Instrukcja obsługi Motu 828mk3 Hybrid

Motu system hi-fi 828mk3 Hybrid

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MOTU 828mk3 Hybrid

User Guide for Mac

1280 Massachusetts Avenue

Cambridge, MA 02138

Business voice: (617) 576-2760

Business fax: (617) 576-3609

Web site: www.motu.com

Tech support: www.motu.com/support

SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS

CAUTION! READ THIS SAFETY GUIDE BEFORE YOU BEGIN INSTALLATION OR OPERATION. FAILURE TO COMPLY WITH SAFETY INSTRUCTIONS

COULD RESULT IN BODILY INJURY OR EQUIPMENT DAMAGE.

HAZARDOUS VOLAGES: CONTACT MAY CAUSE ELECTRIC SHOCK OR BURN. TURN OFF UNIT BEFORE SERVICING.

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR OTHER MOISTURE.

CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

WARNING: DO NOT PERMIT FINGERS TO TOUCH THE TERMINALS OF PLUGS WHEN INSTALLING OR REMOVING THE PLUG TO OR FROM THE OUTLET.

WARNING: IF NOT PROPERLY GROUNDED THE MOTU 828mk3 COULD CAUSE AN ELECTRICAL SHOCK.

The MOTU 828mk3 is equipped with a three-conductor cord and grounding type plug which has a grounding prong, approved by Underwriters' Laboratories and the Canadian Standards Association.

This plug requires a mating three-conductor grounded type outlet as shown in Figure A below. If the outlet you are planning to use for the MOTU 828mk3 is of the two prong type, DO NOT REMOVE

OR ALTER THE GROUNDING PRONG IN ANY MANNER. Use an adapter as shown below and always connect the grounding lug to a known ground. It is recommended that you have a qualiﬁed

electrician replace the TWO prong outlet with a properly grounded THREE prong outlet. An adapter as illustrated below in Figure B is available for connecting plugs to two-prong receptacles.

WARNING: THE GREEN GROUNDING LUG EXTENDING FROM THE ADAPTER MUST BE CONNECTED TO A PERMANENT GROUND SUCH AS TO A

PROPERLY GROUNDED OUTLET BOX. NOT ALL OUTLET BOXES ARE PROPERLY GROUNDED.

If you are not sure that your outlet box is properly grounded, have it checked by a qualiﬁed electrician. NOTE: The adapter illustrated is for use only if you already have a properly grounded two-prong

receptacle. Adapter is not allowed in Canada by the Canadian Electrical Code. Use only three wire extension cords which have three-prong grounding type plugs and three-prong receptacles which

will accept the MOTU 828mk3 plug.

IMPORTANT SAFEGUARDS

1. Read these instructions. All the safety and operating instructions should be read before operating the 828mk3.

2. Keep these instructions. These safety instructions and the 828mk3 owner’s manual should be retained for future reference.

3. Heed all warnings. All warnings on the 828mk3 and in the owner’s manual should be adhered to.

4. Follow all Instructions. All operating and use instructions should be followed.

5. Do not use the 828mk3 near water.

6. Cleaning - Unplug the 828mk3 from the computer and clean only with a dry cloth. Do not use liquid or aerosol cleaners.

7. Ventilation - Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

8. Heat - Do not install the 828mk3 near any heat sources such as radiators, heat registers, stoves, or another apparatus (including an ampliﬁer) that produces heat.

9. Overloading - Do not overload wall outlets and extension cords as this can result in a risk of ﬁre or electrical shock.

10. Grounding - Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade

or the third prong are provided for your safety. If the provided plug does not ﬁt into your outlet, consult and electrician for replacement of the obsolete outlet.

11. Power cord - Protect the 828mk3 power cord from being walked on or pinched by items placed upon or against them. Pay particular attention to cords and plugs, convenience receptacles, and the point where they exit from the unit.

12. Power switch - Install the 828mk3 so that the power switch can be accessed and operated at all times.

13. Disconnect - The main plug is considered to be the disconnect device for the 828mk3 and shall remain readily operable.

14. Accessories - Only use attachments/accessories speciﬁed by the manufacturer.

15. Placement - Use only with the cart, stand, tripod, bracket or table speciﬁed by the manufacturer, or sold with the 828mk3. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

16. Surge protection - Unplug the 828mk3 during lightning storms or when unused for long periods of time.

17. Servicing - Refer all servicing to qualiﬁed service personnel. Servicing is required when the 828mk3 has been damaged in any way, such as when a power-supply cord or plug is damaged, liquid has been spilled or objects have fallen

into the 828mk3, the 828mk3 has been exposed to rain or moisture, does not operate normally, or has been dropped.

18. Power Sources - Refer to the manufacturer’s operating instructions for power requirements. Be advised that different operating voltages may require the use of a different line cord and/or attachment plug.

19. Installation - Do not install the 828mk3 in an unventilated rack, or directly above heat-producing equipment such as power ampliﬁers. Observe the maximum ambient operating temperature listed below.

20. Power ampliﬁers- Never attach audio power ampliﬁer outputs directly to any of the unit’s connectors.

21. Replacement Parts - When replacement parts are required, be sure the service technician has used replacement parts speciﬁed by the manufacturer or have the same characteristics as the original part. Unauthorized substitutions

may result in ﬁre, electric shock or other hazards.

22. Safety Check - Upon completion of any service or repairs to this MOTU 828mk3, ask the service technician to perform safety checks to determine that the product is in safe operating conditions.

ENVIRONMENT

Operating Temperature: 10°C to 40°C (50°F to 104°)

TO REDUCE THE RISK OF ELECTRICAL SHOCK OR FIRE

Do not handle the power cord with wet hands. Do not pull on the power cord when disconnecting it from an AC wall outlet. Grasp it by the plug. Do not expose this apparatus to rain or moisture. Do not place objects containing liquids on it.

AC INPUT

100 - 240VAC ~ • 50 / 60Hz • 20 Watts.

3-prong plug

Grounding prong

Properly grounded 3-prong outlet

Grounding lug

Screw

3-prong plug

Adapter

Make sure this is connected to

a known ground.

Two-prong receptacle

Figure A Figure B

III

Contents

5Quick Reference: 828mk3 Front Panel

6Quick Reference: 828mk3 Rear Panel

7Quick Reference: MOTU Audio Setup

9About the 828mk3

15 Packing List and System Requirements

17 Installing the 828mk3 Hardware

33 Installing the 828mk3 Software

37 MOTU Audio Setup

43 Front Panel Operation

53 Digital Performer and AudioDesk

59 Other Mac OS X Audio Software

67 Reducing Monitoring Latency

73 CueMix FX

119 MOTU SMPTE Setup

123 Troubleshooting

125 Index

About the Mark of the Unicorn License Agreement and

Limited Warranty on Software

TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the

terms and conditions of the “click-wrap” license agreement presented to you when

you install the software. Using the software or this documentation indicates your

acceptance of the terms and conditions of that license agreement.

Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation.

Both the program and the documentation are protected under applicable copyright,

trademark, and trade-secret laws. Your right to use the program and the

documentation are limited to the terms and conditions described in the license

agreement.

Reminder of the terms of your license

This summary is not your license agreement, just a reminder of its terms. The actual

license can be read and printed by running the installation program for the software.

That license agreement is a contract, and clicking “Accept” binds you and MOTU to

all its terms and conditions. In the event anything contained in this summary is

incomplete or in conﬂict with the actual click-wrap license agreement, the terms of the

click-wrap agreement prevail.

YOU MAY: (a) use the enclosed program on a single computer; (b) physically transfer

the program from one computer to another provided that the program is used on only

one computer at a time and that you remove any copies of the program from the

computer from which the program is being transferred; (c) make copies of the

program solely for backup purposes. You must reproduce and include the copyright

notice on a label on any backup copy.

YOU MAY NOT: (a) distribute copies of the program or the documentation to others;

(b) rent, lease or grant sublicenses or other rights to the program; (c) provide use of

the program in a computer service business, network, time-sharing, multiple CPU or

multiple user arrangement without the prior written consent of MOTU; (d) translate,

adapt, reverse engineer, decompile, disassemble, or otherwise alter the program or

related documentation without the prior written consent of MOTU.

MOTU warrants to the original licensee that the disk(s) on which the program is

recorded be free from defects in materials and workmanship under normal use for a

period of ninety (90) days from the date of purchase as evidenced by a copy of your

receipt. If failure of the disk has resulted from accident, abuse or misapplication of the

product, then MOTU shall have no responsibility to replace the disk(s) under this

Limited Warranty.

THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF,

AND YOU HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH

EXPRESS AND IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES

OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE

LIABILITY OF MOTU PURSUANT TO THIS LIMITED WARRANTY SHALL BE

LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK(S), AND IN NO

EVENT SHALL MOTU OR ITS SUPPLIERS, LICENSORS, OR AFFILIATES BE

LIABLE FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, INCLUDING

BUT NOT LIMITED TO LOSS OF USE, LOSS OF PROFITS, LOSS OF DATA OR

DATA BEING RENDERED INACCURATE, OR LOSSES SUSTAINED BY THIRD

PARTIES EVEN IF MOTU HAS BEEN ADVISED OF THE POSSIBILITY OF

SUCH DAMAGES. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS

WHICH MAY VARY FROM STATE TO STATE. SOME STATES DO NOT ALLOW

THE LIMITATION OR EXCLUSION OF LIABILITY FOR CONSEQUENTIAL

DAMAGES, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU.

Update Policy

In order to be eligible to obtain updates of the program, you must complete and return

the attached Mark of the Unicorn Purchaser Registration Card to MOTU.

transmitted, transcribed, stored in a retrieval system, or translated into any human or

computer language, in any form or by any means whatsoever, without express

written permission of Mark of the Unicorn, Inc., 1280 Massachusetts Avenue,

Cambridge, MA, 02138, U.S.A.

Limited Warranty on Hardware

Mark of the Unicorn, Inc. and S&S Research (“MOTU/S&S”) warrant this equipment

against defects in materials and workmanship for a period of TWO (2) YEARS from

the date of original retail purchase. This warranty applies only to hardware products;

MOTU software is licensed and warranted pursuant to separate written statements.

If you discover a defect, ﬁrst write or call Mark of the Unicorn at (617) 576-2760 to

obtain a Return Merchandise Authorization Number. No service will be performed on

any product returned without prior authorization. MOTU will, at its option, repair or

replace the product at no charge to you, provided you return it during the warranty

period, with transportation charges prepaid, to Mark of the Unicorn, Inc., 1280

Massachusetts Avenue, MA 02138. You must use the product’s original packing

material for in shipment, and insure the shipment for the value of the product. Please

include your name, address, telephone number, a description of the problem, and

the original, dated bill of sale with the returned unit and print the Return Merchandise

Authorization Number on the outside of the box below the shipping address.

This warranty does not apply if the equipment has been damaged by accident,

abuse, misuse, or misapplication; has been modiﬁed without the written permission

of MOTU, or if the product serial number has been removed or defaced.

ALL IMPLIED WARRANTIES, INCLUDING IMPLIED WARRANTIES OF

MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE

LIMITED IN DURATION TO TWO (2) YEARS FROM THE DATE OF THE

ORIGINAL RETAIL PURCHASE OF THIS PRODUCT.

THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE

AND IN LIEU OF ALL OTHERS, ORAL OR WRITTEN, EXPRESS OR IMPLIED.

No MOTU/S&S dealer, agent, or employee is authorized to make any modiﬁcation,

extension, or addition to this warranty.

MOTU/S&S ARE NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR

CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF

WARRANTY, OR UNDER ANY LEGAL THEORY, INCLUDING LOST PROFITS,

DOWNTIME, GOODWILL, DAMAGE OR REPLACEMENT OF EQUIPMENT

AND PROPERTY AND COST OF RECOVERING REPROGRAMMING, OR

REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH

MOTU/S&S PRODUCTS.

Some states do not allow the exclusion or limitation of implied warranties or liability for

incidental or consequential damages, so the above limitation or exclusion may not

apply to you. This warranty gives you speciﬁc legal rights, and you may have other

rights which vary from state to state.

MOTU, AudioDesk, Mark of the Unicorn and the unicorn silhouette logo are

trademarks of Mark of the Unicorn, Inc.

This equipment has been type 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 instruction manual,

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 interference to radio

or television equipment reception, which can be determined by turning the equipment off and on, the

user is encouraged to try to correct the interference by any combination of the following measures:

• Relocate or reorient the receiving antenna

• Increase the separation between the equipment and the receiver

• Plug the equipment into an outlet on a circuit different from that to which the receiver is connected

If necessary, you can consult a dealer or experienced radio/television technician for additional

assistance.

PLEASE NOTE: only equipment certiﬁed to comply with Class B (computer input/output devices,

terminals, printers, etc.) should be attached to this equipment, and it must have shielded interface

cables in order to comply with the Class B FCC limits on RF emissions.

WARNING: changes or modiﬁcations to this unit not expressly approved by the party

responsible for compliance could void the user's authority to operate the equipment.

Quick Reference: 828mk3 Front Panel

The phone jack labeled (MAIN) is a standard quarter-inch stereo

headphone jack. Its output is hard-wired to mirror the XLR main outs on

the rear panel. From the factory, the MASTER VOL knob above it controls

the main outs and this jack, but MASTER VOL can be programmed to

control any combination of outputs. See “The Monitor Group” on

page 96 for details. Push the knob once to view the current volume

setting in the LCD display; push it again to mute the monitor group; push

a third time to return to the previous volume. Note: if the Monitor group

is programmed to not include the main outs, the MASTER VOL knob will

no longer control the volume of this phone jack, either.

These round LEDs indicate

signal presence on the 8 rear-

panel TRS analog and SPDIF

outputs. Their threshold is

around -42 dB. They do not

indicate clipping in any way;

use your host audio software

level meters to calibrate

output levels.

The multi-purpose backlit LCD shows

system settings or CueMix FX

settings, depending on which knobs

you turn. The labels above and below

the LCD refer to the four digital rotary

encoders to the left of the LCD. These

knobs let you access and program all

settings in the 828mk3.

These lights indicate the global

sample rate at which the 828mk3

is operating. Use the MOTU Audio

Setup software to set the sample

rate or to choose an external clock

source, from which the sample rate

will be derived. When no clock

signal is currently present, one of

these LEDs ﬂashes rapidly.

FireWire and USB are “plug-

and-play” protocols. That

means that you can turn off

the 828mk3 and turn it back

on without restarting your

computer.

These two trim knobs provide approximately 53 dB of gain for the lo-Z XLR mic input and the hi-Z TRS guitar/instrument input. Both

inputs have preamps, so you can plug just about anything into them: a microphone, a guitar, a synth — but don’t plug in a +4 signal

here (due to the preamps): use a rear-panel TRS input instead. Use the trim knob and the “MIC” input level meters over in the metering

section to calibrate the input signal level. The meters cover both the TRS and XLR input. These mic inputs are also equipped with the

828mk3’s V-Limit™ hardware limiter, which provides an additional +12 dB of headroom above zero with no clipping or digital distor-

tion. See “Mic/guitar inputs meters with V-Limit™ compressor” on page 44 for details.

These XLR/TRS combo jacks accept either a mic cable or

a quarter-inch guitar cable. Both the low-impedance

XLR jack and the high-impedance TRS jack are

equipped with a preamp (so don’t connect a +4 line

level XLR cable!). For the Mic (XLR) input, push the TRIM

encoder to toggle a 20 dB pad; push and hold to toggle

48V phantom power. The Precision Digital Trim™ knob

provides 53 dB of gain. Use the rear panel sends to

route these inputs to your favorite outboard gear. Use

any rear-panel input as a return.

From the factory, the

PHONES jack is a discrete

output (at 44.1/48 kHz),

but it can mirror any other

output pair (digital or

analog). For example, at

88.2/96 kHz, it defaults to

mirroring the main outs.

As the primary phone jack,

it has its own dedicated

volume knob.

Push the CHANNEL knob repeat-

edly to cycle among the four

main sections of the mixer: mix

busses, inputs, outputs and the

reverb module. Push the PARAM

knob to enter the SETUP menu,

which provides global 828mk3

settings, such as the global

sample rate, etc.

This section controls the 828mk3’s built-in CueMix FX mixer and

effects. There are eight stereo mix busses: each bus mixes all

inputs (or any subset you wish) to a stereo output of your choice.

You can apply EQ, compression, and reverb to inputs, outputs and

mix busses. The four knobs to the left of the LCD correspond

directly to the four labeled sections of the LCD. Use the CHANNEL

knob to choose the input, output or mix you wish to edit. Push it to

switch among inputs, outputs and busses, then turn it to choose

the desired channel or bus. Use the PAGE, PARAM and VALUE knobs

to access the mix settings for the chosen channel.

This bank of

input meters

is for the 8

analog TRS

input jacks on

the rear panel.

This section provides two ten-segment meters for the two front-panel mic/guitar inputs. The

meters show input levels from -42 to -1 in the ﬁrst column of LEDs, plus an additional range in a

second column from zero to +12 dB (including clip). Both inputs are equipped with V-Limit™, a

hardware limiter. With the limiter turned off, signals that hit zero or above will clip (a hard digital

clip). However, with V-Limit turned on, signals can go as high as +12 dB above zero with no

digital clipping. If the signal then goes above +12 dB, it will clip, even with V-Limit engaged.

When the 828mk3 is resolving

to SMPTE time code, the LOCK/

TACH LED glows when lockup

has been achieved. The ADAT

and MIDI LEDs blink when there

is optical audio or MIDI activity,

respectively.

5-segment

metering for the

main outs. Use

the MASTER VOL

knob to control

output level.

4-segment

metering for

SPDIF input.

Quick Reference: 828mk3 Rear Panel

Connect the 828mk3 to the computer

here via either FireWire or USB2, using

either the standard 1394 FireWire B or

USB cable provided with your 828mk3.

If you use FireWire, you can also use the

second FireWire port to daisy-chain up

to four MOTU FireWire audio interfaces

to a single FireWire bus, or connect

other FireWire devices. Keep in mind

that the 828mk3 uses more FireWire bus

bandwidth when one or both optical

banks are enabled, or when it operates

at higher sample rates. These operating

conﬁgurations will limit the number of

devices you can daisy chain on a single

FireWire bus. For details, see “Connect-

ing multiple MOTU FireWire interfaces”

on page 29.

These jacks provide

stereo, 24-bit S/PDIF

digital input and

output at all

supported sample

rates (up to 96 kHz).

These two XLR jacks serve as the

828mk3’s main outputs. You can connect

them to a set of powered studio monitors

and then control the volume from the

front panel MASTER VOL knob.

To hear audio playback from your host

audio software on these main outs,

assign the audio tracks (and master

fader) to these main outs. You can also

use CueMix FX to monitor live 828mk3

inputs here as well.

Equipped with 24-bit 192 kHz converters,

these 8 analog inputs are gold-plated,

balanced TRS (tip/ring/sleeve) quarter-inch

connectors that can also accept an unbal-

anced plug. They do not have microphone

preamps, so they are best used for synthe-

sizers, drum machines, effects processors,

and other instruments with line level signals

(either -10 dB or +4 dB). These inputs are

also equipped with the 828mk3’s Precision

Digital Trim™ feature: digitally controlled

analog trims that let you adjust input level

in 1 dB increments from either front panel

LCD or the included CueMix FX software. The

trim can be adjusted over a range of -96 to

+22 dB.

