Creative Professional 5

Useful Information... 79 AES/EBU to S/PDIF Cable Adapter... 79 Digital Cables..... 79 Grounding..... 79 Appearance Settings in Windows... 79 Technical Specifications.... 80 Internet References.... 82 Forums.... 82

Index... 85

1- Introduction Welcome!

1- Introduction

Welcome!
Thank you for purchasing the E-MU 0404 digital audio system. Your computer is about to be transformed into a professional quality audio processing workstation. Weve designed your E-MU Digital Audio System to be logical, intuitive and above all, to provide you with pristine sound quality. This system offers unprecedented value by providing studio-quality, 24-bit/192kHz multi-channel recording and playback at an astounding price. E-MU Digital Audio System Components E-MU 0404 E-MU 0404 PCI Card Analog Breakout Cable (1/4) Digital Breakout Cable E-MU Digital Audio System Software/Driver Install CD-ROM Production Tools Software Bundle CD-ROM Quick Start Guide

Inputs & Outputs

(2) Ch. S/PDIF Optical In (2) Ch. S/PDIF Optical Out or (2) Ch. S/PDIF Coaxial In (2) Ch. S/PDIF Coaxial Out (1) MIDI Input & Output (16 ch.) (2) 24-bit unbalanced Line Inputs (2) 24-bit unbalanced Line Outputs

The System Includes:

The E-MU 0404 PCI Card provides 2 line level, unbalanced analog inputs, 2 line level, unbalanced analog outputs, plus MIDI input and output. This is a nely-tuned audio interface, using high performance 24-bit/192kHz A/D - D/A converters to deliver an unbelievable 111dB of dynamic range. Check out the complete specs on page 80. The PCI card contains a powerful hardware DSP processor which allows you to use over 16 simultaneous hardware-based effects, which place minimal load on your computers CPU. The E-MU 0404 PCI Card also provides a S/PDIF stereo digital input and output with either optical or coaxial connections. A built-in MIDI interface allows you to connect external MIDI instruments or keyboards directly to your computer. The PatchMix DSP mixer application is included in all the systems. PatchMix DSP delivers unmatched exibility in routing your audio between physical inputs and outputs, virtual (ASIO) inputs and outputs and internal hardware effects and busesno external mixer needed. You can add digital effects, EQs, meters, level controls and ASIO sends anywhere you like in the signal chain. Because the effects and mixing are hardware-based, there is no latency when you record. You can even record a dry signal while monitoring yourself with effects! Mixer setups can be saved and instantly recalled for specic purposes such as recording, mixdown, special effect setups or general computer use.

Analog Output Connections

To Mixer Inputs

1/4" male to 1/4" male (balanced or unbalanced)
Mixer & Powered Speakers

Aux Inputs

Mono 1/4" male to male Cinch (RCA) adapter
Integrated Amp & Speakers

Powered Desktop Speakers

Stereo
Mono 1/4" male to Stereo 1/8" female adapter
The inputs can be connected to any line level stereo signal from keyboards, CD-players, cassette decks, etc. Use 1/4 to RCA adapter cables to connect to consumer audio gear.

Analog Input Connections

Audio Component

Mixer/Preamp

Electronic Keyboard
REAL TIME CONTROLLERS ASSIGNABLE KEYS PRESET LEVEL

EXIT ENTER

Microphone

(must be pre-amped)

PAGE PRESET SELECT

RETURN

SAMPLE

SEQUENCER

EMULATOR
Electric Instrument Instr. Preamp

Digital Breakout Cable

S/PDIF Digital Audio Input & Output
RCA phono jacks are the standard coaxial connectors used for S/PDIF (Sony/Philips Digital InterFace) connections. A single jack carries two channels of digital audio. The E-MU 0404 receives digital audio data with word lengths of up to 24-bits. Data is always transmitted at 24-bits. S/PDIF digital I/O allows you to receive and/ or transmit of digital data from external digital devices such as a DAT, external analog-to-digital converters or external signal processors equipped with digital inputs and outputs. S/PDIF can also be transmitted and received via the TOSLINK optical connectors on the Digital Breakout Cable. Optical connections have certain advantages such as immunity to electrical interference and ground loops. Make sure to use high quality glass ber light pipes for connections longer than 1.5 meters. The optical S/PDIF and RCA coaxial S/PDIF Inputs cannot be used simultaneously, however BOTH S/PDIF Outputs are available simultaneously (carrying the same signal). See System Settings.

