MIDI channel, starting with 0 for channel 1 and ending with 15 for channel 16.

31.6 Loopback Detection

The Mackie Control protocol requires feedback of the received commands, back to the hardware controller. So usually TotalMix will be set up with both a MIDI input and MIDI output. Unfortunately any small error in wiring and setup will cause a MIDI feedback loop here, which then completely blocks the computer (the CPU). To prevent the computer from freezing, TotalMix sends a special MIDI note every 0.5 seconds to its MIDI output. As soon as it detects this special note at the input, the MIDI functionality is disabled. After fixing the loopback, check Enable MIDI Control under Options to reactivate the TotalMix MIDI.