These two quarter-inch

balanced TRS send

outputs supply the pre

ampliﬁed input signal

from the mic/guitar/

instrument inputs on

the front panel. Use

them to insert your

favorite compressor, EQ,

reverb or other

outboard effect. Use

any TRS input as a

return.

The 828mk3’s eight analog outputs are

gold-plated, balanced +4dB TRS (tip/

ring/sleeve) quarter-inch connectors

that can also accept an unbalanced plug.

They are equipped with 24-bit 192 kHz

converters.

These optical digital I/O connectors can be connected either to an ADAT-compatible “lightpipe” device (such as a digital mixer) or to a S/PDIF optical

(“TOSLink”) compatible device, such as an effects processor or DAT machine. Be sure to set the format in the MOTU Audio Setup software (or using the front

panel LCD). (see “Optical input/output” on page 41) for details.) ADAT optical supplies eight channels of 24-bit digital I/O per bank (4 channels per bank

at 96kHz). TOSLink is stereo at sample rates up to 96 kHz.

One special note: you can choose independent formats for each bank, A and B, as well as IN and OUT within each bank. For example, you could choose

ADAT for the optical A IN (for, say, eight channels of input from your digital mixer) and stereo TOSLink for the optical A OUT (for, say, your DAT machine).

Connect a standard foot switch

here for hands-free punch-in and

punch-out during recording. For

details about how to set this up,

see “Enable Pedal” on page 42.

These are standard BNC word clock jacks. Use them for

a variety of applications, such as for digital transfers

with devices that cannot slave to the clock supplied by

their digital I/O connection with the 828mk3.

When the 828mk3 is operating at a high sample rate

(88.2 or 96 kHz), you can force the word clock output

rate (via software or the front panel) to 44.1 or 48 kHz.

Connect a MIDI device here

using standard MIDI cables.

Connect the 828mk3’s MIDI OUT

port to the MIDI IN port on the

other device. Conversely,

connect the 828mk3’s MIDI IN

port to the MIDI OUT port on the

other device. You can connect

different devices to each port,

such as a controller device to

the IN port and a sound module

to the OUT port. You can also

daisy-chain MIDI devices, but

be sure to manage their MIDI

channels (so that they don’t

receive or transmit on the same

channel).

These are quarter-inch analog

SMPTE input and output jacks. Use

them to resolve the 828mk3

directly to time code and transmit

time code to other devices.

The 828mk3 is

equipped with an

auto-switching

international

power supply.

Quick Reference: MOTU Audio Setup

The 828mk3 driver provides a stereo return

back to the computer. This return feeds the

signal on any 828mk3 output pair directly

back to the computer, where you can record,

process, monitor or otherwise use it. This is a

great way to “bounce” full mixes, complete

with live audio routed through the 828mk3

only, back into the computer.

Determines the clock source for your

828mk3. If you’re just using the analog

ins and outs, set this to ‘Internal’. The

other settings are for digital transfers

via S/PDIF or optical ports, or for

slaving the 828mk3 to word clock.

Speciﬁes the stereo input and output

pair when the 828mk3 is chosen for

Mac OS X audio I/O.

Choose the global sample rate for the

system here.

If you are running an 828mk3 interface

at a high sample rate (88.2, 96, 176.4 or

192 kHz), this option appears in the

interface tab. It lets you choose a word

clock output rate that either matches

the global sample rate (e.g. 96kHz) or

reduces it to the corresponding 1x rate

(e.g. 48kHz instead of 192 kHz).

This menu lets you choose what you will

hear from the PHONES jack. To mirror the

main outs, choose Main Out 1-2. Or you can

mirror any other output pair. To hear the

phones as their own independent output,

choose Phones 1-2 (at 44.1 or 48 kHz. At

higher sample rates, the phones must

mirror any other available output pair.)

Click the tabs to access general MOTU

FireWire and USB interface settings or

settings speciﬁc to the 828mk3 (or

other connected interface.)

Check this option if you would like the MOTU

Audio Setup icon to appear in the application

dock as soon as a MOTU FireWire or USB inter-

face is detected (switched on, plugged in,

etc.)

In the standard Mac OS X fashion, the

console appears in the dock when you

launch it. If the Launch option is checked (as

shown above), the icon appears as soon as

you switch on your 828mk3 interface. If you

click and hold on the dock icon (instead of

clicking it) or control-click, a menu of

hardware settings appears as shown to the

right. You can view and conﬁgure any

hardware settings from this menu, without

opening the console window.

Click the General tab to access these settings.

Each optical bank can be conﬁgured

independently ADAT or TOSLink. Disable

them when not in use to conserve DSP

and bus bandwidth.

Choose the output pair you would like

the main outs to mirror, or choose Main

Outs to operate them as their own

independent pair (at sample rates up to

96 kHz).

If you have a foot switch connected to the

828mk3, these settings let you map the foot

switch to any computer keyboard key for

both the up and down position. For details

about how to set this up, see “Enable Pedal”

on page 42.

This button opens another dialog that lets

you assign your own customized names to

each 828mk3 input and output. For example,

if you have a lead vocal mic plugged into

input 1, you could name it “Lead Vox”. Your

customized names then appear in your host

audio application (if it supports Core Audio

input naming).

CHAPTER

1About the 828mk3

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

The 828mk3 Rear Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

The 828mk3 Front Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

16-bit and 24-bit recording . . . . . . . . . . . . . . . . . . . . . . . . . . 13

CueMix FX 32-bit ﬂoating point mixing and effects. . 13

AudioDesk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Digital Performer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Other Host Audio Software . . . . . . . . . . . . . . . . . . . . . . . . . . 14

OVERVIEW

The 828mk3 is a hybrid FireWire USB2 audio

interface for Mac and Windows with on-board

effects and mixing that offers 28 inputs and 30

outputs at 44.1 or 48 kHz. Both analog and digital

I/O are offered at sample rates up to 96 kHz, and

analog recording and playback is offered at rates up

to 192 kHz. All inputs and outputs can be accessed

simultaneously. The 828mk3 consists of a standard

19-inch, single-space, rack-mountable I/O unit

that connects directly to a computer via a standard

FireWire or USB cable.

The 828mk3 offers the following main features:

■Universal computer connectivity via FireWire or

high-speed USB2

■Eight 24-bit analog quarter-inch (TRS) inputs

■Eight 24-bit analog quarter-inch (TRS) outputs

■Two combo XLR/TRS mic/guitar inputs with

preamps, individual sends, 48V phantom power,

20 dB pad, and Precision Digital Trim™

■Two XLR main outputs

■Operation on all analog I/O at standard sample

rates up to 192 kHz

■Digitally controlled analog trim for all analog

inputs

■Two banks of optical digital I/O that provide 16

channels of ADAT optical at 48 kHz, 8 channels of

S/MUX optical I/O at 96 kHz or two banks of

stereo TOSLink at rates up to 96 kHz

■RCA S/PDIF at sample rates up to 96 kHz

■Word clock I/O

■MIDI I/O

■On-board SMPTE synchronization with

dedicated SMPTE I/O jacks

■Foot switch for hands-free punch-in/out

■Two headphone jacks with independent volume

control

■Programmable master volume knob

■CueMix™ FX no-latency mixing, monitoring

and effects processing

■Front-panel LCD programming for the mixer

and all other settings

■Extensive front panel metering and status LEDs

■Auto-switching international power supply

■Stand-alone operation

■Mac and Windows drivers for multi-channel

operation and across-the-board compatibility with

any audio software on current Mac and Windows

systems

■AudioDesk™, full-featured audio workstation

software for Mac OS X that supports both 16-bit

and 24-bit recording

A B O U T T H E 8 2 8 M K 3

With a variety of I/O formats, mic preamps, no-

latency mixing and processing of live input and

synchronization capabilities, the 828mk3 is a

complete, portable “studio in a box” when used

with a Mac or Windows computer.

THE 828MK3 REAR PANEL

The 828mk3 rear panel has the following

connectors:

■Eight gold-plated, balanced quarter-inch (TRS)

analog outputs (with 24-bit 192 kHz converters)

■Eight gold-plated, balanced quarter-inch (TRS)

analog inputs (with 24-bit 192 kHz converters)

■Two XLR “main” analog outputs with 24-bit

192 kHz converters

■Two gold-plated, balanced quarter-inch (TRS)

analog sends (for the front-panel mic/guitar

inputs)

■Gold-plated balanced TRS quarter-inch analog

in/out dedicated for SMPTE time code

■Two sets of optical connectors (in and out),

individually switchable among ADAT optical

“lightpipe”, 96 kHz S/MUX optical or S/PDIF

“TOSLink”

■RCA S/PDIF in/out

■MIDI IN and MIDI OUT

■Word clock in/out

■Foot pedal jack

■Two 1394 FireWire B connectors

■One high-speed USB2 connector

28 inputs and 30 outputs

All 828mk3 inputs and outputs can be used simul-

taneously, for a total of 28 inputs and 30 outputs

when operating at 44.1 or 48 kHz:

* The phone jack below the MASTER VOL knob is

hard-wired to (mirrors) the XLR main outs. The

PHONES output can operate as an independent

output pair, or it can mirror any other 828mk3

output pair, such as the main outs.

† The 828mk3 optical connectors support several

standard optical I/O formats, which provide

varying channel counts. See “Optical” on page 11

for details about optical bank operation.

With the exception of the phone jack on the front

panel labeled “(MAIN)”, all inputs and outputs are

discrete. For example, using a mic input does not

“steal” an input from the TRS analog I/O bank.

Analog

All analog inputs are equipped with 24-bit 192 kHz

A/D converters. All analog outputs have 24-bit

192 kHz D/A converters. All audio is transferred to

and from the computer in a 24-bit data stream.

All quarter-inch analog inputs can accept either a

balanced or unbalanced plug.

Connection Input Output

Analog 24-bit 192 kHz on bal/unbal TRS 8 8

Mic/guitar 24-bit 192 kHz on XLR/TRS combo 2 -

Main outputs 24-bit 192 kHz on XLR - stereo

Headphone output* - stereo

ADAT optical digital† 16 16

RCA S/PDIF 24-bit 96kHz digital stereo stereo

Total 28 30

A B O U T T H E 8 2 8 M K 3

The quarter-inch outputs are referenced to a +4

dBu line level output signal. The inputs have

+22 dB of input gain and -96 dB of cut, allowing

them to accommodate both -10 dBu and +4 dBu

level signals.

Precision Digital Trim™

All of the 828mk3’s analog inputs are equipped

with digitally controlled analog trims, adjustable in

1 dB increments. The mic/guitar input trims can be

adjusted using front-panel digital rotary encoders

that provide feedback in the front panel LCD with

up to 53 dB of boost. All analog inputs, including

eight rear-panel TRS analog inputs, can be

trimmed using the front panel LCD or using the

828mk3’s included CueMix FX control software for

Mac and Windows. This gives you ﬁnely-tuned

control of trim settings for synths, effects modules,

and a wide variety of analog inputs for optimum

levels. Different trim conﬁgurations can then be

saved as preset conﬁgurations for instant recall.

Mic/guitar sends

Before A/D conversion, the pre-ampliﬁed signal

from each front-panel mic/guitar input is routed to

one of the two rear-panel quarter-inch analog

sends, so that you can insert a favorite outboard

EQ, compressor, amp or effects processor to the

mic/guitar input signal before it is converted to

digital form. The resulting output from the

outboard gear can be fed back into the 828mk3 via

one of the eight TRS analog inputs on the rear

panel, for routing to the computer and/or inclusion

in the 828mk3’s built-in monitor mixes.

Main Outs

The main outs are equipped with 24-bit 192 kHz

D/A converters and serve as independent outputs

for the computer or for the 828mk3’s on-board

CueMix FX mixes.

Optical

The two optical banks provide 16 channels of

ADAT optical at 44.1 or 48 kHz, 8 channels of S/

MUX optical I/O at 96 kHz or two banks of stereo

TOSLink at rates up to 96 kHz. The banks operate

independently, including input and output,

allowing you to mix and match any optical formats.

For example, you could receive 4 channels of

96 kHz S/MUX input on Bank A while at the same

time sending 96 kHz stereo optical S/PDIF

(“TOSLink”) from the Bank A output.

S/PDIF

The 828mk3 rear panel provides S/PDIF input and

output in two different formats: RCA “coax” and

optical “TOSLink”. The RCA jacks are dedicated to

the S/PDIF format. The TOSLink jacks can be used

either for either TOSLink or ADAT optical, as

discussed earlier.

MIDI I/O

The 828mk3’s standard MIDI IN and MIDI OUT

jacks supply 16 channels of MIDI I/O to and from

the computer via the 828mk3’s FireWire

connection. Timing accuracy can be sample-

accurate with host software that supports it.

On-board SMPTE synchronization

The 828mk3 can resolve directly to SMPTE time

code via the quarter-inch SMPTE input, without a

separate synchronizer. A SMPTE out jack is also

provided for time code generation. The 828mk3

provides a DSP-driven phase-lock engine with

sophisticated ﬁltering that provides fast lockup

times and sub-frame accuracy.

The included MOTU SMPTE Setup™ software

includes a complete set of tools for generating and

regenerating SMPTE time code, providing a way to

slave other devices to the computer. Like

CueMix FX, the synchronization features are

cross-platform and compatible with all audio

sequencer software that supports the ASIO2

sample-accurate sync protocol.

A B O U T T H E 8 2 8 M K 3

Word clock

The 828mk3 provides standard word clock that can

slave to any supported sample rate. In addition,

word clock can resolve to and generate “high” and

“low” sample rates. For example, if the 828mk3

global sample rate is set to 96 kHz, the word clock

input can resolve to a “low” rate of 48 kHz.

Similarly, when the 828mk3 is operating at 96 kHz,

MOTU Audio Setup lets you choose a word clock

output rate of 48 kHz.

Punch in/out

The quarter-inch Punch in/out jack accepts a

standard foot switch. When you push the foot

switch, the 828mk3 triggers a programmable

keystroke on the computer keyboard. For example,

with MOTU’s Digital Performer audio sequencer

software, the foot switch triggers the 3 key on the

numeric keypad, which toggles recording in

Digital Performer. Therefore, pressing the foot

switch is the same as pressing the 3 key. The

828mk3 Control Panel software lets you program

any keystroke you wish.

Hybrid FireWire/USB2 connectivity

FireWire has long been recognized as a reliable,

high-performance connectivity standard for

professional MOTU audio interfaces. Meanwhile,

high-speed USB2 has also developed into a widely

adopted standard for connecting peripheral

devices to personal computers.

To fully support both formats, your 828mk3

Hybrid audio interface is equipped with both

FireWire B (400 Mbit/sec) connectors and a

high-speed USB2 (480 Mbit/sec) connector, and

you can use either port to connect the 828mk3 to

your computer. This gives you maximum ﬂexibility

and compatibility with today’s ever-expanding

universe of Mac and Windows computers.

THE 828MK3 FRONT PANEL

Mic/guitar inputs with preamps

The two mic/instrument inputs (front panel and

rear panel) are equipped with preamps and

“combo” XLR/TRS jacks, which accept XLR

microphone inputs or quarter-inch guitar/

instruments inputs. Individual 48 volt phantom

power and a 20 dB pad can be supplied

independently to each mic input. The Precision

Digital Trim™ knobs on the front panel for each

mic/instrument input provide up to 53 dB of boost

in precise 1 dB increments.

As explained in “Mic/guitar sends” on page 11, the

pre-ampliﬁed signal can be routed to external

outboard gear before being routed back into the

828mk3.

Mic/guitar input overload protection

Both mic/guitar inputs are equipped with

V-Limit™, a hardware limiter that helps prevent

digital clipping from overloaded input signals.

With V-Limit enabled, signals can go above zero

dB (with limiting applied) to as high as +12 dB

above zero with no distortion due to digital

clipping.

Additional or alternative protection can be applied

to the mic/guitar inputs by enabling the 828mk3’s

Soft Clip feature, which engages just before

clipping occurs and helps reduce perceptible

distortion.

Headphone output and main volume control

The 828mk3 front panel provides two independent

headphone jacks with independent volume knobs,

one of which also controls the XLR main outs on

the rear panel. Alternately, this MASTER VOL

knob can be programmed to control any

combination of outputs (analog or digital). For

example, it can control monitor output for an

entire 5.1 or 7.1 surround mix.

A B O U T T H E 8 2 8 M K 3

Programmable backlit LCD display

Any 828mk3 setting, including the powerful

CueMix FX on-board 16-bus mixer with effects,

can be accessed directly from the front panel using

the four rotary encoders and the 2x16 backlit LCD

display.

Metering section

The front panel of the 828mk3 displays several

banks of input and output metering. The threshold

for these lights is approximately -42 dB. The four-

and ﬁve-segment input meters provide dedicated

multi-segment metering for their respective inputs,

as do the ﬁve-segment main out meters.

Two ten-segment meters for the two front-panel

mic/guitar inputs show input levels from -42 to -1

in the ﬁrst column of LEDs, plus an additional

range in a second column from zero to +12 dB

(including clip). Both inputs are equipped with V-

Limit™, a hardware limiter. With the limiter turned

off, signals that hit zero or above will clip (a hard

digital clip). However, with V-Limit turned on,

signals can go as high as +12 dB above zero with no

digital clipping. If the signal then goes above +12

dB, it will clip, even with V-Limit engaged.

The Clock lights indicate the global sample rate (as

chosen in the MOTU Audio Setup software). The

LOCK and TACH LEDs provide feedback for the

828mk3’s on-board SMPTE synchronization

features. The ADAT and MIDI LEDs indicate audio

and MIDI activity, respectively.

16-BIT AND 24-BIT RECORDING

The 828mk3 system handles all data with a 24-bit

signal path, regardless of the I/O format. You can

record and play back 16-bit or 24-bit audio ﬁles at

any supported sample rate via any of the 828mk3’s

analog or digital inputs and outputs. 24-bit audio

ﬁles can be recorded with any compatible host

application that supports 24-bit recording.

CUEMIX FX 32-BIT FLOATING POINT

MIXING AND EFFECTS

All 828mk3 inputs and outputs can be routed to the

on-board CueMix FX 16-bus (8 stereo) digital

mixer driven by hardware-based DSP with 32-bit

ﬂoating point precision. The mixer allows you to

apply no-latency effects processing to inputs,

outputs or busses directly in the 828mk3 hardware,

independent of the computer. Effects can even be

applied when the 828mk3 is operating stand-alone

(without a computer) as a complete rack-mounted

mixer. Input signals to the computer can be

recorded wet, dry, or dry with a wet monitor mix

(for musicians during recording, for example).

Effects include reverb, parametric EQ and

compression/limiting. The 828mk3’s Classic

Reverb™ provides ﬁve different room types, three

frequency bands with adjustable crossover points,

shelf ﬁltering and reverb lengths up to 60-seconds.