ANALOG

Connect to Analog Breakout Cable

DIGITAL

Connect to Digital Breakout Cable
The S/PDIF out can be congured as either Professional or Consumer mode in the Session Settings menu. The 0404 PCI card can be connected to AES/EBU digital audio systems through the use of a cable adapter. See AES/EBU to S/PDIF Cable Adapter for details. The S/PDIF input and outputs are usable at the 44.1kHz, 48kHz and 96kHz sample rates. The word clock contained in the input data stream can be used as a word clock source. See Using External Clock.

S/PDIF Output Format Select (Sets S/PDIF-AES status bit, but doesnt affect level.)
The optical digital TOSLINK input and output on the Digital Breakout Cable can be used to transmit and receive stereo S/PDIF.

PCI Card S/PDIF Input

Selects between coaxial or optical S/PDIF input. S/PDIF out is always transmitted on both the coaxial and optical outputs. Selects between S/PDIF or AES/EBU format for S/PDIF. This sets the S/PDIF-AES status bit, but does not affect the signal level.

S/PDIF Output Format

4 - The PatchMix DSP Mixer Input Mixer Strips

Input Mixer Strips

PatchMix DSP Line Input Mixer Strips are mono. The WAVE and S/PDIF strips are stereo. Each input mixer strip can be divided into four basic sections.
Insert Section Pan Controls Aux Sends Volume Control Effects, EQ, External/Host Sends and Returns can be inserted into the signal path. This control positions the signal in the stereo sound eld. Used to send the signal to sidechain effects or to create separate mixes. Controls the output level of the channel.

Mono/Stereo

Input Type
The very top of the strip is labeled mono or stereo and displays the type of the assigned input. Input mixer strips can be added as desired and can be congured to input the following:
Physical input (Analog/SPDIF) Host Input (Direct Sound, WAV, ASIO source)
f The Input Type will turn RED if the input is not available.
f Physical input strips are shown with BLUE text. f Host input strips are shown with WHITE text.

Insert Section

Inserts
You can drag and drop effects from the Effects Palette or Right-click to insert a Physical or ASIO Send or Send/Return A Peak Meter, Trim Control or Test Signal can also be inserted by Rightclicking.

Pan Controls

f To learn how to record monophonic inputs in stereo, see page 72.

Aux Sends

These controls allow to you position the channel in the stereo sound eld. Dual controls on stereo strips allow you to position each side independently.

Channel Volume Control

These controls send the signal to sidechain effect processors such as reverb and delay. They can also be used to create separate mixes for the artist or for recording.

Mute/Solo Buttons

Volume Control
Controls the output level of the strip into the main/monitor mix bus.

Scribble Strip

These convenient buttons allow you to solo or mute selected channels.
This screen shows a mono strip on the left and a stereo strip on the right.

Scribble Strips

Click inside the scribble strip and type a name of up to eight characters.

f Tip: Select the Plug-in and press the Delete key to delete the plug-in from the strip.
To Bypass an Insert: Inserts can be bypassed if you want to temporarily hear the audio without the effect or insert. Bypass can also be used to turn off a Send Insert. Method #1
1. Click on the Effect (in the Insert section) and select FX in the TV display. 2. Click the Bypass button.

Method #2

1. Right-Click over the Effect you want to bypass (in the Insert section). A pop-up

dialog box appears.

2. Select Bypass Insert from the list of options.
To Bypass All Inserts: All Inserts in a strip can be also be bypassed with a single command.
2. Select Bypass All Inserts from the list of options.
To Solo an Insert: Inserts can also be soloed. Solo bypasses all the other inserts in the strip and allows you to hear only the soloed effect. This feature is very useful when adjusting the effect parameters. Method #1
1. Click on the Effect (in the Insert section) and select FX in the TV display. 2. Click the Solo button.
1. Right-Click over the Effect you want to Solo (in the Insert section). A pop-up dialog
2. Select Solo Insert from the list of options.