Two forms of compression are supplied: a standard

compressor with conventional threshold/ratio/

attack/release/gain controls and the Leveler™, an

accurate model of the legendary LA-2A optical

compressor, which provides vintage, musical

automatic gain control.

CueMix FX also provides 7-band parametric EQ

modeled after British analog console EQs,

featuring 4 ﬁlter styles (gain/Q proﬁles) to

effectively cover a wide range of audio material.

Low-pass and high-pass ﬁlters are also supplied

with slopes that range from 6 to 36 dB. The EQ

employs extremely high precision 64-bit ﬂoating

point processing.

The 838mk3’s ﬂexible effects architecture allows

you to apply EQ and compression on every input

and output (a total of 58 channels), with enough

DSP resources for at least one band of parametric

EQ and compression on every channel at 48 kHz.

However, DSP resources are allocated dynamically

and a DSP meter in the CueMix FX software

A B O U T T H E 8 2 8 M K 3

(included) allows you to keep tabs on the 828mk3’s

processing resources. Each input, output and mix

bus provides a send to the Classic Reverb

processor, which then feeds reverb returns to mix

busses and outputs, with a selectable split point

between them to prevent send/return feedback

loops.

AUDIODESK

AudioDesk is a full-featured, 24-bit audio

workstation software package included with the

828mk3 system (for Mac OS X only). AudioDesk

provides multi-channel waveform editing,

automated virtual mixing, graphic editing of ramp

automation, real-time effects plug-ins with 32-bit

ﬂoating point processing, crossfades, support for

many third-party audio plug-ins, background

processing of ﬁle-based operations, sample-

accurate editing and placement of audio, and more.

DIGITAL PERFORMER

The 828mk3 system is fully integrated with

MOTU’s award-winning Digital Performer audio

sequencer software package.

OTHER HOST AUDIO SOFTWARE

The 828mk3 system includes a standard Mac OS X

CoreAudio driver for multichannel I/O with any

audio application that supports CoreAudio.

CHAPTER

2Packing List and

System Requirements

PACKING LIST

The 828mk3 Hybrid ships with the items listed

below. If any of these items are not present in your

828mk3 box when you ﬁrst open it, please

immediately contact your dealer or MOTU.

■One 828mk3 Hybrid I/O rack unit

■One 9-pin to 9-pin IEEE 1394 “FireWire” B cable

■Power cord

■One 828mk3 Hybrid Mac/Windows manual

■One cross-platform installer disc

■Product registration card

MAC SYSTEM REQUIREMENTS

The 828mk3 system requires the following Mac

system:

■PowerPC G4 CPU 1 GHz or faster (including

PowerPC G5 CPUs and all Intel processor Macs)

■1 GB RAM; 2 GB or more recommended

■Mac OS X version 10.5 or 10.6; v10.5.8 or later

required

■Available FireWire or USB2 port

■A large hard drive (preferably at least 100 GB)

PLEASE REGISTER TODAY!

Please register your 828mk3 today. There are two

ways to register.

■Visit www.motu.com to register online

■Fill out and mail the included product

registration card

As a registered user, you will be eligible to receive

technical support and announcements about

product enhancements as soon as they become

available. Only registered users receive these

special update notices, so please register today.

Be sure to do the same for the included AudioDesk

software, which must be registered separately. You

can do so online or by ﬁlling out and mailing the

included software registration card found at the

beginning of your AudioDesk manual. Please be

sure to register AudioDesk as well, so that you will

be eligible to receive technical support and

announcements about AudioDesk software

enhancements as soon as they become available.

Thank you for taking the time to register your new

MOTU products!

P A C K I N G L I S T A N D S Y S T E M R E Q U I R E M E N T S

CHAPTER

3Installing the 828mk3 Hardware

OVERVIEW

Here’s an overview for installing the 828mk3:

Connect the 828mk3 interface. . . . . . . . . . . . . . . . . . . . . . . 17

Connect the 828mk3 to the computer.

Connect audio inputs and outputs . . . . . . . . . . . . . . . . . . 19

Make optical and analog connections as desired.

Connect MIDI gear. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Connect a controller, synth or control surface.

Connect a foot switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Connect a footswitch to trigger any keystroke.

A typical 828mk3 setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

An example setup for computer-based mixing/FX.

Operating the 828mk3 as a converter . . . . . . . . . . . . . . . 25

An example of using the 828mk3 as an expander.

Making sync connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

If you need to resolve the 828mk3 with other

devices, make the necessary sync connections.

Syncing to SMPTE timecode . . . . . . . . . . . . . . . . . . . . . . . . . 27

Syncing S/PDIF devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Syncing word clock devices. . . . . . . . . . . . . . . . . . . . . . . . . . 29

Connecting multiple MOTU FireWire interfaces . . . . . 29

CONNECT THE 828MK3 INTERFACE

Your 828mk3 Hybrid audio interface is equipped

with both FireWire B connectors (400 Mbit/sec)

and a high-speed USB2 connector (480 Mbit/sec),

and you can use either port to connect the 828mk3

to your computer. This gives you maximum

ﬂexibility and compatibility with today’s ever-

expanding universe of Mac and Windows

computers.

Type B FireWire ports

The 828mk3 Hybrid has two FireWire Type B

ports, which provide the most reliable FireWire

connection available. The ports operate at 400

Mbit/s, and they can be connected to any available

FireWire port on your computer, either Type A or

Type B. If your computer has FireWire Type B

ports, use the included 9-pin-to-9-pin FireWire

cable. If your computer has either standard Type A

ports or miniature Type A ports, use the

appropriate 9-pin-to-6-pin or 9-pin-to-4-pin

FireWire cable (sold separately).

Should I use FireWire or USB 2.0?

If your computer does not have a FireWire port,

then obviously you will need to connect the

828mk3 Hybrid to one of its high-speed USB 2.0

ports.

If your computer has both FireWire and USB2,

then it is your choice, and your decision may

depend mostly on other peripherals you may have.

If you are connecting via FireWire

1Before you begin, make sure your computer and

the 828mk3 are switched off.

2Plug one end of the 828mk3 FireWire cable

(included) into the FireWire socket on the

computer.

☛You can also connect the 828mk3 to a 400Mbit

“FireWire A” port using a 9-pin to 6-pin FireWire B

cable (not included). The 828mk3 will still operate

at its speciﬁed 400Mbit (FireWire A) data rate.

3Plug the other end of the FireWire cable into the

828mk3 as shown below in Figure 3-1.

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

Figure 3-1: Connecting the 828mk3 to the computer via FireWire.

☛Make absolute sure to align the notched side

of the FireWire plug properly with the notched side

of the FireWire socket on the 828mk3. If you

attempt to force the plug into the socket the wrong

way, you can damage the 828mk3.

High Speed USB 2.0 versus USB 1.1

There are primarily two types of USB host

controllers widely available on current personal

computers. USB 1.1 controllers support simple

peripherals that don’t require a high speed

connection, such as a computer keyboard, a

mouse, or a printer. USB 2.0 controllers support

high speed devices such as the 828mk3. Since the

828mk3 requires a high speed connection, it must

be connected to a USB 2.0 host controller or hub.

For the most reliable connection, it is

recommended that you connect the 828mk3

directly to one of your computer’s USB 2.0-

compatible ports. However, since USB 2.0 hubs are

compatible with both types of devices, the 828mk3

can be connected to a USB 2.0 hub along with USB

1.1 devices if necessary. The 828mk3 will not

operate properly if it is connected to a USB 1.1 hub.

Follow these instructions to determine whether

your computer supports USB 1.1 or USB 2.0:

1In the Apple menu, choose About this Mac.

2Click the More Info button to open System

Proﬁler.

3In the Contents pane, select USB.

4Look at the devices in the USB Device Tree. A

device named USB High-Speed Bus represents a

USB 2.0 root hub. A device named USB Bus

represents a USB 1.1 root hub.

If you are connecting via high-speed USB 2.0

1Before you begin, make sure your computer and

the 828mk3 are switched off.

2Plug the ﬂat “type A” plug of the 828mk3 USB

cable (included) into a USB2-equipped socket on

the computer as shown below in Figure 3-2.

3Plug the squared “type B” plug of the USB cable

into the 828mk3 I/O as shown below in Figure 3-2.

Figure 3-2: Connecting the 828mk3 to the computer via USB.

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

CONNECT AUDIO INPUTS AND OUTPUTS

The 828mk3 audio interface has the following

audio input and output connectors:

■8 balanced, +4 dB quarter-inch analog outputs

■8 balanced +4 dB quarter-inch analog inputs

■2 mic/guitar combo jack inputs with preamps

■2 quarter-inch sends for the mic/guitar inputs

■2 XLR main outs

■2 pair of optical in/out switchable between

ADAT (“Lightpipe”) or optical S/PDIF (TOSLink)

■1 pair of RCA S/PDIF in and out

Here are a few things you should keep in mind as

you are making these connections to other devices.

Mic/guitar inputs with preamps

Connect a microphone, guitar, instrument or other

analog input to the front panel XLR/quarter-inch

combo jack with either a standard mic cable or a

balanced cable with a quarter-inch plug.

Figure 3-4: Mic/guitar inputs.

☛Do not connect a +4 (line level) XLR cable to

the front-panel inputs (because of the preamps).

Use a rear-panel quarter-inch input instead.

Phantom power

If you are connecting a condenser microphone or

other device that requires phantom power, push

and hold the corresponding front-panel Trim

rotary encoder for a few seconds to toggle phantom

power. The red LED below will turn on or off

accordingly.

Trim

Both the low-impedance XLR mic input and the

high-impedance quarter-inch guitar input are

equipped with 53 dB of digitally controlled analog

trim. Use the detented trim knobs next to each jack

to adjust the input level as needed for each input.

The LCD provides visual feedback as you turn the

trim knob.

Figure 3-5: The LCD gives you feedback as you turn the TRIM knobs for

the two mic/guitar inputs.

The 828mk3’s input trims are digitally controlled,

so they allow you to make ﬁne-tuned adjustments

in 1dB increments. You can also adjust trim in the

MOTU CueMix FX software. See “Input trim” on

page 80.

20 dB pad

The mic input (XLR jack) is equipped with a 20 dB

pad, so “hot” signals are best connected via an XLR

cable so that you can use the pad. To toggle the

Figure 3-3: 828mk3 front panel

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

20 dB pad for a mic input, quickly push its TRIM

rotary encoder. The green LED below will turn on

or off accordingly.

Since the pad is not available on the TRS jack, hot

signals connected via the TRS jack will probably

overdrive the input.

Combo jack summary

Use these general guidelines for the 48V phantom

power, pad and trim settings on the two combo

input jacks:

Quarter-inch analog

The eight quarter-inch analog inputs and outputs

(Figure 3-6) are balanced (TRS) connectors that

can also accept an unbalanced plug.

The quarter-inch outputs are calibrated to produce

a +4 dBu line level output signal.

Quarter-inch analog input trims

The quarter-inch inputs are calibrated to

accommodate either +4 or -10 dBu signals and are

equipped with digitally controlled analog trims

that provide +22 dB of gain and -96 dB of cut. You

can use either the front panel LCD or the included

CueMix FX software to adjust the input trim. To

adjust these trims using CueMix FX, see “Input

trim” on page 80. To adjust the trims using the

front panel LCD:

1Push the CHANNEL knob repeatedly until you

see “I:” (which stands for Input) in the CHANNEL

section of the LCD (Figure 3-7).

2Turn the CHANNEL KNOB until you see the

desired analog input or input pair. For example,

analog inputs 1-2 appear as “I:An 1-2”

(Figure 3-7), which means Input analog 1-2.

3From the factory, analog inputs are grouped in

stereo pairs (1-2, 3-4, etc.) If you need to split a pair

to deal with it as two individual mono inputs, turn

the PARAMETER knob until you see PAIR in the

parameter section of the LCD (Figure 3-7). Turn

the VALUE knob to choose MONO. Then turn the

CHANNEL knob again to select the desired input

you are adjusting.

Figure 3-7: The settings for analog inputs 1 and 2 (as a pair).

4After splitting the stereo pair, if necessary, turn

the PARAM knob until you see the TRIM

parameter in the LCD (Figure 3-8):

Input 48V Pad Trim

Condenser mic On As needed As needed

Dynamic mic Off As needed As needed

Guitar Off n/a As needed

-10 dB Line level via TRS Off n/a As needed

-10 dB Line level via XLR Off -20 dB +12dB

+4 dB line level (XLR only) Off -20 dB Zero

Figure 3-6: 828mk3 back panel

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

Figure 3-8: Setting the input trim for a TRS analog input pair.

5Turn the VALUE knob to adjust the trim.

Mic/guitar/instrument sends

Each front-panel XLR/TRS input has a

corresponding send on the rear panel (Figure 3-6).

The output from this send is the pre-ampliﬁed and

calibrated signal from the corresponding mic or

guitar input, which you can then route to any other

device, such as compressor, guitar amp, outboard

EQ, reverb unit, etc. Use any 828mk3 input (analog

or digital) as a return back into the 828mk3. From

there, you will be able to route the signal anywhere

in the system, such as to the computer and/or to

any CueMix FX mix bus.

XLR main outs

The XLR main outputs serve as independent

outputs. From the factory, the main out volume is

controlled by the MASTER VOL knob on the front

panel, although this knob can be programmed to

control any combination of outputs. For details, see

“The Monitor Group” on page 96. In a standard

studio conﬁguration, the main outs are intended

for a pair of studio monitors, but they can also be

used as additional outputs for any purpose.

Optical

The 828mk3 rear panel provides two sets of ADAT

optical (“lightpipe”) connectors: Bank A and B

(Figure 3-6). Each bank provides an input and

output connector. All four connectors can operate

independently and offer two different optical

formats: ADAT optical or TOSLink (optical S/

PDIF). For example, you could connect 8-channel

ADAT optical input from your digital mixer and

stereo TOSLink output to an effects processor.

The 828mk3 supplies +12dB of digital trim (boost)

for each optical input, which can be adjusted from

CueMix FX (“Input trim” on page 80) or the front

panel (“The IN (inputs) menu” on page 47).

Below is a summary of optical formats:

Optical operation at 44.1 or 48 kHz

When conﬁgured for ADAT “lightpipe”, an optical

connector provides 8 channels at 44.1 and 48 kHz.

ADAT optical operation at 88.2 or 96 kHz

When conﬁgured for ADAT “lightpipe”, an optical

connector provides four channels at 88.2 or 96 kHz

(2x sample rates). When using the ADAT lightpipe

format at a 2x rate, be sure to choose either Type I

or Type II operation, as explained in “ADAT SMUX

Type” on page 46.

Using optical I/O to operate the 828mk3 as a

16-channel expander

When the 828mk3 is not connected directly to a

computer via FireWire, the sixteen optical output

channels can be programmed (via the CueMix FX

mixer) to mirror the incoming signal on any

combination of the 828mk3’s inputs. By

connecting the 828mk3 optical outputs to another

device, such as another ADAT-optical equipped

interface or a digital mixer, you add up to sixteen

additional inputs to your system (or eight inputs at

the 2x sample rates).

To learn how to program the 828mk3 when it is

operating as a stand-alone expander in this

fashion, see chapter 6, “Front Panel Operation”

(page 43).

Format 44.1 or 48 kHz 88.2 or 96 kHz

ADAT optical 8 channels 4 channels

TOSLink stereo stereo

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

Choosing a clock source for optical connections

When connecting an optical device, make sure that

its digital audio clock is phase-locked (in sync

with) the 828mk3, as explained in “Making sync

connections” on page 26. There are two ways to do

this:

1. Resolve the optical device to the 828mk3

2. Resolve the 828mk3 to the optical device

For 1), choose Internal (or any other clock source

except ADAT optical) as the clock source for the

828mk3 in MOTU Audio Setup.

For 2), choose either ADAT Optical A or ADAT

Optical B as the 828mk3’s clock source

(Figure 3-9). Be sure to choose the optical port that

the device is connected to.

Figure 3-9: Resolving the 828mk3 to an optical device.

For details about using the clock source setting and

the MOTU Audio Setup software in general, see

chapter 5, “MOTU Audio Setup” (page 37).

Using word clock to resolve optical devices

If the optical device you are connecting to the

828mk3 has word clock connectors on it, you can

use them to resolve the device to the 828mk3,

similar to the diagram shown in Figure 3-18 on

page 28 for S/PDIF devices with word clock. Also

see “Syncing word clock devices” on page 29.

S/PDIF

If you make a S/PDIF digital audio connection to

another device, be sure to review the digital audio

clocking issues, as explained in “Syncing S/PDIF

devices” on page 28.

The 828mk3 supplies +12dB of digital trim (boost)

for the S/PDIF input pair, which can be adjusted

from CueMix FX (“Input trim” on page 80) or the

front panel (“The IN (inputs) menu” on page 47).

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

CONNECT MIDI GEAR

Connect your MIDI device’s MIDI IN jack to the

828mk3’s MIDI OUT jack (Connection A below).

Conversely, connect the MIDI device’s MIDI OUT

jack to the 8238mkII’s MIDI IN jack (Connection

B).

Figure 3-10: Connecting a MIDI device to the 828mk3.

One-way MIDI connections

MIDI devices that do not receive MIDI data, such

as a dedicated keyboard controller, guitar

controller, or drum pad, only need Connection B

shown in Figure 3-10. Similarly, devices that never

send data, such as a sound module, only need

Connection A. Make both connections for any

device that needs to both send and receive MIDI

data.

Connecting additional gear with MIDI THRUs

If you need to connect several pieces of MIDI gear,

run a MIDI cable from the MIDI THRU of a device

already connected to the 828mk3 to the MIDI IN

on the additional device as shown below in

Figure 3-11. The two devices then share the

828mk3’s MIDI OUT port. This means that they

share the same set of 16 MIDI channels, too, so try

to do this with devices that receive on only one

MIDI channel (such as effects modules) so their

receive channels don’t conﬂict with one another.

Figure 3-11: Connecting additional devices with MIDI THRU ports.

CONNECT A FOOT SWITCH

If you would like to use a foot switch with your

828mk3, connect it to the PUNCH IN/OUT jack.

See “Quick Reference: MOTU Audio Setup” on

page 7 for information about how to program the

foot switch to trigger any computer keystroke you

wish.

828mk3

rear panel

MIDI Device

MIDI

cables

MIDI

OUT

MIDI

OUT

MIDI

Connection A

Connection B

MIDI IN

MIDI

cable

MIDI Device

MIDI

THRU

MIDI

OUT

828mk3

rear panel

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

A TYPICAL 828MK3 SETUP

Here is a typical 828mk3 studio setup. This rig can

be operated without an external mixer. All mixing

and processing can be done in the computer with

audio software. During recording, you can use the

828mk3’s CueMix FX no-latency monitoring to

listen to what you are recording via the main outs,

headphone outs, or any other output pair. You can

control monitoring either from the front panel or

from the included CueMix FX software. The two

front-panel guitar/mic inputs can be routed to

outboard effects processors, such as a compressor,

EQ or reverb, via the rear panel sends.