Aux Section

The Auxiliary Sends tap the signal from the channel strips and sum them together before sending the mix to the Auxiliary Effects section. In a traditional mixing console, aux sends are used to send part of the signal to outboard effect devices, then return the effected signal back into the mix using the effect returns. This is called a sidechain routing because the aux signal takes a detour through the effects before being summed back into the main mix. Sidechain effects are usually effects that you might want applied to several channels, such as reverb. Incidentally, the wet/dry mix of effects in the Aux Sends should normally be set to 100% wet. This is because you will be adjusting the effect amount using the Aux Return control. If you have more than one effect in an Aux Bus, ignore the preceding advice as the wet/dry controls can be used to mix the amounts of your multiple effects. The Aux 1 & 2 buses can also be used as additional submix output buses just like the main output. Simply drop an ASIO or External Send Insert into the chain and the stereo bus is sent. Turn down the Return Amount if you dont want the submix to be combined into the main mix. Aux Send and Return values can also be changed by typing directly into the displays.

At the very bottom is the Scribble Strip text area, into which you can type any short piece of text, thus naming the strip, i.e. vocals, bass, drums and so on.
4 - The PatchMix DSP Mixer Main Section

Main Section

Physical/Host Select Buttons View Selection Buttons
TV Screen Aux Insert Section

Master Aux Send Amounts

Master Aux Return Amounts

Main Insert Section

Sync & Sample Rate Indicators
Monitor Controls Output Fader & Meters

Session Name

The main section contains all controls for controlling the main mix elements as well as a TV screen for viewing the parameters of the current selected insert. The three buttons across the top of the main section select what is shown on the TV display. Input and output routings are graphically displayed. When an insert is selected (by clicking on the insert), the screen shows the available parameters for the currently selected insert. Below the TV screen is the Aux Bus section where effects, effects chains or other inserts can be assigned to the two aux buses. Send and return levels can be individually controlled for each of the two Aux Buses. The Aux 1 and Aux 2 buses are fed by the two Aux Sends on each mixer strip. The Master Send Level control on Aux bus 1 and 2 can be used to attenuate or boost the signal going into the Auxiliary Inserts. There is also a Master Return Level to control the amount of the effected signal that will be returned into the main mix. The Main Bus can also have a chain of effects inserted. (You might put an EQ effect here to equalize your entire mix or add an ASIO or WAVE send to record the mix.) Note that the Main Output level control comes before the Monitor Level so that you can control the monitor level without affecting the level of your recording mix or main mix. There is a stereo peak meter that indicates the signal strength for the main mix. The Monitor section has a volume, balance, and a mute control to cut off the monitor output.

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TV Screen & Selectors
The TV screen at the top of the main section is a multi-function display and control center for the input and output routings and effect controls. The three buttons at the top of the display select the current function of the displayEffect, Inputs or Outputs.

Effect

Select the Effect display view in the main section, then click on an Effect Insert to display the effect parameters. If an insert effect is not selected, the display will read No Insert. Most effects have a wet/dry mix parameter to control the ratio of effect-to-plain signal. The wet/dry setting is stored with the FX preset. The parameter set varies with the type of effect. See Core Effects Descriptions for detailed information about the individual effects.

Input Input

f The Wet/Dry mix setting in the effect should normally be set to 100% when the effect is inserted as a sidechain effect. This is because the Aux Return Amount will control the wet/dry mix.

Aux Amt

Aux Bus
You can also use the Auxiliary Sends as two extra mix buses. By turning the Aux Return amount all the way down and dropping an Insert Send into the chain, you can send the Auxiliary bus to any output you wish. See Insert Section for more information.
Sync/Sample Rate Indicators
The Sync/Sample rate Indicators show the current sessions sample rate and whether it is internal or slaving to an external source. The LEDs indicate which sample rate is currently in effect. If an external source is being used, the Source display reads EXTERNAL. When slaving to an external master source, the clock may drift slightly or change dramatically (i.e. abrupt sample rate change or unplugging of physical master source). PatchMix DSP is tolerant to minor drifting within the supported rates of 44.1k, 48k, 88.2k, 96k, 176.4k, but if the sample rate drifts out of this range the LOCKED LED will extinguish. If the external clock source makes a radical sample rate change from the lower rates of 44.1k/48k to a higher rate or between the rates of 88k/96k and 176k/192kHz, the hardware automatically switches to internal 48kHz clock until the proper external clock is restored. The LOCKED LED will be off and the two units are NOT synchronized. Always check the LOCKED LED when using an external clock source.

Output Section

Main Output Level Fader Sync/Sample Rate Indicators

Monitor Mute

Monitor Balance

Output Level Meters

Monitor Volume

Main Inserts

The main inserts allow you to apply effects to the main stereo signal coming out of the mixer (both mains and monitor). You might want to apply EQ or a compressor here. These inserts work just like the other effect locationsjust drag and drop effects from the palette or right-click and add Sends, Sends/Returns. etc. Refer to the Mixer Block Diagram

MAIN MIX

Main Output Fader
The main output fader controls the level of the main output (and the Monitor output as well since it is downstream from this control). The normal setting for this control is at unity or 0dB, but the control allows you to add up to +12dB of gain. High output levels may cause clipping on outboard ampliers or other equipment.
This stereo bar-graph meter reects the digital level at the output of the mixer. The topmost red bar represents 0 dB or a full-scale digital signal. The peaks hold for a moment so that short transients can be monitored. Each bar = 1dB.

Monitor Output Level

This control adjusts the monitor output level. Keep in mind that since the monitor level control comes after the Main Output Fader, nothing will be heard from your monitors if the main level is turned down.

f Tip: The volume control on a multimedia computer keyboard can be used to control the Monitor Output Level on PatchMix.

Monitor Balance Control

This control sets the relative volume of the stereo monitor outputs and works just like the balance control on your home music system. This control is primarily used to make the volume from each speaker sound equal if you are not sitting exactly in the center of the two speakers.

Monitor Output Mute

This button completely cuts off the monitor output and provides a convenient way to instantly kill all sound without having to re-adjust the monitor level later. When the telephone rings, just hit the monitor mute to cut the noise.

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5 - Effects Overview

5 - Effects

Overview
PatchMix DSP comes complete with a host of great core DSP effects including Compressors, Delays, Choruses, Flangers and Reverb. Each 32-bit effect has various parameters for editing, as well as factory presets. You can also create and save as many of your own effect presets as you wish. Since the effects are implemented in hardware, they dont place any load on your host computer. This allows your valuable CPU cycles to be used for other applications or software plug-ins. The effects are only available at the 44.1 and 48kHz sample rates. There is a nite limit to how many effects you can use at the same time. As you use up the PatchMix DSP resources, certain effects will appear grayed out and cannot be added to the mixer. Complex effects such as reverb use more DSP resources than say, a 1-Band EQ. If you continue to add effects, all of the DSP resources will eventually be used up.

The Effects Palette

Click the FX button on the toolbar to bring up the Effects Palette. The Effects Palette contains two types of folders. The Core Effects folder contains the effect algorithms themselves. This folder cannot be modied. The other folders contain Effects Chains, consisting of two or more effects grouped together. You can also add, delete, or modify Effects Chains and the folders that contain them. For more information on Effects Chains, see FX Insert Chains on page 38.

Core Effects and Effects Presets
The Core Effects cannot be removed or copied. Effect presets (stored in C:\Program Files\Creative Professional\Digital Audio System\E-MU PatchMix DSP\Effect Presets) can be copied, e-mailed or shared like any other computer le. Hint: Open with NotePad or other word processor to view and edit the name and parameters.
WDM Recording and Playback Behavior
WDM record and playback is now supported at all PatchMix sample rates. The behavior of the driver with respect to PatchMix sample rate is described below. When PatchMix and the WDM audio content (.WAV le format, record and playback settings in WaveLab. etc.) are both running at the same sample rate, and when a Wave strip or send is present in the PatchMix mixer conguration, WDM audio will be played or recorded bit accurate without sample rate conversion or bit truncation. When running PatchMix at 44kHz/48kHz, if there is a mismatch between the WDM record or playback audio content and the PatchMix sample rate, sample rate conversion is performed, so that WDM audio will always be heard or recorded. Also, such nonnative-sample-rate audio is truncated to 16-bits. When running PatchMix at 88.2kHz/96kHz or 176.4kHz/192kHz, WDM record or playback audio content must be running at the same sample rate as PatchMix. If the sample rates are mismatched, NO AUDIO will be recorded or played back. In other words, the WDM driver does not perform sample rate conversion of any kind when PatchMix is running at 88.2kHz/96kHz or 176.4kHz/192kHz.
5 - Effects List of Core Effects