Mac

S/PDIF

DAT deck

quarter-inch

analog outs

synthesizer

monitors

guitar

quarter-inch analog outs

synths, samplers, effects units, etc.

sends to

FX unit

(in rack

below)

Figure 3-12: A typical 828mk3 studio setup.

headphones

other outputs (stage

monitors, surround

monitors, etc.)

MIDI IN/OUT

foot

switch

828mk3

front panel

828mk3

back panel

Compressor, reverb or

other outboard gear

mic

FireWire or USB

MOTU 8pre and/or

other optical devices 8-channel

ADAT optical

headphones

send

returns

to send returns

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

OPERATING THE 828mk3 AS A CONVERTER

As explained earlier in “Using optical I/O to

operate the 828mk3 as a 16-channel expander” on

page 21, the 828mk3 can serve as a multi-channel

analog-to-digital converter when disconnected

from the computer and instead connected to

another device equipped with an ADAT optical

input. For example, you could connect the 828mk3

optical output to the optical input on another

MOTU audio interface, such as a Traveler, 896mk3

or even another 828mk3. The 828mk3 then serves

as a multi-channel expander that adds additional

mic, analog TRS and digital inputs to the interface.

The beneﬁt of connecting the 828mk3 in this

manner (instead of as another FireWire interface)

is that you can seamlessly integrate the 828mk3’s

inputs into the on-board no-latency CueMix

monitor mixing in the interface, since the 828mk3’s

inputs are fed into CueMix via the interface’s

optical inputs.

If the device to which you are connecting the

828mk3 supports 2x optical sample rates (88.2 or

96 kHz), you can also use both banks of connectors

as discussed in “ADAT optical operation at 88.2 or

96 kHz” on page 21.

Expander

828mk3

ADAT optical Out

Figure 3-13: Using the 828mk3 as an optical expander. In this example, it is connected to another 828mk3.

FireWire or USB

Base

828mk3

Mac

ADAT optical In

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

MAKING SYNC CONNECTIONS

If you connect devices digitally to the 828mk3, or if

you need to synchronize the 828mk3 with an

outside time reference such as SMPTE timecode,

you must pay careful attention to the synchroni-

zation connections and clock source issues

discussed in the next few sections.

Do you need to synchronize the 828mk3?

If you will be using only the 828mk3’s analog

inputs and outputs (and none of its digital I/O),

and you have no plans to synchronize your 828mk3

system to SMPTE timecode, you don’t need to

make any sync connections. You can skip this

section and proceed to chapter 4, “Installing the

828mk3 Software” (page 33). After you install the

828mk3 software, you’ll open MOTU Audio Setup

to conﬁrm that the Clock Source setting is Internal

as shown below. For details, see chapter 5, “MOTU

Audio Setup” (page 37).

Figure 3-14: You can run the 828mk3 under its own internal clock

when it has no digital audio connections and you are not synchroniz-

ing the 828mk3 system to an external time reference such as

timecode.

Situations that require synchronization

There are three general cases in which you will

need to resolve the 828mk3 with other devices:

■Synchronizing the 828mk3 with other digital

audio devices so that their digital audio clocks are

phase-locked (as shown in Figure 3-15)

■Resolving the 828mk3 system to SMPTE

timecode from a video deck, analog multi-track,

etc.

■Both of the above

Synchronization is critical for clean digital I/O

Synchronization is critical in any audio system, but

it is especially important when you are transferring

audio between digital audio devices. Your success

in using the 828mk3’s digital I/O features depends

almost entirely on proper synchronization. The

following sections guide you through several

recommended scenarios.

Be sure to choose a digital audio clock master

When you transfer digital audio between two

devices, their audio clocks must be in phase with

one another — or phase-locked. Otherwise, you’ll

hear clicks, pops, and distortion in the audio — or

perhaps no audio at all.

Figure 3-15: When transferring audio, two devices must have phase-

locked audio clocks to prevent clicks, pops or other artifacts.

There are two ways to achieve phase lock: slave one

device to the other, or slave both devices to a third

master clock. If you have three or more digital

audio devices, you need to slave them all to a single

master audio clock.

Figure 3-16: To keep the 828mk3 phased-locked with other digital

audio devices connected to it, choose a clock master.

Also remember that audio phase lock can be

achieved independently of timecode (location).

For example, one device can be the timecode

master while another is the audio clock master. But

only one device can be the audio clock master. If

you set things up with this rule in mind, you’ll have

trouble-free audio transfers with the 828mk3.

Not phase-locked Phase-locked

Device A

Device B

Master

Slave

Master

Slave Slave

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

SYNCING TO SMPTE TIMECODE

The 828mk3 system can resolve directly to SMPTE

timecode. It can also generate timecode and word

clock, under its own clock or while slaving to

timecode. Therefore, the 828mk3 can act both as

an audio interface and as a digital audio

synchronizer to which you can slave other digital

audio devices. You can use the 828mk3 to slave

your audio software to SMPTE as well, via sample-

accurate sync (if your host software supports it) or

via MIDI Time Code (if your host software

supports it).

Other digital audio device

slaved to the 828mk3

Mac running AudioDesk,

Digital Performer or other sample-

accurate software, or host software

that supports MIDI Time Code sync

(such as Pro Tools or Logic).

Figure 3-17: Connections for synchronizing the 828mk3 directly to SMPTE timecode.

First, choose SMPTE as the clock source in AudioDesk, Digital

Performer, or MOTU Audio Setup. This setting can also be

made in the MOTU SMPTE Setup (shown below).

828mk3 interface

SMPTE

time code

source

Audio cable bearing LTC

(longitudinal timecode)

SMPTE IN

quarter-inch jack

FireWire or USB cable

Launch the MOTU SMPTE Setup to specify the timecode frame

rate and amount of freewheel. Also, conﬁrm that the Clock

Source/Address is SMPTE/SMPTE. For details about the other

settings, see chapter 11, “MOTU SMPTE Setup” (page 119).

BNC

cable

Audio

cable

SMPTE

out

Word

Out

When lockup is

achieved, the

LOCK/TACH

light glows.

In AudioDesk or Digital Performer:

1. Choose Receive Sync from the Setup menu.

2. Choose the Sample-accurate option. (If this

option is grayed out, choose SMPTE as the

clock source setting ﬁrst, as shown above.)

3. Make sure that Slave to External Sync mode

is enabled.

In Pro Tools:

1. Choose Peripherals from the Setup menu.

2. Click the Synchronization tab and choose the 828mk3 Sync Port from the MTC Reader Port menu.

Use this setup if you have:

✓A SMPTE timecode source, such as a multitrack tape deck.

✓An 828mk3 by itself, OR with another slaved device (such as a

digital mixer).

✓Host software that supports sample-accurate sync (such as

Digital Performer) or MIDI Time Code (such as Pro Tools).

This setup provides:

✓Continuous sync to SMPTE timecode.

✓Sub-frame timing accuracy.

✓Transport control from the SMPTE timecode source.

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

SYNCING S/PDIF DEVICES

S/PDIF devices will sync to the 828mk3 in one of

two ways:

■Via the S/PDIF connection itself

■Via word clock

S/PDIF devices with no word clock

If your S/PDIF device has no word clock sync

connectors, just connect it to the 828mk3 via the

S/PDIF connectors. When the device records

S/PDIF audio (from the 828mk3), it will simply

synchronize to the clock provided by the audio

input.

On the other hand, when you transfer audio from

the S/PDIF device into the 828mk3, you’ll have to

slave the 828mk3 to its S/PDIF input. If you have

other digital audio devices connected to the

828mk3, and they are not slaved directly to the

828mk3 itself, you may hear clicks and pops

resulting from their unsynchronized audio clock. If

so, just turn them off during the transfer.

S/PDIF devices with word clock

If your S/PDIF device has a Word Clock input, slave

the S/PDIF device to the 828mk3 via their word

clock connection. You can then freely transfer

audio between the 828mk3 and the S/PDIF device.

S/PDIF

DAT deck

or other S/PDIF device

828mk3 828mk3

Clock Source setting =

Internal (when transferring from the

828mk3 to the S/PDIF device)

Figure 3-18: Two setups for synchronizing an S/PDIF device with the 828mk3. In the top diagram, sync is achieved via the S/PDIF connection

itself. In this case, you have to choose S/PDIF as the 828mk3’s clock source when recording from the S/PDIF device. If you don’t want to have to

worry about switching the Clock Source setting depending on the direction of the S/PDIF transfer, you can slave the S/PDIF device to word clock

from the 828mk3 or vice versa (not shown). The Word Clock connection maintains sync, regardless of the direction of the transfer.

828mk3

Clock Source setting =

S/PDIF (when transferring from

the S/PDIF device to the 828mk3)

SPDIF

DAT deck

or other SPDIF device

828mk3

Word Clock Out

Word Clock In

828mk3

Clock Source setting = Internal

With this setup, in the MOTU Audio Setup window, choose Internal, or any other

clock source setting except SPDIF. The DAT deck (or other SPDIF device) slaves to the

828mk3 via word clock for SPDIF transfers in both directions.

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

SYNCING WORD CLOCK DEVICES

The 828mk3 word clock connectors allow you to

synchronize it with a wide variety of other word

clock-equipped devices.

For standard word clock sync, you need to choose

an audio clock master (as explained in “Be sure to

choose a digital audio clock master” on page 26).

In the simplest case, you have two devices and one

is the word clock master and the other is the slave

as shown below in Figure 3-19 and Figure 3-20.

Figure 3-19: Slaving another digital audio device to the 828mk3 via

word clock. For the 828mk3 clock source, choose any source besides

word clock, as it is not advisable to chain word clock.

Figure 3-20: Slaving the 828mk3 to word clock. For the 828mk3 clock

source, choose ‘Word Clock In’.

Don’t chain word clock

If you have three or more digital audio devices that

you need to synchronize, avoid chaining their word

clock connections (OUT to IN, OUT to IN, etc.), as

this causes problems. Instead, use a dedicated

synchronizer like the Digital Timepiece or a word

clock distribution device of some kind.

Slaving to 2x and 1/2x word clock

All MOTU FireWire audio interfaces that support

96 kHz operation have the ability to slave to a word

clock signal running at either one half or one

quarter of their current clock rate. For example, the

828mk3 could be running at 96 kHz while slaving

to a 48 kHz word clock signal. Similarly, the

828mk3 could run at 88.2 kHz and slave to

44.1 kHz word clock.

Remember, the word clock signal must be one of

the following:

■the same as the 828mk3 clock

■half of the 828mk3 clock

Forcing a 1x word out rate

The 828mk3 can generate a word clock output

signal that either matches the current system clock

rate (any rate between 44.1 and 192kHz) or the

corresponding 1x rate. For example, if the 828mk3

is operating at 192kHz, you can choose to generate

a word out rate of 48kHz. For details on how to

make this word clock output setting, see “Word

Out” on page 42.

CONNECTING MULTIPLE MOTU FIREWIRE

INTERFACES

You can daisy-chain multiple MOTU FireWire

interfaces on a single FireWire bus, with the

restrictions described in the following sections.

Most computers have only one built-in FireWire

bus (even if it supplies multiple FireWire sockets).

Connect them as follows:

Master

Slave

Word clock OUT

Word clock IN

Other device

828mk3

Audio

clock

Master

Slave

MOTU Digital Timepiece universal synchronizer

Word clock OUT

Word clock IN

828mk3

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

Figure 3-21: Connecting multiple 828mk3 interfaces (or other MOTU

FireWire audio interfaces) to a computer.

Multiple interfaces cannot be bus-powered

Do not run the Traveler, UltraLite or other bus-

powered interfaces under bus power when

connecting them with other devices on the same

FireWire bus.

Multiple interfaces in MOTU Audio Setup

MOTU Audio Setup displays the settings for one

interface at a time. To view the settings for an

interface, click its tab as shown below in

Figure 3-22.

Figure 3-22: To view the settings for an interface, click its tab.

Synchronizing multiple interfaces

Mac OS X provides an advanced, exible driver

model that allows multiple Core Audio drivers to

be active at one time, accessed by multiple

applications simultaneously. For example, you can

run both FireWire and PCI audio interfaces at the

same time, accessing all of their inputs and outputs

from your host audio application — or even

multiple applications — simultaneously.

A by-product of this more exible model is that

multiple devices must be synchronized to one

another in order to remain resolved to each

another. Without synchronization, the audio

streams going to each interface might drift with

respect to one another. For example, the audio

tracks playing back through the 828mk3 might

drift out of sync with the audio tracks playing back

through your 2408mk3 PCI interface.

Synchronizing them to each other ensures that they

remain as tightly and continuously phase-locked as

if they were one unied interface.

There are two ways to synchronize the 828mk3

with other devices, as discussed in the following

sections: via the driver or via word clock.

Resolving to other Core audio drivers

The MOTU FireWire driver has the ability to

resolve to other Core Audio drivers. This allows the

828mk3, and other MOTU FireWire interfaces, to

resolve to other audio interfaces running simulta-

neously on the same computer, such as the Mac’s

built-in audio, a PCI-424 core system, or even

3rd-party interfaces, without the need for external

word clock connections between the devices.

Doing so ensures that audio tracks being played or

Mac

FireWire

Word Clock Out

Word Clock In

Word Clock Out

Word Clock In

Word Clock Out

Word Clock In

For two

interfaces,

slave one to

the other.

You can probably

get away with

daisy-chaining

three interfaces,

although a word

clock distribu-

tion device is

recommended.

This is risky. A

word clock distri-

bution device is

highly recom-

mended.

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

recorded by your MOTU FireWire interface will

not drift apart from tracks on the other device

during long playback or recording passes.

To synchronize multiple devices via the MOTU

FireWire driver, choose one device (PCI, FireWire

or otherwise) as the master clock and then slave the

828mk3 and other FireWire devices to it. All

interfaces will remain resolved to each other via the

master interface.

Make the Clock Source settings for each interface

as follows:

■For the master interface, click its tab in the

FireWire Console and choose any clock source you

wish (except any of the slave interfaces, of course).

■For each slave interface, click its tab and choose

the master interface from the Clock Source menu, as

demonstrated below in Figure 3-23. This causes

the slave interfaces to resolve to the master

interface.

Figure 3-23: To resolve a MOTU FireWire interface to another Core

Audio device, choose the other device from the Clock Source menu in

the MOTU FireWire Audio Console. In this example, the Traveler will

slave to the 828mk3.

If you have multiple 828mk3s, choose one as the

master, and set its Clock Source to Internal. Then,

click the tab of the other 828mk3s and set their

Clock Source to the rst 828mk3.

Resolving to word clock

To resolve two 828mk3 FireWire interfaces with

each other via word clock, choose one as the word

clock master and then slave the second interface to

the rst, as shown in Figure 3-21 on page 30. For

three interfaces, you can probably get away with

daisy-chaining them via their word clock

connectors, but this may not always produce the

most reliable results. For three or more devices, a

word clock distribution device is highly

recommended. In this case, the distribution box is

the master, and all FireWire interfaces slave directly

to it (instead of to each other).

Connecting other MOTU FireWire interfaces

You can add an original MOTU 828 to the end of a

FireWire daisy chain (because the 828 has only one

FireWire port), or you can mix and match multiple

828’s with other MOTU FireWire interfaces using a

standard FireWire hub. You can also add 828mkIIs,

896HDs, Travelers and UltraLites, which have two

FireWire ports convenient for daisy-chaining.

Operating multiple FireWire interfaces at high

sample rates

Four MOTU FireWire interfaces can operate at

44.1 or 48kHz on a single FireWire bus, although

you may have to disable optical banks to conserve

FireWire bus bandwidth. At the 2x samples rates

(88.2 or 96kHz) and 4x sample rates (176.4 and

192kHz), you can operate no more than two

FireWire interfaces on a single FireWire bus.

Adding additional interfaces with a second

FireWire bus

Third-party FireWire bus expansion products in

the form of a cardbus (“PC card”) adapter or PCI

card allow you to add a second FireWire bus to

your computer. In may be possible to add

additional MOTU FireWire interfaces connected

to such a third-party product, depending on their

performance with your host computer.

I N S T A L L I N G T H E 8 2 8 M K 3 H A R D W A R E

CHAPTER

4Installing the 828mk3 Software

OVERVIEW

Software installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

MOTU SMPTE Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

AudioDesk workstation software . . . . . . . . . . . . . . . . . . . . 35

SOFTWARE INSTALLATION

Install the 828mk3 Hybrid software as follows:

1 Insert the MOTU Audio Installer disc and

launch the installer.

2 Follow the directions that the installer gives you.

What does the installer do?

The installer checks the computer to make sure it

satises the minimum system requirements for

your MOTU interface. If so, the installer proceeds

with the OS X installation. Drivers are installed,

along with the MOTU Audio Setup, CueMix FX,

and several other applications, summarized in the

following table:

The 828mk3 CoreAudio driver

CoreAudio is a term that refers to the software

technology built into Mac OS X that provides all of

its standardized audio features. More specically,

we use CoreAudio to refer to Mac OS X’s standard

audio driver model. A CoreAudio driver allows the

828mk3 to establish audio input and output with

any Mac OS X CoreAudio-compatible software.

Once the 828mk3’s CoreAudio driver has been

successfully installed (by the installer), and you

have chosen it for use in your host audio software,

the 828mk3 will appear as a choice for audio inputs

and outputs in your software.

All MOTU audio hardware, including our PCI

systems and other FireWire and USB interfaces,

ships with CoreAudio drivers that allow them to

operate successfully with virtually all Mac OS X

audio software.

Software component Location Purpose For more information

MOTU FireWire Audio driver.kext /System/Library/

Extensions

Provides 828mk3 multi-channel audio input

and output with all Mac OS X audio software

“The 828mk3 CoreAudio

driver” on page 33

MOTU MIDI driver.kext /System/Library/

Extensions

Provides 828mk3 MIDI input and output for

all Mac OS X MIDI software

“CoreMIDI and Audio

MIDI Setup” on page 34

MOTU MIDI driver.plugin /System/Library/

Audio/MIDI Drivers

Provides 828mk3 MIDI input and output for

all Mac OS X MIDI software

“CoreMIDI and Audio

MIDI Setup” on page 34

MOTU Audio Setup Applications folder Provides access to all of the settings in the

828mk3 and other MOTU interfaces.

Required for 828mk3 operation.

chapter 5, “MOTU Audio

Setup” (page 37)

CueMix FX Applications folder Gives you complete control over the 828mk3’s

CueMix FX on-board mixer, which provides

no-latency monitoring, mixing and process-

ing of live inputs through your 828mk3.

chapter 10, “CueMix FX”

(page 73)

MOTU SMPTE Setup Applications folder Provides access to the 828mk3 system’s

SMPTE time code sync features.

chapter 11, “MOTU SMPTE

Setup” (page 119)

AudioDesk Applications/MOTU

AudioDesk

Provides complete multi-track recording,

mixing and processing. Optional.

AudioDesk User Guide

AudioDesk Demo Project Anywhere you want Provides a multi-track mix that you can open,

play, and mix in AudioDesk. Optional.

AudioDesk User Guide

I N S T A L L I N G T H E 8 2 8 M K 3 S O F T W A R E

CoreMIDI and Audio MIDI Setup

CoreMIDI is the “under-the-hood” portion of

Mac OS X that handles MIDI services for MIDI

hardware and software. CoreMIDI provides many

universal MIDI system management features,

including MIDI communication between your

828mk3 FireWire interface and all CoreMIDI

compatible software.

Audio MIDI Setup is a utility included with

Mac OS X that allows you to congure your

828mk3 interface for use with all CoreMIDI

compatible applications. Audio MIDI Setup

provides:

■A “virtual” studio on your Mac that graphically

represents your MIDI hardware setup and that is

shared by all CoreMIDI-compatible programs

■A simple, intuitive list of your MIDI devices

whenever you need it in any CoreMIDI-compatible

program

Launching Audio MIDI Setup

1 Make sure your 828mk3 interface is connected

and turned on.

2 Launch the Audio MIDI Setup utility.

This can usually be found in /Applications/

Utilities. If it has been moved, just search for Audio

MIDI Setup.

3 Conrm that the 828mk3 is present in the MIDI

Devices tab of Audio MIDI Setup.

If the 828mk3 does not appear, or if it is grayed out,

check your cable connections and click Rescan

MIDI.

Figure 4-1: The 828mk3 interface as it appears in the MIDI tab of

Audio MIDI Setup.

Connecting MIDI devices to the 828mk3

Once your 828mk3 interface appears in Audio

MIDI Setup, you are ready to add devices, indicate

how they are connected, and identify properties

they may have for particular purposes. This

information is shared with all CoreMIDI

compatible applications.

To add a device in Audio MIDI Setup:

1 Click Add Device.

Figure 4-2: Adding a MIDI device.

2 Drag on its input and output arrows to draw

connections to the 828mk3 that match its physical

connection.

I N S T A L L I N G T H E 8 2 8 M K 3 S O F T W A R E

Figure 4-3: Connecting devices to the 828mk3. In this example, a

controller keyboard is connected to the 828mk3’s MIDI IN, and a

sound module is connected to the 828mk3 MIDI OUT.

3Double-click the device to make settings, such

as input and output channels, that further describe

the device.

Figure 4-4: Device settings.

4Repeat the above steps for each MIDI device

connected to the interface.

5When you are ﬁnished, quit Audio MIDI Setup.

Your conﬁguration is automatically saved as the

default conﬁguration, and it is shared with all

CoreMIDI-compatible software.

CUEMIX FX

This program provides a mixing console that gives

you control over the 828mk3’s on-board mixing

and effects processing. For details, see chapter 10,

“CueMix FX” (page 73).

MOTU SMPTE SETUP

The MOTU SMPTE Setup software provides a

complete set of tools to resolve the 828mk3 to

SMPTE time code, and to generate SMPTE for

striping, regenerating or slaving other devices to

the computer. For details, see chapter 11, “MOTU

SMPTE Setup” (page 119).

AUDIODESK WORKSTATION SOFTWARE

AudioDesk is an advanced workstation software

package for the 828mk3 that lets you record, edit,

mix, process, bounce and master multi-track

digital audio recording projects. Advanced features

include real-time 32-bit effects processing, 24-bit

recording, and much more.

See the AudioDesk manual included with your

828mk3 system for details.

Figure 4-5: AudioDesk for Mac OS X.

I N S T A L L I N G T H E 8 2 8 M K 3 S O F T W A R E

CHAPTER

5MOTU Audio Setup

OVERVIEW

MOTU Audio Setup gives you access to basic

828mk3 hardware settings, such as sample rate,

clock source, optical format and more.

Accessing the 828mk3 settings . . . . . . . . . . . . . . . . . . . . . . 37

‘828mk3 Hybrid ’ Tab Settings . . . . . . . . . . . . . . . . . . . . . . . 38

Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Clock Source. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Default Stereo Input/Output. . . . . . . . . . . . . . . . . . . . . . . . . 40

Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Optical input/output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Main Outs Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Return Assign. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Word Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

‘General’ Tab settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Launch MOTU Audio Setup when hardware becomes

available . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Edit Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Enable Pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

ACCESSING THE 828MK3 SETTINGS

There are several ways to access MOTU Audio

Setup settings:

■Click the MOTU Audio Setup icon in the dock

■Right-click on the MOTU Audio Setup dock

icon to open the menu shown below.

■From within AudioDesk™ or Digital

Performer™, choose Setup menu>Congure Audio

System>Congure Hardware Driver (Note: this

dialog only provides access to basic settings such as

sample rate and clock source. For access to all

settings, use one of the techniques above.)

■In Cubase or Nuendo, open the Device Setup

window, click VST Audio System and choose

MOTU 828mk3 Hybrid from the ASIO Driver

menu. Then click the MOTU 828mk3 Hybrid item

in the list and click the Control Panel button.

■From the front panel LCD as explained in

chapter 6, “Front Panel Operation” (page 43).

M O T U A U D I O S E T U P

828mk3 Hybrid tab settings

The 828mk3 Hybrid tab (Figure 5-1) provides

settings that apply to a specic 828mk3 interface. If

you have several 828mk3 (or other MOTU)

interfaces connected, you’ll see a separate tab for

each one.

General tab settings

The General tab provides settings that apply

globally to all connected MOTU interfaces.

‘828MK3 HYBRID ’ TAB SETTINGS

Sample Rate

Choose the desired Sample Rate for recording and

playback. The 828mk3 can operate at 44.1 (the

standard rate for compact disc audio), 48, 88.2, 96,

176.4 or 192 kHz. Make sure that all of the devices

connected digitally to the 828mk3 match the

828mk3’s sample rate. Also make sure that your

Digital Timepiece, MIDI Timepiece AV or other

digital audio synchronizer matches it as well. At the

4x sample rates (176.4 or 192kHz), all digital I/O

on the 828mk3 is disabled.

☛Mismatched sample rates cause distortion and

crackling. If you hear this sort of thing, check the

sample rate settings in your hardware and here in

MOTU Audio Setup.

Operation at 4x sample rates (176.4 or 192kHz)

At the 4x sample rates (176.4 or 192kHz),

operation of the 828mk3 is restricted, due to the

higher audio bandwidth demands, as follows:

■All digital I/O is disabled (there is no ADAT

optical, TOSLink or S/PDIF input/output).

■The 828mk3 provides 8 channels of analog input

and 8 channels of analog output, simultaneously.

Figure 5-1: MOTU Audio Setup gives you access to all of the settings in the 828mk3 hardware.

M O T U A U D I O S E T U P

■The stereo return bus, as described in “Return

Assign” on page 41, can only be assigned to one of

the four available analog output pairs.

■The headphone output can only be assigned to

one of the four available analog output pairs.

■The Main Outs can only be assigned to one of

the four available analog output pairs.

Clock Source

The Clock Source determines the digital audio

clock that the 828mk3 will use as its time base. For

a complete explanation of synchronization issues,

see “Making sync connections” on page 26. The

following sections briey discuss each clock source

setting.

Internal

Use the Internal setting when you want the 828mk3

to operate under its own digital audio clock. For

example, you may be in a situation where all you

are doing is playing tracks off hard disk in your

digital audio software on the computer. In a

situation like this, you most often don’t need to

reference an external clock of any kind.

Another example is transferring a mix to DAT. You

can operate the 828mk3 system on its internal

clock, and then slave the DAT deck to the 828mk3

via the S/PDIF connection (usually DAT decks

slave to their S/DIF input when you choose the

S/PDIF input as their record source) or via the

828mk3’s word clock output (if your DAT deck has

a word clock input).

If you would like help determining if this is the

proper clock setting for your situation, see

“Making sync connections” on page 26.

Word Clock In

The Word Clock In setting refers to the Word Clock

In BNC connector on the 828mk3 rear panel.

Choosing this setting allows the 828mk3 to slave to

an external word clock source, such as the word

clock output from a digital mixer or another

828mk3.

S/PDIF

The S/PDIF clock source setting refers to the

S/PDIF RCA input jack on the 828mk3. This

setting allows the 828mk3 to slave to another

S/PDIF device.

Use this setting whenever you are recording input

from a DAT deck or other S/PDIF device into the

828mk3. It is not necessary in the opposite

direction (when you are transferring from the

828mk3 to the DAT machine).

For further details about this setting, see “Syncing

S/PDIF devices” on page 28.

ADAT Optical A / B

The ADAT optical clock source settings (ADAT

Optical A and ADAT Optical B) refer to the clock

provided by the 828mk3’s two optical inputs, when

either one is connected to another optical device.

These two settings only appear in the Clock Source

menu when their corresponding optical bank input

is enabled and set to the ADAT Optical format, as

explained in “Optical input/output” on page 41.

This setting can be used to resolve the 828mk3

directly to the optical input connection. Most of

the time, you can set up a better operating scenario

that uses one of the other synchronization options.

However, there may be occasions when you have an

optical device that has no way of synchronizing

digitally to the 828mk3 or an external

synchronizer. In this case, the ADAT Optical clock

source setting lets you slave the 828mk3 to the

device itself via its digital input to the 828mk3.

This setting is also useful if you just need to make a

simple, click-free digital transfer between the

828mk3 and another device — where a time code

M O T U A U D I O S E T U P

reference and shared transport control are not

needed — without having to set up an elaborate

synchronization scenario.

For further details, see “Choosing a clock source

for optical connections” on page 22.

TOSLink A / B

The TOSLink clock source settings (TOSLink A and

TOSLink B) refer to the clock provided by the

828mk3’s two optical inputs, when either one is

connected to another optical device. These two

settings only appear in the Clock Source menu

with their corresponding optical bank input is

enabled and set to the TOSLink format, as

explained in “Optical input/output” on page 41.

The TOSLink clock source setting refers to the

clock provided an optical S/PDIF device connected

to the 828mk3’s optical input. This setting can be

used to slave the 828mk3 directly to the optical

input connection. Most of the time, you can set up

a better operating scenario that uses one of the

other synchronization options. However, there

may be occasions when you have an TOSLink-

compatible device that has no way of

synchronizing digitally to the 828mk3 or an

external synchronizer such as the Digital

Timepiece. In this case, the TOSLink clock source

setting lets you slave the 828mk3 to the other

device via the 828mk3’s optical input.

This setting is also useful if you just need to make a

simple, click-free digital transfer between the

828mk3 and another device — where a time code

reference and shared transport control are not

needed — without having to set up an elaborate

synchronization scenario.

For further details, see “Choosing a clock source

for optical connections” on page 22.

SMPTE

Choose this setting to resolve the 828mk3 directly

to SMPTE time code (LTC) being received via the

828mk3’s quarter-inch SMPTE input jack. For

details, see “Syncing to SMPTE timecode” on

page 27 and chapter 11, “MOTU SMPTE Setup”

(page 119).

Built-in Audio

Choose this setting to resolve the 828mk3 to your

Mac’s built-in audio. Doing so will ensure that

audio streams playing back from or recorded by

the 828mk3 will not drift apart from audio streams

simultaneously played or recorded by the Mac’s

built-in mic, speakers or audio output.

Other audio devices (drivers)

The MOTU FireWire Audio Driver has the ability

to resolve to other Core Audio drivers. Doing so

will ensure that audio streams playing back from or

recorded by the 828mk3 will not drift apart from

audio streams simultaneously played or recorded

by the other devices.

Default Stereo Input/Output

In the System Preferences window, Mac OS X lets

you choose third-party hardware such as the

828mk3 for your Mac sound input and output. The

system input and output can be used for alert

sounds and general audio I/O for applications like

iTunes, iMovie, etc.

M O T U A U D I O S E T U P

Figure 5-2: The Mac OS X sound preferences let you use the 828mk3

for general stereo audio input and output for your Mac.

The Default Stereo Input and Default Stereo Output

settings in MOTU Audio Setup (Figure 5-1 on

page 38) let you specify the stereo input and output

on the 828mk3 to be used when it is chosen as the

audio I/O device in the system preferences.

Phones

The Phones setting lets you choose what you will

hear from the headphone jack. Choose Main Outs

if you’d like the headphone output to match the

Main Outs. Choose Phones if you would like the

headphones to serve as their own independent

output, which you can access as an independent

output destination in your host audio software and

as an output destination for the eight on-board

CueMix FX mix busses.

Optical input/output

The Optical input and Optical output settings let

you choose between ADAT optical (‘lightpipe’) and

S/PDIF optical (‘TOSLink’) as the format for the

828mk3’s two banks of optical input and output

(Bank A and Bank B). Choose the format that

matches the device connected. If you are not using

the optical connections, it is recommended that

you turn them off (by choosing Disabled from the

menu) to reduce bandwidth and processing

overhead. Note that you can operate each optical

port independently. For example, you could use the

ADAT optical format on the Bank A input (with a

digital mixer, for example) and optical S/PDIF on

the Bank A output (with a DAT deck, for example).

Main Outs Assign

Choose Main Outs from the Main Outs Assign

menu to treat the Main Outs as their own

independent output pair. Choose any other output

pair to cause the Main Outs to mirror (duplicate)

the output pair you choose.

Return Assign

The Return Assign menu lets you choose any pair of

828mk3 audio outputs. The audio signal from this

output pair is then sent back to the computer via

the Stereo Return 1-2 bus. This stereo return bus

from the 828mk3 appears in your host software

alongside all other 828mk3 inputs, wherever your

host software lists them.

The 828mk3 stereo return bus can be used for a

variety of purposes. For example, you could use it

to send a nal mix being played through the

828mk3 back to the computer, where you could

record it for mastering or archiving purposes.

As another example, you could use the stereo

return bus to capture tracks played from your host

software, along with live inputs being routed

directly through the 828mk3 hardware via CueMix

FX (with or without CueMix effects processing on

the live inputs).

M O T U A U D I O S E T U P

Word Out

The Word Out menu appears when the 828mk3 is

operating at a 2x sample rate (88.2 or 96kHz) or 4x

sample rate (176.4 or 192kHz). This menu lets you

set the word clock output either to match the

current sample rate (System Clock) or force it to the

corresponding 1x rate (either 44.1 or 48kHz). For

example, if the 828mk3 were operating at

176.4kHz, choosing the Force 44.1/48kHz option

would produce word clock output at 44.1kHz.

‘GENERAL’ TAB SETTINGS

Launch MOTU Audio Setup when hardware

becomes available

Check this option if you would like the MOTU

Audio Setup icon to appear in the application dock

as soon as a MOTU interface is detected (switched

on, plugged in, etc.)

Edit Channel Names

Click the Edit Channel Names button to open the

Channel Names window (Figure 5-3). This

window lets you edit the names of the 828mk3

inputs and outputs, as they appear in your host

audio software. For example, when you click on a

menu that displays the 828mk3 inputs (or

outputs), you will see the names you specify in this

window (e.g. “vocal mic”, “lead guitar”, etc.),

instead of the default generic names (“Analog 1”,

“Analog 2”, etc.)

☛Not all Mac OS X audio software supports

channel names. If not, you’ll see generic port

names in your host audio software.

Figure 5-3: The Edit Channel Names window.

Figure 5-4: 828mk3 channel names as they appear in Digital

Performer’s Bundles window.

Enable Pedal

Check the Enable Pedal option if a foot switch is

connected to the 828mk3 and you would like to

trigger recording punch in/out (or other software

functions) with it. Use the Set buttons to determine

what keystroke is triggered by the pedal-up and

pedal-down positions. You can assign the pedal to

any two keystrokes you wish. (You are not

restricted to punch in/out.)

CHAPTER

6Front Panel Operation

OVERVIEW

The 828mk3 Hybrid offers complete front-panel

programming via six rotary encoders and a 2x16

backlit LCD display. All 828mk3 settings can be

accessed via these front-panel controls.

Mic/guitar inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Master vol and (MAIN) phone jack . . . . . . . . . . . . . . . . . . . 43

Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Meters and status LEDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Push-button rotary encoders . . . . . . . . . . . . . . . . . . . . . . . . 45

Multi-function LCD display . . . . . . . . . . . . . . . . . . . . . . . . . . 45

828mk3 SETUP menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Audio menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

CueMix menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Inputs menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Outputs menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Mixes menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Reverb menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Stand-alone operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

MIC/GUITAR INPUTS

The 828mk3 front panel mic/guitar inputs are

equipped with many features to handle a wide

variety of recording situations.

For information about connections and settings,

see “Mic/guitar inputs with preamps” on page 19

in the installation chapter.

For information about the many settings available

for the mic/guitar inputs, see:

■“The Inputs tab” on page 79

■“The channel settings section” on page 83

■“The Channel tab” on page 83

■“The EQ tab” on page 85

■“The Dynamics tab” on page 92

MASTER VOL AND (MAIN) PHONE JACK

The phone jack labeled (MAIN) (Figure 6-1) is a

standard quarter-inch stereo headphone jack. Its

output is hard-wired to mirror the XLR main outs

on the rear panel. From the factory, the MASTER

VOL knob above it controls the main outs and this

jack, but MASTER VOL can be programmed to

control any combination of outputs. See “The

Monitor Group” on page 96 for details. Push the

knob once to view the current volume setting in the

LCD display; push it again to mute the monitor

group; push a third time to return to the previous

volume. Note that if the Monitor Group is

programmed to not include the main outs, the

MASTER VOL knob will no longer control the

volume of the phone jack, either.

Figure 6-1: The 828mk3 front panel mic/guitar inputs and phone jacks.

F R O N T P A N E L O P E R A T I O N

PHONES

From the factory, the PHONES jack (Figure 6-1) is

a discrete output at 44.1/48 kHz, but it can mirror

any other output pair (digital or analog) or serve as

its own independent output. For example, at 88.2/

96 kHz, it defaults to mirroring the XLR main outs.

At 176.4/192 kHz, it defaults to mirroring analog

outputs 1-2.

As the primary phone jack, it has its own dedicated

volume knob.

As explained in the previous section, the LCD

provides detailed feedback as you turn the knob

(Figure 6-4). To view the current setting without

changing it, just push the knob (without turning

it).

If you would like the (MAIN) phone jack and the

PHONES jack to output the same signal, assign the

PHONES output to mirror the main outs. In this

conﬁguration, both the MASTER VOL and the

PHONES volume knobs control the PHONES

volume.

METERS AND STATUS LEDS

The meters and LEDs (Figure 6-2) provide

complete status and metering information for all

828mk3 inputs and outputs.

Mic/guitar inputs meters with V-Limit™

compressor

The two ten-segment meters for the mic/guitar

inputs show input levels from -42 to -1 in the ﬁrst

column of LEDs, plus an additional range in a

second column from zero to +12 dB (plus clip).

Both inputs are equipped with V-Limit™, a

hardware limiter. With the limiter turned off,

signals that hit zero or above will clip (a hard digital

clip). However, with V-Limit turned on, signals can

go as high as +12 dB above zero with no digital

clipping. If the signal then goes above +12 dB, it

will clip, even with V-Limit engaged. In either case,

the clip LED (above +12) will illuminate. For

further information about V-Limit, as well as

another feature called Soft Clip, see “Overload

protection (mic/guitar inputs only)” on page 84.