List of Core Effects

Stereo Reverb Lite Reverb Compressor Leveling Amp Chorus Flanger Distortion Speaker Sim Rotary Phase Shifter Frequency Shifter Auto-Wah Vocal Morpher 1-Band Para EQ 1-Band Shelf EQ 3-Band EQ 4-Band EQ Mono Delay 100 Mono Delay 250 Mono Delay 500 Mono Delay 750 Mono Delay 1500 Mono Delay 3000 Stereo Delay 100 Stereo Delay 250 Stereo Delay 550 Stereo Delay 750 Stereo Delay 1500

DSP Resource Usage

There are two main factors which determine the total number of effects available for use at any given time: Tank Memory and DSP Instructions. Using too much of either resource will cause effects to be unavailable (grayed out) in the FX menu. In addition, the strips themselves use DSP Instructions, so only create strips that you actually need. Tank memory is the memory used by delay-based effects such as reverb and digital delays. All the reverbs and delays aside from the Mono Delay 100 and Stereo Delay 100 use varying amounts of tank memory. The DSP instructions are used by all the effects. Effects with multiple stages, such as multi-band EQs or the speaker simulator use more DSP instructions than a 1-Band EQ. Tank memory tends to get used rst, and so weve provided many delay line effects to allow maximum conservation of this precious resource. Use only the longest delay you actually need. The chart below shows three possible effects combinations. These were created by using up the reverb resources rst. Even more simultaneous effects are possible if fewer reverbs and shorter delays are used.

Parameter Threshold

Description Threshold sets the input signal level above which dynamic range compression takes place. Everything above the threshold will be brought down in volume. Range: -60dB to +12dB Sets the ratio of input signal level to output signal level, or how much compression will be applied. Range: 1:1 to :1 Amplies the signal after it has been compressed to bring up the volume. Range -60dB to +60dB

Ratio Post Gain

Parameter Attack Time Release Time
Description Controls how quickly the gain is turned down after the signal exceeds the threshold. Range.1ms to 500ms Controls how fast the gain is returned to its normal setting after the signal has fallen below the threshold. Range: 50ms to 3000ms Allows the use of slower attack times without missing signal peaks. Range: 0ms to 3 ms

Pre-Delay

Input Meter Gain Reduction Meter
Allows you to monitor the strength of the input signal. Shows the amount of gain reduction being applied.

Distortion

Most audio processors aim to provide low distortion, but not this one! The sole purpose of this effect is to add distortion, and lots of it. This effect provides fuzz box style, clipping distortion which is particularly effective on guitar, bass, organs, electric pianos or whatever. The input signal rst passes through a lowpass lter. The Lowpass Filter Cutoff Frequency allows you to control the number of new harmonics that will be generated by the distortion element. The distortion element has an Edge control which controls how much distortion will be added. A bandpass lter follows the distortion generator. The EQ Center control lets you select a particular band of frequencies to be output. The EQ Bandwidth controls the width of the center frequency band. Finally, a gain control allows you to make up for any gain loss through the effect. Use the Wet/Dry mix control in conjunction with the Edge control to reduce the amount of distortion, or go wild and turn everything to 11! Lowpass Filter Bandpass Filter
LP Filter Cutoff EQ BW Gain EQ Center
Parameter Pre EQ LP Cutoff Edge Gain Post EQ Center Freq. Post EQ Bandwidth
Description Controls the amount of high frequency audio admitted to the distortion. Range: 80Hz to 24kHz Sets the amount of distortion and new harmonics generated. Range: 0-100 Sets the output volume of the effect. Range: -60dB to 0dB Sets the frequency of the output bandpass lter. Range: 80Hz to 24kHz Sets the width of the output bandpass lter. Range: 80Hz to 24kHz

LFO Center

LFO Rate
Parameter LFO Center Feedback LFO Rate LFO Depth Waveform LFO L/R Phase
Description Sets the initial offset of the LFO and changes the position of the peaks and notches. Range: 0% to 100% Increases the depth of the notches and height of the peaks. Range: 0% to 100% Controls the sweep rate of the Low Frequency Oscillator. Range:.01Hz to 10Hz Controls how much the Center Frequency is swept by the LFO. Range: 0% to 100% Selects a Sine or Triangle wave for the LFO Controls the stereo width by adjusting the phase difference between the left and right sweeps. Range: -180 to +180

Rotary

This is a simulation of a rotating speaker used on organs. The rotating speaker was invented to give static organ tones a pipe organ type of animation, but this distinctive sound became a legend in its own right. Spinning a sound around the room creates a doppler pitch shift along with many other complex and musically pleasing sonic effects. The Rotary incorporates acceleration and deceleration as you switch between the two speeds.

Parameter Speed

Description Switches between slow or fast rotor speeds with acceleration and deceleration as the speed changes.

Speaker Simulator

The Speaker Simulator provides realistic guitar speaker responses and is designed for use with guitar, bass or synthesizer. Twelve popular guitar amp speaker cabinets are modeled. There is only one parameter on this effect. Just select the speaker you want and listen. Normally this effect should be used with the Mix control set to 100%.
Speaker Type British Stack 1 & 2 British Combo 1-3 Tweed Combo 1-x 12 Combo 4 x 12 Combo Metal Stack 1 & 2
Description Modeled from a British 8-speaker high power amplier stack. Modeled from a British 2-speaker combo amplier. Modeled from an American, 1950s era, 2-speaker combo amplier. Modeled from an American, 1960s era, 2-speaker combo amplier. Modeled from an American, 1960s era, 4-speaker amplier set. Modeled from a modern era, power amplier stack.
Stereo Delays - 100, 250, 550, 750, 1500
The Stereo Delays are true stereo delay lines in that the left and right channels are kept entirely separate from each other. The delay number refers to the maximum delay time that can be produced by the delay lines. The ve different lengths, from 100 ms to 1.5 seconds, allow you to make the most efcient use of the effect memory resource. Because the left and right channels can have different delay times, you can create a panning effect by setting one delay long and the other short. Very short delay times combined with a high feedback amount can be used to create monotone roboticsounding effects. Using the longer stereo delays, you can overdub musical lines one on top of the other with the feedback control turned up.

In practical use, however, youll probably never need to use more than one E-Wire VST on a single track since PowerFX effects can be placed in series. We have included this feature just in case you need it. Heres one more example of how to use the E-Delay Compensator with different numbers of PowerFX/E-Wire sends on each track. The delay compensation on each track must equal the track with the maximum number of PowerFX/E-Wire sends. See the diagram below.

Insert Insert Insert

PowerFX or E-Wire

E-Delay 1

E-Delay 2
Since track 1 uses two PowerFX/E-Wire inserts, the delay of all the other tracks must equal two. Track 2 has one PowerFX/E-Wire insert and so adding one unit of E-Delay keeps it time aligned. Track 3 doesnt use a PowerFX/E-Wire insert and so needs two E-Delay Units to remain in alignment.

Grouping Tracks

When several tracks require E-Delay Compensation, you can send the output of each track to a group or bus and use a single E-Delay Compensator on the output of the group or bus. E-MU Digital Audio System and PatchMix DSP must be installed. E-Wire is compatible with Cubase SX/SL/LE, Cubase VST, Wavelab, and Cakewalk Sonar (via DirectX-VST adapter) among others.
6 - Appendix Sync Daughter Card Supplement

6 - Appendix

Sync Daughter Card Supplement

SMPTE Conversion

One of the main functions of the Sync Daughter Card is to convert SMPTE (LTC) to MIDI Time Code (MTC) and vice-versa. The term Host MTC refers to MTC, which is generated or used by the host application (Cubasis, etc.). MTC is also available at the MIDI jack on the back of the Sync Card.
Warning: SMPTE and MTC do not provide sample sync for digital I/O. You must use Word Clock, or S/PDIF sync.