Figure 6-2: The 828mk3 front panel meters and LEDs.

S/PDIF

digital

input

meters

Analog output activity LEDs Optical bank and

MIDI I/O activity

Mic/guitar

preamp

inputs with

V-Limit™

Main

out

meters

Sample

rate

Time code

Lock/Tach

S/PDIF

output

activity

LEDs

Analog

input

meters

F R O N T P A N E L O P E R A T I O N

828MK3 SETUP MENU

To access the 828mk3 SETUP menu, push the

PARAM knob until you see 828mk3 SETUP

displayed in the LCD. This menu provides basic

features for managing the 828mk3 hardware. Turn

the PARAM knob to access each setting, explained

brieﬂy below.

LCD Contrast

Turn the VALUE knob to adjust the LCD contrast.

Figure 6-5: In setup mode, the LCD displays a setup parameter in the

top row of the LCD and the current setting in the bottom row.

Save/Name Preset

An 828mk3 preset holds all current CueMix FX

mix settings (everything in the CUEMIX menu).

SETUP menu and AUDIO menu parameters are

not included. Turn the VALUE knob to move from

character to character in the preset name. Turn

PAGE to change the currently ﬂashing letter. Once

you’ve named the preset, push VALUE to save it,

turn it again to choose the desired preset slot you

wish to save it to (1-16), and the push again to

conﬁrm the save. To cancel the save operation at

any time by turning the PARAM knob.

Load Preset

Turn VALUE to choose the preset you wish to load

(1-16) and push VALUE to load it.

All Notes Off

The All Notes Off setting sends a MIDI All Notes Off

message, as well as a MIDI note-off message for

every note on every MIDI channel. This stops any

stuck notes that are currently playing. Push VALUE

to send the All Notes Off MIDI data.

Factory Defaults

Push VALUE to restore the 828mk3 hardware to its

factory default settings. Push VALUE again to

conﬁrm, or turn PARAM to cancel.

AUDIO MENU

To access the AUDIO menu, push the PARAM

knob until you see AUDIO displayed in the LCD.

This menu provides basic settings such as sample

rate, clock source, optical bank format (ADAT

versus TOSLink), and so on. These settings have

corresponding settings in the MOTU Audio Setup

software, as shown below:

* If the 828mk3 is currently connected to a computer, this setting

cannot be changed from the front-panel LCD. It must be changed in

MOTU Audio Setup instead. Or, you can disconnect the 828mk3 from

the computer to change the Clock Source from the front panel.

ADAT SMUX Type

When the 828mk3 is operating at either 88.2 or

96 kHz, the AUDIO menu includes an item called

ADAT SMUX Type.

This setting lets you conﬁgure the optical ports for

ADAT format operation at the 2x sample rates only

(88.2 or 96 kHz).

There are two choices:

■Type I — for 2x optical connection to 3rd-party

SMUX-compatible hardware products

Audio menu item Where to find more information

Clock Source* “Clock Source” on page 39

Sample rate* “Sample Rate” on page 38

Phones Assign “Phones” on page 41

Main Out Assign “Main Outs Assign” on page 41

Return Assign “Return Assign” on page 41

Optical In/Out A/B* “Optical input/output” on page 41

ADAT SMUX Type See below. This menu item is only

available when the 828mk3 is operat-

ing at 88.2 or 96 kHz.

Word Clock Out “Word Out” on page 42

F R O N T P A N E L O P E R A T I O N

■Type II — for 2x optical connection to MOTU

products that are equipped with optical ports and

support 2x operation

Turn the VALUE knob to select an optical port and

push the knob to toggle between the Type I and

Type II setting.

CUEMIX MENU

To access the CUEMIX menu, push the PARAM

knob until you see CUEMIX displayed in the LCD.

This menu displays the settings for the 828mk3

CueMix FX mixer.

CueMix mixer basics

It is much easier to navigate the CUEMIX menu in

the LCD if you have a general understanding of the

CueMix FX mixer. We strongly recommend that

you review chapter 10, “CueMix FX” (page 73)

before learning the LCD, especially “CueMix FX

basic operation” on page 75.

CUEMIX menu organization

Mixer settings are divided into four sub-menus,

which correspond to the Inputs, Mixes, Outputs

and Reverb tabs in the CueMix FX software:

■IN (inputs)

■OUT (outputs)

■MIX (Mixes)

■REVERB (reverb processor)

Navigating the four main menus

To access the four main menus above, push the

CHANNEL knob repeatedly. Then turn the

CHANNEL knob to select the desired channel or

mix.

The IN (inputs) menu

Push the CHANNEL button repeatedly until you

see “I:” in the channel section of the LCD

(Figure 6-6). This is similar to accessing the Inputs

tab in CueMix FX console (“The Inputs tab” on

page 79).

Figure 6-6: The IN (inputs) menu.

Choosing a channel

Once you see the Inputs menu (Figure 6-6) in the

LCD, turn the CHANNEL knob to select the

desired input that you wish to edit. This is roughly

equivalent to specifying an input channel strip to

work with in the Inputs tab in CueMix FX software

(Figure 10-3 on page 79).

Choosing a setting to modify

Once you’ve selected an input channel, you can

access the various settings for that channel using

the PAGE knob and PARAMETER knobs.

Turn the PAGE knob to scroll through channel

settings such as individual bands of EQ, the

compressor, reverb sends, etc. Push the PAGE knob

to jump to the next “section” of parameters or to

jump back to the beginning of the list. This is

roughly the equivalent of moving through the

various channel controls in an individual input

“ I: ” Indicates

the IN (inputs)

menu.

The current

channel.

“Pages” are groups of

channel settings, such

as one band of EQ.

Access individual parameters

here, such as the frequency

setting for a band of EQ.

Change the value of the

current parameter here

F R O N T P A N E L O P E R A T I O N

channel strip in CueMix FX (Figure 10-3 on

page 79), as well as the settings in the Channel tab

(Figure 10-8 on page 83).

Turn the PARAMETER knob to scroll through

individual parameters, such as the frequency for

the current band of EQ. This is roughly equivalent

to the parameters in the EQ tab (Figure 10-10 on

page 85), Dynamics tab (Figure 10-21 on page 92)

and Reverb tab (Figure 10-23 on page 95) in the

CueMix FX software.

Adjusting the value of a parameter

Turn the VALUE knob to adjust the value of the

current PARAMETER. Some parameters have

default values. If so, push the VALUE knob to cycle

through them.

Inactive items

If a menu item is inactive for some reason (perhaps

it doesn’t currently apply or it is disabled), it is

displayed in parentheses.

Copying and pasting

EQ, dynamics and Mix Assign settings allow you to

copy and paste settings between EQ bands and/or

channels. Push the VALUE knob to copy, scroll to

the other item and then push again to paste.

Summary of Inputs menu settings

For a summary of Inputs menu settings, see

“Inputs menu” on page 50.

The OUT (Outputs) menu

Push the CHANNEL button repeatedly until you

see “O:” in the channel section of the LCD

(Figure 6-7). This is similar to accessing the

Outputs tab in CueMix FX console (“The Outputs

tab” on page 81).

Figure 6-7: The OUT (outputs) menu.

Choosing a channel

Once you see the Outputs menu (Figure 6-7) in the

LCD, turn the CHANNEL knob to select the

desired output that you wish to edit. This is roughly

equivalent to specifying an output channel strip to

work with in the Outputs tab in CueMix FX

software (Figure 10-6 on page 82).

Working with outputs in the LCD

Once you’ve selected an output channel, you can

access the various settings for that channel using

the PAGE knob and PARAMETER knobs. The

knobs function the same as described for inputs in

“Choosing a setting to modify” on page 47 and

“Adjusting the value of a parameter” on page 48.

Summary of Output menu settings

For a summary of Inputs menu settings, see

“Outputs menu” on page 50.

“ O: ” Indicates

the OUT

(outputs) menu.

The current

channel.

“Pages” are groups of

channel settings, such

as one band of EQ.

Access individual parameters

here, such as the frequency

setting for a band of EQ.

Change the value of the

current parameter here

F R O N T P A N E L O P E R A T I O N

The MIX (Mixes) menu

Push the CHANNEL button repeatedly until you

see “MIX 1” (or “MIX 2”, etc.) in the channel

section of the LCD (Figure 6-8). This is similar to

accessing the Mixes tab in CueMix FX console

(“The Mixes tab” on page 77).

Figure 6-8: The MIX (Mixes) menu.

Choosing a mix bus

Once you see the MIX menu (Figure 6-8) in the

LCD, turn the CHANNEL knob to select the

desired mix that you wish to edit. This is roughly

equivalent to choosing a mix in the Mixes tab in

CueMix FX software (Figure 10-2 on page 77).

Working with mix busses in the LCD

Once you’ve selected a mix, you can access the

various settings for that mix using the PAGE knob

and PARAMETER knobs. The knobs function the

same as described for inputs in “Choosing a setting

to modify” on page 47 and “Adjusting the value of a

parameter” on page 48. The PAGE knob scrolls

through the following mix bus settings:

■MASTER — these are master fader settings,

such as the master fader output assignment, master

mute on/off, and the master fader volume. Access

them with the PARAMETER knob.

■REVERB — these are the reverb send and return

controls for the bus master fader. Access them with

the PARAMETER knob.

■Individual channels — once you scroll past

MASTER and REVERB, the PAGE knob then

scrolls through all available inputs for the mix bus.

Once you choose an input, access its channel

settings using the PARAM knob and VALUE knob.

Summary of Mix menu settings

For a summary of Mix menu settings, see “Mixes

menu” on page 51.

The REVERB menu

Push the CHANNEL button repeatedly until you

see “REVERB” in the channel section of the LCD

(Figure 6-9). This is similar to accessing the Reverb

tab in CueMix FX (“The Reverb tab” on page 95).

☛The REVERB processor is not available at

sample rates above 48 kHz. Therefore, when the

828mk3 is operating at 88.2 kHz or higher, the

REVER menu does not appear in the LCD.

Figure 6-9: The REVERB menu.

Working with reverb settings in the LCD

Once you’ve selected the REVERB menu, you can

access all settings using the PARAMETER and

VALUE knobs. The PAGE knob is not needed and

is therefore disabled when editing reverb settings.

Summary of Reverb menu settings

For a summary of Reverb menu settings, see

“Reverb menu” on page 51.

The current

mix bus.

Here, choose master fader

settings, reverb settings, and

individual input channels.

Access individual parameters

here, such as input channel

settings.

Change the value of the

current parameter here

Access individual

parameters here,

such as reverb time.

Change the value of

the current parame-

ter here.

F R O N T P A N E L O P E R A T I O N

INPUTS MENU OUTPUTS MENU

CHANNEL PAGE PARAM

INPUTS

mic 1-2

Analog 1-2

Analog 3-4

etc.

INPUT PAIR

PHASE

L-R/M-S (stereo or M/S)

SWAP

WIDTH

TRIM

LIMITER

LOOKAHEAD

SOFTCLIP

(global)

ENABLE

COPY

PASTE

RESET

HPF

(High-pass)

ENABLE

SLOPE

FREQ

(Low w/shelf)

ENABLE

TYPE

FREQ

GAIN

WIDTH

LMF

(Low-mid)

ENABLE

TYPE

FREQ

GAIN

WIDTH

(Mid)

ENABLE

TYPE

FREQ

GAIN

WIDTH

HMF

(High-mid)

ENABLE

TYPE

FREQ

GAIN

WIDTH

(High w/shelf)

ENABLE

TYPE

FREQ

GAIN

WIDTH

LPF

(Low-pass)

ENABLE

SLOPE

FREQ

DYN

(Dynamics)

ENABLE

COPY

PASTE

RESET

COMP

(Compressor)

ENABLE

MODE

THRESH

RATIO

ATTACK

RELEASE

TRIM

LEVELER ENABLE

MODE

REDUCE

MAKEUP

REVERB SEND

SEND PAN (mono only)

Mic

only

CHANNEL PAGE PARAM

OUTPUTS

Main

Analog 1-2

Analog 3-4, etc.

(global)

ENABLE

COPY

PASTE

RESET

HPF

(High-pass)

ENABLE

SLOPE

FREQ

(Low w/shelf)

ENABLE

TYPE

FREQ

GAIN

WIDTH

LMF

(Low-mid)

ENABLE

TYPE

FREQ

GAIN

WIDTH

(Mid)

ENABLE

TYPE

FREQ

GAIN

WIDTH

HMF

(High-mid)

ENABLE

TYPE

FREQ

GAIN

WIDTH

(High w/shelf)

ENABLE

TYPE

FREQ

GAIN

WIDTH

LPF

(Low-pass)

ENABLE

SLOPE

FREQ

DYN

(Dynamics)

ENABLE

COPY

PASTE

RESET

COMP

(Compressor)

ENABLE

MODE

THRESH

RATIO

ATTACK

RELEASE

TRIM

LEVELER ENABLE

MODE

REDUCE

MAKEUP

REVERB SEND

SEND PAN

MASTER MONITOR

TALKBACK

LSNBACK

F R O N T P A N E L O P E R A T I O N

MIXES MENU

REVERB MENU

STAND-ALONE OPERATION

All settings, including all mix settings and global

settings, are saved in the 828mk3’s memory, and

they remain in effect even when the 828mk3 is not

connected to a computer. This allows you to use the

828mk3 as a stand-alone 8-bus mixer. You can

make adjustments to any setting at any time from

the front panel.

CHANNEL PAGE PARAM

MIXES

Mix 1

Mix 2

etc.

MASTER ASSIGN

MUTE

FADER

COPY

PASTE

RESET

REVERB SEND

RETURN

MIC 1

MIC 2

(if mono)

MUTE

SOLO

(BAL/WID) - n/a

PAN

FADER

MIC 1-2

(if stereo)

MUTE

SOLO

BAL/WID

WIDTH

FADER

ANALOG 1

ANALOG 2

etc.

(if mono)

MUTE

SOLO

(BAL/WID) - n/a

PAN

FADER

ANALOG 3-4

ANALOG 5-6

etc.

(if stereo)

MUTE

SOLO

BAL/WID

BAL

FADER

SPDIF MUTE

SOLO

BAL/WID

BAL

FADER

ADAT A1-2

ADAT A3-4

etc.

MUTE

SOLO

BALD/WID

BAL

FADER

ADAT B1-2

ADAT B3-4

etc.

MUTE

SOLO

BALD/WID

BAL

FADER

CHANNEL PAGE PARAM

REVERB --- ENABLE

TIME

PREDELAY

WIDTH

CUT Hz

CUT dB

ROOM

REFSIZE

REF LEV

LO %

MID %

HI %

LO XOVR

HI XOVR

SPLIT

CHAPTER

7Digital Performer and AudioDesk

OVERVIEW

This chapter provides a brief overview of the basic

I/O and synchronization operations with the

828mk3 Hybrid hardware and Digital Performer

and AudioDesk.

AudioDesk is included with your 828mk3 system.

For complete information about all of AudioDesk’s

powerful workstation features, refer to the

AudioDesk User Guide included with your 828mk3

system.

Digital Performer, MOTU’s state-of-the-art digital

audio workstation software, is available separately;

for details about upgrading from AudioDesk to

Digital Performer, talk to your authorized MOTU

dealer or visit MOTU.com.

Setting up your system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

828mk3 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Working with 828mk3 inputs and outputs . . . . . . . . . . 55

24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Processing live inputs with host plug-ins . . . . . . . . . . . . 56

Working with CueMix FX mixing and effects. . . . . . . . . 56

MIDI input and output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

MIDI sequencing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Using a foot switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Exchanging project ﬁles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

SETTING UP YOUR SYSTEM

As described in chapter 4, “Installing the 828mk3

Software” (page 33), the MOTU software installers

will properly install and update everything for you.

If you are using a MIDI Timepiece AV or Digital

Timepiece for synchronization, be sure they are

present in Audio MIDI setup.

828MK3 SETTINGS

Choose the 828mk3 as your audio input output

device by choosing Conﬁgure Audio System>

Conﬁgure Hardware Driver from the Setup menu.

This window shows some of the 828mk3 settings,

such as sample rate and clock source, but to access

all of the 828mk3 settings, open MOTU Audio

Setup, as shown in Figure 5-1 on page 38.

For complete details about the 828mk3 settings, see

chapter 5, “MOTU Audio Setup” (page 37). The

following sections provide a brief explanation of

each 828mk3 setting for use with Digital Performer

and AudioDesk.

D I G I T A L P E R F O R M E R A N D A U D I O D E S K

Figure 7-1: Choose Setup menu> Conﬁgure Audio System> Conﬁgure

Hardware Driver to open the dialog shown above and access the

828mk3 Hybrid CoreAudio driver. To access the rest of the 828mk3

settings, open MOTU Audio Setup.

Sample rate

Choose the desired sample rate for the 828mk3

system and your project le. Newly recorded audio

in your project will have this sample rate. Imported

audio or soundbites in existing les that do not

match this sample rate will be displayed in the

Soundbites window with a red ‘X’ on their move

handles to indicate that they cannot be played.

Clock Source

This setting is very important because it

determines which audio clock the 828mk3 will

follow.

If you do not have any digital audio connections to

your 828mk3 (you are using the analog inputs and

outputs only), and you will not be slaving to

external SMPTE time code, choose Internal.

If you have digital audio devices connected to the

828mk3, or if you are not sure about the clock

source of your setup, be sure to read “Choosing a

clock source for optical connections” on page 22

and “Clock Source” on page 39.

If you are slaving to SMPTE time code via the

828mk3 itself, choose SMPTE and follow the

directions in “Syncing to SMPTE timecode” on

page 27.

Buffer Size

The Buffer Size setting can be used to reduce the

delay — or monitoring latency — that you hear

when live audio is patched through Digital

Performer. For example, you might have MIDI

instruments, samplers, microphones, and so on

connected to the analog inputs of the 828mk3. If

so, you will often be mixing their live input with

audio material recorded in Digital Performer. See

chapter 9, “Reducing Monitoring Latency”

(page 67) for complete details.

Phones

This 828mk3 setting lets you choose what you’ll

hear from the headphone jack. For example, if you

choose Main Out 1-2, the headphones will

duplicate the main outs. Or you can choose any

other output pair. If you choose Phones 1-2, this

setting makes the headphone jack serve as its own

independent output pair. As a result, you’ll see

Phones 1-2 as an additional audio destination in

audio output menus in Digital Performer and

D I G I T A L P E R F O R M E R A N D A U D I O D E S K

PROCESSING LIVE INPUTS WITH HOST

PLUG-INS

If you patch a live input (such as MIDI synthesizer)

through a plug-in effect in Digital Performer or

AudioDesk, you might hear a slight delay. There are

several ways to reduce this delay. For details, see

chapter 9, “Reducing Monitoring Latency”

(page 67).

WORKING WITH CUEMIX FX MIXING AND

EFFECTS

The 828mk3 provides powerful external mixing,

EQ, compression, and reverb, which you can

operate hand-in-hand with the complete mixing

environment of Digital Performer or AudioDesk.