SMPTE Features

Conversion of SMPTE to MTC quarter-frame messages & full-frame messages. Constant quarter-frame messages are generated with steady SMPTE data input. Occasional MIDI full-frame messages are generated when SMPTE contains data dropouts. Conversion of MTC (quarter frame & full frame) messages from the host computer to SMPTE out. Simultaneous SMPTE and MTC output when receiving MTC from the host computer Outputs SMPTE and MTC striping data. SMPTE Start Time and type can be set via System Settings dialog box.

SMPTE Options

When the Sync Daughter Card is installed in your system a SMPTE button in the PatchMix DSP mixer becomes visible. Pressing the SMPTE button brings up the SMPTE window.
SMPTE Start Time Flywheel Mode: Off Continuous Fixed 1-time Jam

Frames Frames Seconds Seconds Minutes Minutes Hours Hours

SYNC WORD

SMPTE Time Code

10 Start Frame

80 End Frame

80 Bit Cells per Frame

Bit Cell =0

Bit Cell =1

There are four types of SMPTE time code in general use: 24, 25, 30 frame-per-second and 30 drop-frame. In general, you should choose one rate (30 non-drop is common in audio) and stick with it for initial recording and later editing.

Types of SMPTE

Type 24 frame 25 frame 30 drop-frame 30 non-drop Use US Film Euro. Film + Video US & Japan Color Video US & Japan B/W Video Hours 00-23 00-23 00-23 00-23 Minutes 00-59 00-59 00-59 00-59 Seconds 00-59 00-59 00-59 00-59 Frames 00-23 00-24 00-29 00-29
The four frame rates are all straightforward except 30 drop-frame. The 30 df rate came about because the US color video frame rate is actually 29.97 frames/sec instead of 30 frames/sec. This adds up to an error of 108 frames each hour relative to wall clock
E-MU Digital Audio System 73
time! (A one hour program would actually be 59 minutes and 56.4 seconds long.) Drop frame was designed to correct this time difference. In 30 Drop Frame, every minute except 00-10-20-30-40-50 have the rst two frames, 00 and 01, dropped, hence the name drop-frame.

Why use SMPTE?

SMPTE sync, although well over 30 years old, has the advantage of being able to be recorded as an audio track. This allows it to be used with virtually any kind of recording equipment from tape recorders to computer-based digital audio recorders. You can even buy phonograph records with a SMPTE stripe! SMPTE was designed in the days when tape dropout was a common occurrence and so it was designed to convey absolute location information. Since each frame of SMPTE code provides its own unique identication, it provides the ability for a receiving device to recover from data dropout. In addition, edits can be performed in the middle of a song with just a few seconds of pre-roll before the punch-in point. SMPTE is also standardized, which means that code generated on different makes of equipment will be compatible with each other. SMPTE also has fairly good resolution, especially at the subframe level. Youll be happy to know that the Sync Daughter Card resolves to the subframe level. The chart below shows subframe accuracy at the three frame rates. SMPTE Subframe Resolution
Frames-per-second 24 fps 25 fps 30 fps Resolution.521 mS.500 mS.417 mS

Striping SMPTE

Printing SMPTE to a track is called striping (as in stripe). SMPTE time code is recorded on an unused audio track of another recorder, then played back into the Sync Daughter Card. The Sync Daughter Card passes the location information on to the host computer as MTC quarter-frame data to be used by an application such as an audio recorder or sequencer. SMPTE is usually recorded at about -3 VU on semi-pro gear, -10 VU on professional gear and 0 VU on video gear. Experiment to nd the optimum levels. When printing to a time code track of a video deck, be careful. The time code playback head locations on video decks are not standardized and can cause gross timing errors. Time code which is striped on an audio track will always be in sync with the picture. SMPTE code is traditionally recorded on the right channel of a video recorder.

Host Windows Source Strips 19 Hum, in the audio 79
Importing Core FX Presets & FX Insert Chains 40 Input display 34 level setting 25 type mixer strip 18 red color 18 Insert add effect 21 add send 22 add send/return 22, 23 bypass 28, 41 delete 28 menu 22 meter 25 mixer strip 21 solo 28, 41 types 21 Installing E-MU 0404 PCI card 3 sync cables 10 sync daughter card 4 Interface MIDI 10 S/PDIF 8 SMPTE 10, 71 word clock 76 Invert, polarity 27
Factory Templates 15 Flanger 52 Flywheel Mode, SMPTE 72 Frame Rates, SMPTE 73 Frequency Shifter 53 Full-Frame Messages 75 FX Display 33 FX Edit Screen 41 FX Insert Chains 38 FX Insert Chains, importing/exporting 40

Jitter Specification 81

Kernel Streaming 19
Gain, compressor 50 Ground Loop, preventing 79 Grounding 79 Label, scribble strip 31 Latency, monitoring without 23 Level Fader 31 Level, setting proper input 25, 26 Leveling Amp 54 LFO flanger 52 phase shifter 57 vocal morpher 61 Limiter 50 Lite Reverb 55 Low Frequency Damping 60 Low Frequency Decay Factor 55
Help System 13 High Frequency Decay Factor, lite reverb 55 High Frequency Rolloff, mono delay 56 High Sample Rates 39 Host Input Display 34 Host Mode, SMPTE 72 Host Output Display 34

Index M

Main bus 32 inserts 36 output fader 36 section 32 Master clock 78 return level 32 send level 32 Meter insert 27 using to measure input level 26 main output 36 setting input levels using 25 MIDI connections 9 thru 9 time code 75 Mixer block diagram 12 overview 11 strip 18 aux send 29 delete 19 fader 31 insert 21 label 31 mute button 31 new 19 solo button 31 type 19 viewing 11 MME 19 Monitor balance control 36 mix 32 mute 32 output level control 36 mute 36 Mono Delay MTC 75 to SMPTE Conversion 71 Multichannel WAVE Files 20 Mute mixer strip 31 monitor 32
OpAmps, used in Optical Cables 79 Output fader, main 36 level meters 36 monitor 36 SMPTE 72 routing display 34 section 36
Palette, effects 37 Pan 31 Pan Controls 18 Parametric EQ, setting up 46 PatchMix DSP, disabling 13 Peak Meters 24 Phase Invert 27 Phase Shifter 57 Phattening, using chorus 49 Phoneme 61 Physical Input Display 34 Physical Output Display 34 Physical Source 19 Playing CDs 19 Post Gain, leveling amp 54 PowerFX 62 Pre-Delay, compressor 50 Pre-Fader Aux Sends 32 Preset create new 42 delete 43 overwrite effects 43 rename effects 43 select user 42
Quarter-Frame Messages 75
Rack Mounting, Audio Dock 5 Ratio, compressor 50 Recording, how to make a good one 26 Red Strip 18 Reducing Noise 79 Release, compressor 50 Render Mode 63 Reverb, envelope 55, 60 Reverberation 60 Robot Voice Effects, creating 59 Rotary, effect 58
New mixer strip 19 session 13, 14 Notes, Tips & Warnings 8

Index S

S/PDIF 8, 9 S/PDIF to AES/EBU Adapter 79 Sample Rate, setting 14 Save FX Insert Chains 38 session 15 user effect preset 42 Scribble Strip 31 Send /return insert 22, 23 bypass or solo 33 auxiliary 29 insert 22 Send/Return Levels 32 Send/Return, greyed out or unavailable 21 Session 14 creating new 14 path 15 templates 15 Setting Up, E-MU Digital Audio System 1 Settings I/O 17 S/PDIF 17 sample rate 16 system 16 Sidechain Effects 35 routing 29 Signal generator, insert 27 Signal Level Indicators, meters 36 SMPTE 71 background 73 Software Installation 5 Solo button 31 insert 41, 42 send/return insert 33 Start Time, SMPTE 72 Stereo Delay Stereo Reverb 60 Strip add new 19 input type 18 mixer 18 Striping SMPTE 73, 74 Sync Daughter Card description 10 specs 81 Sync/Sample Rate Indicators 35 Synchronization hardware connections 10 source 16 using S/PDIF 78 System Settings 16