For example, the 828mk3 can serve as a monitor

mixer routing channels to musicians, or it can

serve as an integrated extension of your Digital

Performer mixing environment. If you program an

828mk3 mixing and processing conguration that

goes hand in hand with your DP project, be sure to

use the le save features in CueMix FX to save the

828mk3 settings as a le in your DP project folder

for instant recall of all settings. See chapter 10,

“CueMix FX” (page 73) for complete details.

MIDI INPUT AND OUTPUT

Once you’ve followed the procedure for enabling

the 828mk3’s MIDI features as explained in

“Software installation” on page 33, the 828mk3

MIDI ports will appear as an input source and

output destination in MIDI I/O menus in Digital

Performer and AudioDesk.

MIDI SEQUENCING

AudioDesk can play audio as a background

application, allowing you to run a sequencer at the

same time in the foreground. However, there is no

way to continuously synchronize — or resolve — a

sequencer with AudioDesk, so the two programs

will eventually drift out of sync, even if you manage

to start them at the same time.

If you’d like to do integrated MIDI sequencing,

your best bet is Digital Performer, which offers all

of the same features as AudioDesk, along with

powerful, state-of-the-art MIDI sequencing. For

details about upgrading from AudioDesk to Digital

Performer, talk to your authorized MOTU dealer

or visit MOTU.com.

SYNCHRONIZATION

As you read through the following sections to

decide what form of synchronization you might

need with other devices in your studio, be sure to

consult “Making sync connections” on page 26 for

the proper hardware connections. Use the

synchronization diagrams to be clear about how

you will be synchronizing Digital Performer and

the 828mk3 to the other components of your

system.

Synchronizing digital audio connections

If you have devices connected to the 828mk3

digital inputs (optical or RCA S/PDIF), you need to

be concerned with the synchronization of the

828mk3’s digital audio clock with other devices

connected to it digitally (if any). For example, if

you have a digital mixer connected to the 828mk3

via an ADAT optical light pipe cable, you need to

make sure that their audio clocks are phase-locked.

For details, see “Choosing a clock source for optical

connections” on page 22 and “Making sync

connections” on page 26. If you don’t have any

digital audio devices connected to the 828mk3,

digital audio phase-lock does not apply to you.

Resolving directly to time code

If you need to slave the 828mk3 and Digital

Performer or AudioDesk to SMPTE time code, you

can do so with or without a dedicated

synchronizer.

To resolve your 828mk3 directly to SMPTE time

code with no additional synchronization devices,

use the setup shown in “Syncing to SMPTE

timecode” on page 27.

D I G I T A L P E R F O R M E R A N D A U D I O D E S K

USING A FOOT SWITCH

Use a foot switch connected to the 828mk3 to

trigger recording punch-in and punch-out, or any

other feature in Digital Performer or AudioDesk

that is assigned to a keyboard shortcut. By default,

the foot switch triggers the 3 key on the keyboard

number pad (which toggles the record button in

Digital Performer and AudioDesk.) To trigger a

different set of keystrokes with the foot switch, visit

the MOTU Audio Setup. (See “Enable Pedal” on

page 42.)

EXCHANGING PROJECT FILES

Digital Performer and AudioDesk can exchange

project les. To open an AudioDesk project in

Digital Performer, open it in same way you would a

DP project le — no conversion is required

beforehand in AudioDesk.

To open a Digital Performer project in AudioDesk,

use DP’s File menu > Save As command and choose

the “AudioDesk 2.0” as the project le format. Then

open the resulting AudioDesk 2.0 project le in

AudioDesk.

D I G I T A L P E R F O R M E R A N D A U D I O D E S K

CHAPTER

8Other Mac OS X Audio Software

OVERVIEW

The 828mk3 Hybrid provides multichannel audio

and MIDI input and output for all Mac OS X audio

applications, including Apple’s Logic Pro, Logic

Express, SoundTrack Pro and GarageBand. Other

third-party software applications are also

supported, such as Ableton Live, Propellerhead

Reason, Steinberg Cubase and others.

Installing the 828mk3 Mac OS X drivers . . . . . . . . . . . . . 59

Run MOTU Audio Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Choosing the MOTU Core Audio driver . . . . . . . . . . . . . . 60

Working with 828mk3 inputs and outputs . . . . . . . . . . 63

Audio input and output names . . . . . . . . . . . . . . . . . . . . . . 63

Number of channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

MIDI input and output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Processing live inputs with host plug-ins . . . . . . . . . . . . 65

Working with CueMix FX mixing and effects. . . . . . . . . 65

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Using a foot switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

INSTALLING THE 828MK3 MAC OS X

DRIVERS

To install the 828mk3’s Mac OS X audio and MIDI

drivers, just run the MOTU Audio installer as

detailed in chapter 4, “Installing the 828mk3

Software” (page 33).

RUN MOTU AUDIO SETUP

Before you run your host audio software, launch

MOTU Audio Setup to congure your 828mk3

hardware. MOTU Audio Setup lets you congure

your audio interface, and it lets you enable the

desired inputs and outputs. Only enabled inputs

and outputs will be available to your host audio

software, so this is an important step. For complete

details see chapter 5, “MOTU Audio Setup”

(page 37).

Figure 8-1: MOTU Audio Setup.

For complete details about the 828mk3 settings, see

chapter 5, “MOTU Audio Setup” (page 37). The

following sections provide a brief explanation of

each 828mk3 setting for use with Logic and other

Mac OS X audio software.

Sample rate

Choose the desired overall sample rate for the

828mk3 system and your host audio software.

Newly recorded audio will have this sample rate.

Clock Source

This setting is very important because it

determines which audio clock the 828mk3 will

follow.

If you do not have any digital audio connections to

your 828mk3 (you are using the analog inputs and

outputs only), and you will not be slaving your host

software to external SMPTE time code, choose

Internal.

If you have digital audio devices connected to the

828mk3, or if you are not sure about the clock

source of your setup, be sure to read “Making sync

connections” on page 26 and “Clock Source” on

page 39.

O T H E R M A C O S X A U D I O S O F T W A R E

Figure 8-2: Enabling the 828mk3 Hybrid in Pro Tools

Logic Pro and Logic Express

In Logic Pro and Logic Express, go to the

Preferences window, click the Audio tab, click the

Drivers tab and click the Core Audio tab as shown

in Figure 8-3. Choose the MOTU 828mk3 Hybrid

from the Driver menu. For information about the

I/O Buffer Size setting, see “Adjusting the audio I/O

buffer” on page 69.

Figure 8-3: Enabling the 828mk3 Hybrid in Logic

Soundtrack Pro

In Soundtrack Pro, access the preferences window,

click the Recording tab and choose MOTU 828mk3

Hybrid from the Input and Monitor menu as shown

below in Figure 8-4.

Figure 8-4: Enabling the 828mk3 Hybrid in Soundtrack Pro.

Garage Band

In Garage Band, go to the Audio/MIDI preferences

and choose MOTU 828mk3 Hybrid from the Audio

Output and Audio Input menus as shown below in

Figure 8-5. For information about the Optimize for

setting, see “Adjusting the audio I/O buffer” on

page 69.

Figure 8-5: Enabling the 828mk3 Hybrid in Garage Band.

O T H E R M A C O S X A U D I O S O F T W A R E

Cubase and Nuendo

In Cubase or Nuendo, go to the Devices menu and

choose Device Setup. Click the VST Audio System

item in the Devices list and choose MOTU 828mk3

Hybrid from the Master ASIO Driver menu as

shown below in Figure 8-6. Activate the inputs and

outputs within Cubase or Nuendo as usual. For

information about the Audio Buffer Size setting, see

“Adjusting the audio I/O buffer” on page 69.

Figure 8-6: Enabling the 828mk3 Hybrid audio driver in Cubase.

Live

In Ableton Live, access the preferences window and

click the Audio tab. Choose CoreAudio from the

Driver Type menu. Choose the MOTU 828mk3

from the Input Audio Device and Output Audio

Device menus as shown below in Figure 8-7. For

information about the Buffer Size setting, see

“Adjusting the audio I/O buffer” on page 69.

Figure 8-7: Enabling the 828mk3 Hybrid in Live.

O T H E R M A C O S X A U D I O S O F T W A R E

Reason and Record

In Propellerhead Reason or Record, go to the

Preferences window, choose Audio preferences

from the menu and choose MOTU 828mk3 Hybrid

from the Audio Output menu as shown below in

Figure 8-8. For information about the Buffer Size

setting, see “Adjusting the audio I/O buffer” on

page 69.

Figure 8-8: Enabling the 828mk3 Hybrid in Reason and Record.

Reaper

In Cockos Reaper, access the Preferences and click

Devices under the Audio preferences. Choose

MOTU 828mk3 Hybrid from the Audio Device

menu.

Figure 8-9: Enabling the 828mk3 Hybrid in Reaper.

Other audio software

For other audio applications, the procedure is

similar to that shown above. Consult your owner’s

manual for further information.

WORKING WITH 828MK3 INPUTS AND

OUTPUTS

Once you’ve enabled the 828mk3’s Core Audio

driver, 828mk3 audio inputs and outputs will

appear in your host software wherever audio inputs

and outputs are listed. If you don’t see the optical

inputs and/or outputs, check MOTU Audio Setup

to make sure they are turned on. If you don’t plan

to use either optical bank, turn it off to conserve

computer bandwidth.

AUDIO INPUT AND OUTPUT NAMES

The 828mk3 Core Audio driver supplies text string

labels for its inputs and outputs to clearly identify

each one, but some applications do not display

these labels.

The following sections show how you can identify

each input and output in a numbered list like this.

O T H E R M A C O S X A U D I O S O F T W A R E

Inputs at 1x sample rates

Inputs are always listed in the same order as

follows, when operating the 828mk3 at 1x sample

rates (44.1 or 48 kHz):

Inputs at 2x sample rates

When operating the 828mk3 at a 2x sample rate

(88.2 or 96 kHz), inputs are listed as follows:

Inputs at 4x sample rates

When operating the 828mk3 at a 4x sample rate

(176.4 or 192 kHz), inputs are listed as follows:

Outputs at 1x sample rates

Outputs are always listed in the same order as

follows, when operating the 828mk3 at 1x sample

rates (44.1 or 48 kHz):

Input

Channels List position Comment

Mic-Guitar 2 1-2 -

Analog 8 3-10 -

Reverb

return

2 11-12 See “Reverb return”

on page 60.

Stereo

return

2 13-14 See “Return Assign”

on page 60.

SPDIF 2 15-16 -

Optical A 8 ADAT

2 TOSLink

17-24

17-18

Optical B 8 ADAT

2 TOSLink

25-32

19-20

These starting chan-

nel numbers assume

that optical A is

operating with the

same format.

Input

88.2 / 96 kHz Channels List position Comment

Mic-Guitar 2 1-2 -

Analog 8 3-10 -

Reverb

return

not

available

not

available

not

available

Stereo

return

2 11-12 See “Return Assign”

on page 60.

SPDIF 2 13-14 -

Optical A 4 ADAT

2 TOSLink

15-18

15-16

Optical B 4 ADAT

2 TOSLink

19-22

17-18

These starting chan-

nel numbers assume

that optical A is

operating with the

same format.

Input

176.4 /192 kHz Channels List position Comment

Mic-Guitar 2 1-2 -

Analog 8 3-10 -

Reverb

return

not

available

not

available

not

available

Stereo return 2 11-12 See “Return

Assign” on page 60.

SPDIF not

available

not

available

not

available

Optical A not

available

not

available

not

available

Optical B not

available

not

available

not

available

Output

44.1 / 48 kHz Channels

List

position Comment

Analog 8 1-8 -

Main outs 2 9-10 If the main outs are

assigned to mirror another

output pair (such as the

analog 1-2), they won’t be

listed separately.

Phones 2 11-12 If the phones are assigned

to mirror another output

pair (such as the main

outs), they won’t be listed

separately.

SPDIF 2 13-14 If the phones are mirror-

ing, then subtract 2. If the

main outs are mirroring,

subtract another 2.

Optical A 8 ADAT

2 TOSLink

15-22

15-16

Optical B 8 ADAT

2 TOSLink

23-30

17-18

These channel number

ranges assume that optical

A is operating with the

same format.

O T H E R M A C O S X A U D I O S O F T W A R E

Outputs at 2x sample rates

When operating the 828mk3 at a 2x sample rate

(88.2 or 96 kHz), outputs are listed as follows:

Outputs at 4x sample rates

When operating the 828mk3 at a 4x sample rate

(176.4 or 192 kHz), outputs are listed as follows:

NUMBER OF CHANNELS

If your host audio software requires that you

specify the number of audio voices or channels you

will be using, be sure to choose enough channels to

cover the 28 inputs and 30 outputs provided by

your 828mk3 — although the number of channels

may depend on how your 828mk3 is congured.

MIDI INPUT AND OUTPUT

Once you’ve followed the procedure for enabling

the 828mk3’s MIDI features as explained in

“Software installation” on page 33, the 828mk3

MIDI ports will appear as an input source and

output destination in your host software’s MIDI I/

O menus.

PROCESSING LIVE INPUTS WITH HOST

PLUG-INS

If you patch a live input (such as a MIDI

synthesizer) through a plug-in effect in your host

software, you might hear a slight delay. There are

several ways to reduce this delay. For details, see

chapter 9, “Reducing Monitoring Latency”

(page 67).

WORKING WITH CUEMIX FX MIXING AND

EFFECTS

The 828mk3 provides powerful external mixing,

EQ, compression and reverb, which you can

operate hand-in-hand with your host’s mixing

environment. For example, the 828mk3 can serve

as a monitor mixer routing channels to musicians,

or it can serve as an integrated extension of your

host’s mixing environment. If you program an

828mk3 mixing and processing conguration that

goes hand in hand with your host project, be sure

to use the le save features in CueMix FX to save

the 828mk3 settings as a le in your host project

folder for instant recall of all settings. See

chapter 10, “CueMix FX” (page 73) for complete

details.

SYNCHRONIZATION

As you read through the following sections to

decide what form of synchronization you might

need with other devices in your studio, be sure to

consult “Making sync connections” on page 26 for

the proper hardware connections. Use the

synchronization diagrams to be clear about how

you will be synchronizing your audio software and

the 828mk3 to the other components of your

system.

Output

88.2/ 96 kHz Channels

List

position Comment

Analog 8 1-8 -

Main outs 2 9-10 If the main outs are

assigned to mirror

another output pair

(such as the analog

1-2), they won’t be

listed separately.

Phones Mirror only -- -

SPDIF 2 11-12 If the main outs are

mirroring, then sub-

tract 2.

Optical A 4 ADAT

2 TOSLink

13-16

13-14

Optical B 4 ADAT

2 TOSLink

17-20

15-16

These channel num-

ber ranges assume

that optical A is oper-

ating with the same

format.

Output

176.4/ 192 kHz Channels

List

position Comment

Analog 8 1-8 -

Main outs Mirror only -- -

Phones Mirror only -- -

SPDIF Not available -- -

Optical A Not available -- -

Optical B Not available -- -

O T H E R M A C O S X A U D I O S O F T W A R E

Synchronizing digital audio connections

If you have devices connected to the 828mk3

digital inputs (optical or RCA S/PDIF), you need to

be concerned with the synchronization of the

828mk3’s digital audio clock with other devices

connected to it digitally (if any). For example, if

you have a digital mixer connected to the 828mk3

via an ADAT optical light pipe cable, you need to

make sure that their audio clocks are phase-locked.

For details, see “Choosing a clock source for optical

connections” on page 22 and “Making sync

connections” on page 26. If you don’t have any

digital audio devices connected to the 828mk3,

digital audio phase-lock does not apply to you.

Resolving directly to time code

If your host audio software supports Core Audio’s

sample-accurate positioning protocol, or if it can

slave to MIDI Time Code, then it can resolve to the

828mk3’s built-in time code synchronization

feature. To resolve your 828mk3 directly to SMPTE

time code with no additional synchronization

devices, use the setup shown in “Syncing to

SMPTE timecode” on page 27.

USING A FOOT SWITCH

Use a foot switch connected to the 828mk3 to

trigger recording punch-in and punch-out, or any

other feature in your host audio software that is

assigned to a computer keystroke. By default, the

foot switch triggers the 3 key on the computer

keypad. To trigger a different set of keystrokes with

the foot switch, visit MOTU Audio Setup. (See

“Enable Pedal” on page 42.)

24-BIT OPERATION

Your 828mk3 hardware fully supports 24-bit

recording capabilities in any audio software that

supports it. Simply enable 24-bit operation as

instructed by the software. The 828mk3 always

supplies the software a 24-bit data stream, and

when you enable 24-bit operation, it simply uses all

24-bits supplied by the 828mk3 hardware.

R E D U C I N G M O N I T O R I N G L A T E N C Y

MONITORING LIVE INPUT

There are two ways to monitor live audio input

with an 828mk3: 1) through the computer or 2) via

the 82mk3 CueMix FX hardware mixer. Figure 9-1

shows method 1, which allows you to apply host-

based effects processing via plug-ins in your audio

software. See the next section, “Adjusting the audio

I/O buffer” for details about how to reduce — and

possibly eliminate — the audible monitoring delay

that the computer introduces.

Figure 9-2 shows how to use CueMix FX hardware-

based monitoring, which lets you hear what you are

recording with no monitoring delay and no

computer-based effects processing. Instead, input

is routed directly to an output, either with or

without 828mk3-based effects processing (EQ,

compression or reverb). See “CueMix FX hardware

monitoring” later in this chapter for details on how

to use CueMix FX with your audio software, or

with the included CueMix FX software.

If the material you are recording is suitable, there is

a third way to monitor live input: use both methods

(Figure 9-1 and Figure 9-2) at the same time. For

example, you could route guitar to both the

computer (for an amp model effect) and mix that

processed signal on the main outs with dry guitar

from CueMix FX — or perhaps with a touch of

828mk3 Classic Reverb.

1. Live input (from mic, guitar, etc.)

enters the MOTU interface.

Mac

2. Mic signal goes immedi-

ately to the computer.

3. Mic signal is

‘patched thru’ back to

the audio interface

with host-based

plug-in effects, if any.

Figure 9-1: There are two ways to monitor live audio inputs with an 828mk3: 1) through the computer or 2) via CueMix FX hardware monitor-

ing. This diagram shows method 1 (through the computer). When using this method, use your host software’s buffer setting to reduce the

slight delay you hear when monitoring the live input, but don’t lower it too much, or your computer might get sluggish.

4. Mic signal (with plug-in

processing, if any) is routed

to the main outs (or other

outputs that you’ve specied

in the software).

R E D U C I N G M O N I T O R I N G L A T E N C Y

ADJUSTING THE AUDIO I/O BUFFER

A buffer is a small amount of computer memory

used to hold data. For audio interfaces like the

828mk3, buffers are used for the process of

transferring audio data in and out of the computer.

The size of the buffers determines how much delay

you hear when monitoring live inputs through

your audio software: larger buffers produce more

delay; smaller buffers produce less.

Under Mac OS X, audio I/O buffer size is handled

by the host audio application (not the 828mk3

Core Audio driver). Most audio software

applications provide an adjustable audio buffer

setting that lets you control the amount of delay

you’ll hear when monitoring live inputs or

processing them with software plug-ins. Below are

a few examples.

Figure 9-3: In Digital Performer and AudioDesk, choose Setup menu>

Conﬁgure Audio System> Conﬁgure Hardware Driver to open the

dialog shown above and access the Buffer Size setting. Refer to your

Digital Performer or AudioDesk manual for information about the

Host Buffer Multiplier setting.

2. CueMix FX immediately patches the

live mic signal directly to the main outs

(or other output), completely bypassing

the computer. This signal could be dry, or

with 828mk3 effects processing, such as

EQ, compression or Classic Reverb.

3. Mic signal is mixed with the

main outs, and you can control

the volume (relative to the rest

of the mix) with the mic’s fader

in CueMix FX.

Figure 9-2: This diagram shows the signal ﬂow when using CueMix FX no-latency monitoring. Notice that this method does not process the

live input with plug-ins in your audio software. Instead, you can apply 828mk3 effects, such as the reverb, EQ and/or compression.

1. Live input (from mic, guitar, etc.)

enters the MOTU interface.

R E D U C I N G M O N I T O R I N G L A T E N C Y

Figure 9-4: In Cubase or Nuendo, choose Devices menu > Device

Setup. Select MOTU 828mk3 Hybrid, then click the Control Panel

button to access the window above and the Buffer Size setting.

Figure 9-5: In Logic Pro or Logic Express, go to the Audio Driver prefer-

ences to access the Buffer Size option shown above.

Lower latency versus higher CPU overhead

The buffer setting has a large impact on the

following things:

■Patch thru latency

■The load on your computer’s CPU

■Possible distortion at the smallest settings

■How responsive the transport controls are in

AudioDesk, Digital Performer or other audio

software

The buffer setting presents you with a trade-off

between the processing power of your computer

and the delay of live audio as it is being patched

through your software. If you reduce the size, you

reduce patch thru latency, but signiﬁcantly increase

the overall processing load on your computer,

leaving less CPU bandwidth for things like real-

time effects processing. On the other hand, if you

increase the buffer size, you reduce the load on

your computer, freeing up bandwidth for effects,

mixing and other real-time operations.

Figure 9-6: When adjusting the buffer size to reduce monitoring

latency, watch the ‘processor ’ meter in Digital Performer or

AudioDesk’s Performance Monitor. If you hear distortion, or if the

Performance meter is peaking, try raising the buffer size.

If you are at a point in your recording project where

you are not currently working with live, patched-

thru material (e.g. you’re not recording vocals), or

if you have a way of externally processing inputs,

choose a higher buffer size. Depending on your

computer’s CPU speed, you might ﬁnd that settings

in the middle work best (256 to 1024).

Transport responsiveness

Buffer size also impacts how quickly your audio

software will respond when you begin playback,

although not by amounts that are very noticeable.

Lowering the buffer size will make your software

respond faster; raising the buffer size will make it a

little bit slower, but barely enough to notice.

R E D U C I N G M O N I T O R I N G L A T E N C Y

Effects processing and automated mixing

Reducing latency with the buffer size setting has

another beneﬁt: it lets you route live inputs through

the real-time effects processing and mix

automation of your audio software.

CUEMIX FX HARDWARE MONITORING

The 828mk3 has a more direct method of patching

audio through the system. This method employs

the 828mk3’s CueMix FX digital mixer. When

enabled, CueMix activates hardware patch-thru in

the 828mk3 itself. CueMix FX has two important

beneﬁts:

■First, it completely eliminates the patch thru

delay (reducing it to a small number of samples —

about the same amount as one of today’s digital

mixers).

■Secondly, CueMix FX imposes no strain on the

computer.

The trade-off, however, is that CueMix FX

bypasses your host audio software. Instead, live

audio inputs are patched directly through to

outputs in the 828mk3 itself and are mixed with

audio playback from your host audio software.

This means that you cannot apply host-based

plug-ins, mix automation, or other real-time

effects that your audio software provides. But for

inputs that don’t need these types of features,

CueMix FX is the way to go.

On the other hand, if you really need to use the

mixing and processing provided by your audio

software, you should not use CueMix FX. Instead,

reduce latency with the buffer setting (as explained

earlier in this chapter).

TWO METHODS FOR CONTROLLING

CUEMIX FX

There are two ways to control CueMix FX:

■With CueMix FX

■From within your host audio software (if it

supports direct hardware monitoring)

You can even use both methods simultaneously.

Using CueMix FX

If your host audio software does not support direct

hardware monitoring, you run the CueMix FX

software side-by-side with your audio software and

manage your monitor mix in CueMix FX.

CueMix FX allows you to create up to eight

separate 828mk3 stereo mixes, or any other desired

routing conﬁgurations. These routings are

independent of your host audio software. For

complete details, see chapter 10, “CueMix FX”

(page 73).

Controlling CueMix FX from your audio

software

Some audio applications allow you to control

CueMix FX monitoring from within the

application (without the need to use CueMix FX).

In most cases, this support consists of patching an

828mk3 input directly to an output when you

record-arm a track. Exactly how this is handled

depends on the application.

The following applications are among those that

support direct control over CueMix FX:

■Digital Performer

■AudioDesk

CueMix FX routings that are made via host

applications are made “under the hood”, which

means that you won’t see them in CueMix FX.

However, CueMix FX connections made inside

your host audio software dovetail with any other

mixes you’ve set up in CueMix FX. For example, if

your host application routes audio to an output

pair that is already being used in CueMix FX for an

entirely separate mix bus, both audio streams will

simply be merged to the output.

R E D U C I N G M O N I T O R I N G L A T E N C Y

Controlling CueMix FX from within AudioDesk

or Digital Performer

To turn on CueMix FX in AudioDesk and Digital

Performer:

1From the Setup menu, choose Conﬁgure Audio

System>Input Monitoring Mode.

2Choose the Direct hardware playthrough option,

as shown below in Figure 9-7.

3From the Studio menu, choose Audio Patch

Thru, and choose any monitoring mode except Off.

Figure 9-7: Enabling CueMix FX in AudioDesk or Digital Performer.

Note: the ‘Only during recording...’ and ‘Always’ options are for

AudioDesk 2 and DP4 only. Later versions of DP have expanded input

monitoring features. Consult your documentation.

Once enabled, CueMix FX monitoring is tied with

Digital Performer or AudioDesk’s Audio Patch

Thru feature: when you record-enable a track, the

track’s input is routed directly to its output (via

CueMix FX in the 828mk3 hardware). For

example, if you record-enable a track called guitar

in your DP or AudioDesk project, and its audio

input assignment is Analog in 2, and its audio

output assignment is optical channels 7-8,

CueMix FX no-latency hardware monitoring will

automatically be set up from analog in 2 to optical

outputs 7-8.

Controlling CueMix DSP from within other

software

Consult the manual for your software.

CHAPTER

10 CueMix FX

OVERVIEW

CueMix FX is a cross-platform software

application that provides graphic, on-screen

control for the 828mk3 Hybrid’s ﬂexible CueMix

FX on-board mixer and effects processing.

CueMix FX can be used independently of host

audio software, or together with it. CueMix

dovetails with the direct monitoring features of

your host audio software, allowing you to

seemlessly mix in both environments.

For information about programming the 828mk3’s

on-board mixing and effects using the front panel

LCD, see chapter 6, “Front Panel Operation”

(page 43).

A 16-bus mixer with EQ, compression and reverb . . . . 74

Advantages over host-based mixing and processing 74

CueMix FX installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

CueMix FX basic operation . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

The Mixes tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

The Inputs tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

The Outputs tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

The channel settings section . . . . . . . . . . . . . . . . . . . . . . . . . 83

The Monitor Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

DSP meter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Solo light. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Talkback and listenback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

File menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

Devices menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

FFT and Spectrogram display . . . . . . . . . . . . . . . . . . . . . . .100

Oscilloscope. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

X-Y Plot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

Phase Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112

Tuner. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

Conﬁgurations menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

Talkback menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117

Phones menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117

Control Surfaces menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117

C U E M I X F X

A 16-BUS MIXER WITH EQ, COMPRESSION

AND REVERB

All 828mk3 inputs and outputs can be routed to the

on-board CueMix FX 16-bus (8 stereo bus) digital

mixer driven by hardware-based DSP with 32-bit

ﬂoating point precision.

The CueMix FX mixer allows you to apply no-

latency effects processing to inputs, outputs or

busses directly in the 828mk3 hardware,

independent of the computer. Effects can even be

applied when the 828mk3 is operating stand-alone

(without a computer) as a complete rack-mounted

mixer. Input signals to the computer can be

recorded wet, dry, or dry with a wet monitor mix

(for musicians during recording, for example).

Effects include:

■Classic Reverb with tail lengths up to 60 seconds

■7-band parametric EQ modeled after British

analog console EQs

■A standard compressor with conventional

threshold/ratio/attack/release/gain controls

■The Leveler™, an accurate model of the

legendary LA-2A optical compressor, which

provides vintage, musical automatic gain control

The 838mk3’s ﬂexible effects architecture allows

you to apply EQ and compression on every input

and output (a total of 58 channels), with enough

DSP resources for at least one band of parametric

EQ and compression on every channel at 48 kHz.

DSP resources are allocated dynamically and a

DSP meter in the CueMix FX software allows you

to keep tabs on the 828mk3’s processing resources.

Each input, output and mix bus provides a send to

the Classic Reverb processor, which then feeds

reverb returns to mix busses and outputs, with a

selectable split point between them to prevent

send/return feedback loops.

ADVANTAGES OVER HOST-BASED MIXING

AND PROCESSING

CueMix FX provides several major advantages over

mixing and processing in your host audio software:

■CueMix has no buffer latency. Thanks to the

828mk3’s DSP chip, CueMix provides the same

throughput performance as a digital mixer.

■CueMix mixing and effects processing imposes

no processor drain on the computer’s CPU.

■CueMix routing can be maintained

independently of individual software applications

or projects.

■CueMix routing can operate without the

computer, allowing the 828mk3 to operate as a

portable, stand-alone mixer with effects.

C U E M I X F X

CUEMIX FX INSTALLATION

CueMix FX is installed with the rest of your

828mk3 software.

CUEMIX FX BASIC OPERATION

Here is a brief overview of the CueMix FX mixer.

Eight stereo mix busses

CueMix provides eight stereo mix busses: Bus 1,

Bus 2, Bus 3, and so on. Each mix bus can take any

number of inputs and mix them down to any

828mk3 output pair that you choose. For example,

Bus 1 could go to the headphones, Bus 2 could go to

the main outs, Bus 3 could go to a piece of outboard

gear connected to analog outputs 7-8, etc.

Many inputs to one output pair

It might be useful to think of each mix bus as some

number of inputs all mixed down to a stereo output

pair. CueMix FX lets you choose which inputs to

include in the mix, and it lets you specify the level,

pan and other input-speciﬁc mix controls for each

input being fed into the mix.

Viewing one mix bus at a time

CueMix FX displays one mix bus at a time in the

Mixes tab (Figure 10-2 on page 77). To select which

mix you are viewing, choose it from the mix bus

menu (Figure 10-2). The mix name appears above

the mix bus master fader (Figure 10-2), where you

can click the name to change it.

Figure 10-1: CueMix FX is a virtual mixer that gives you control over the 828mk3’s on-board mixing features.

Tabs for inputs,

mix busses and

outputs

DSP

resources

meter

828mk3

inputs

Mix bus

master

fader

Tabs for channel strip settings,

including EQ and dynamics, as

well as global settings such as

the meter bridge and reverb

processor.

Monitoring/

talkback

section

Monitor

group

metering

Mic inputs Inputs split

into mono

channels

Inputs grouped as

stereo pairs

MIx bus

Channel

settings

Channel

focus

Grow

box

Channel

scroll

bar

Solo

light

C U E M I X F X

Each mix bus is independent

Each mix bus has its own settings. Settings for one

bus will not affect another. For example, if an input

is used for one bus, it will still be available for other

busses. In addition, inputs can have a different

volume, pan, mute and solo setting in each bus.

Input channels

The Inputs tab (Figure 10-3 on page 79) gives you

access to settings for individual 828mk3 inputs (or

input pairs), such as phase, trim, EQ and dynamics

processing. Each input also includes a send to the

828mk3’s global reverb processor. These settings

are applied to the signal before it goes anywhere

else (to a mix bus or the computer).

Output channels

The Outputs tab (Figure 10-6 on page 82) gives you

access to settings for each 828mk3 output pair,

including EQ, dynamics processing and send/

return controls for feeding and returning the

output signal to/from the 828mk3’s global reverb

processor. These settings are applied to the signal

just before it is sent to the output.

Channel focus and settings

Click the focus button for a channel (Figure 10-1)

to view channel-speciﬁc parameters in the Channel

Settings section of the CueMix FX window

(Figure 10-1). Separate tabs are provided for

channel-speciﬁc settings (channel strip, EQ and

dynamics), plus the global meter bridge and reverb

processor.

Global reverb processor

The 828mk3 has a global reverb module

(Figure 10-23 on page 95). Once it has been

activated, you can feed signals to the reverb

processor from various points in the 828mk3 mix

matrix via input sends, bus sends and output

sends. Stereo output from the reverb processor can

then be fed back to mix busses or output pairs

using reverb returns.

Other features

CueMix offers many additional features, discussed

in this chapter, such as talkback/listenback,

extensive metering, graphic editing of certain

effects parameters, monitor grouping and more.

Widening the CueMix FX window

To view more input faders at once, drag the grow

box (Figure 10-1) to the right.

C U E M I X F X

THE MIXES TAB

Click the Mixes tab (Figure 10-2) to gain access to

the 828mk3’s eight stereo mix busses. The Mixes

tab displays one mix bus at a time.

Viewing a mix

Choose the mix you wish to view from the mix bus

menu (in the Mixes tab itself, as shown in

Figure 10-2). The menu shows all mixes by name,

followed by the 828mk3 output pair to which each

bus master fader is currently assigned, if any.

Naming a mix

Click the mix name at the top of the mix bus master

fader (Figure 10-2) to edit the name.

Assigning a mix bus output

Choose the desired output pair for the mix bus

from the bus output menu (Figure 10-2). The bus

output menu displays all current available

(enabled) 828mk3 output pairs. If a bus is already

assigned to an output pair, the bus name appears

next to the output pair name to indicate that the

output pair is already taken by a bus. Only one bus

can be assigned to any given output pair. If you

choose an output already assigned to another bus,

that bus output will become disabled.

Bus fader

The bus fader (Figure 10-2) controls the overall

level of the mix (its volume on its stereo output).

Use the individual input faders to the left to control

individual input levels.

Figure 10-2: The Mixes tab.

828mk3

inputs

Mix bus 1

master

fader

Mic inputs Inputs grouped as

stereo pairs

Mixes

tab

Input name

Channel focus

Input pan section

Input fader

Scroll bar for input

channels

Bus output

Bus Reverb

send/return

Bus name

Bus fader

Bus mute

Bus level meter

Input mute/solo

Input level meter

Mix bus

C U E M I X F X

Bus mute

The bus mute button (Figure 10-2) disables

(silences) the mix.

Bus level meter

The bus level meter, which is post-fader, shows you

the output for the mix’s output.

Bus reverb send/return

The bus reverb send (Figure 10-2) feeds the output

of the mix bus, pre-fader, to the 828mk3’s global

reverb processor, where it is merged with any other

signals being fed to the reverb. The reverb’s output

can then be fed back into the mixer at various

return points, including the bus return (discussed

below).

The bus reverb return (Figure 10-2) feeds the

output of the 828mk3’s global reverb processor

into the mix bus, pre-fader. This includes any other

signals currently being fed to the reverb. The bus

reverb return is disabled (grayed out) when the

reverb Split Point is set to Output to eliminate the

possibility for feedback loops created by reverb

send/return loops. See “Split point” on page 95.

Input section

The horizontally scrolling area in the Mix tab to the

left of the master fader (Figure 10-2) displays

channel strips for all currently enabled 828mk3

inputs.

Naming an input

Click the input name at the top of the input channel

strip (Figure 10-2) to edit the name. Input names

are global across all mixes. This name also appears

in host audio software on the computer (if the

software supports channel names).

Input channel focus

Click the channel focus button (Figure 10-3) to

view and edit parameters in the channel settings

section of the CueMix FX window (Figure 10-7 on

page 83). Clicking the mix bus master fader focus

button brings the assigned output into focus, if

there is one.

Input pan section

The input pan knob (Figure 10-2) pans the input

across the bus stereo outputs. If the input itself is

grouped as a stereo pair (in the Inputs tab), two

forms of panning control are provided:

Balance

Balance works like the balance knob on some

radios: turn it left and the right channel dims, turn

it right and left channel dims. But the left channel

always stays left and the right channel stays right.

Width

Width spreads the left and right channels across the

stereo image, depending on the knob position.

Maximum value (turning the pan knob all the way

up) maintains the original stereo image: the left

channel goes entirely left and right goes entirely

right, without attenuation. The minimum value

(turning the knob all the way down) creates a

mono effect: equal amounts of left and right are

combined and sent to both outputs. In between,

the left out is a mixture of the left input and some of

the right input (and vice-versa) with the effect of

narrowing the ﬁeld.

Input fader and mute/solo

To add an input to a mix, or remove it, click its

Mute button. To solo it, use its Solo button. Use the

input fader (Figure 10-2) to adjust the level for the

input in the mix. Note that an input can have

different level, pan, mute and solo settings for

different mixes. Input channel level meters are

post-fader.

If any solo button on the current (active) bus is

enabled, the Solo Light (Figure 10-1) will

illuminate.

C U E M I X F X

THE INPUTS TAB

The 828mk3 provides many features for managing

analog and digital input signals. Some of these

features, such as the 828mk3’s digitally controlled

analog trims, are implemented in the analog

domain; others are implemented in the digital

domain as DSP applied to the digital signal (after

the A/D converter on analog inputs). Click the

Inputs tab (Figure 10-3) to access and control all of

these input channel settings for each 828mk3 input

or input pair.

Input tab settings are global

Except for the reverb send, all settings you make in

the Input tab are applied to the input signal before

it goes anywhere else (to a mix bus or the

computer). For example, if you apply EQ and

compression to the input signal, you will record the

processed version of the signal in your host audio

software running on the computer. If you need to

record a completely unprocessed input signal, do

not apply any changes to it in the Input tab. The

only exception to this is the reverb send, which

simply splits the input signal and feeds a copy of it

to the 828mk3’s reverb processor.

Signal ﬂows from top to bottom

Settings in each Input tab channel strip are

generally applied to the signal in order from top to

bottom. Input channel signal ﬂow is as follows:

trim, overload protection, phase, stereo versus M/S

decoding, width, L/R swap, EQ, dynamics and

reverb send.

Naming an input

Click the input name at the top of the input channel

strip (Figure 10-3) to edit the name. Input names

are global across all mixes. This name also appears

in host audio software on the computer (if the

software supports channel names).

Figure 10-3: The Inputs tab.

Input name

Channel focus

Mono/stereo paring

Invert phase

Input trim

EQ/dynamics graph

EQ/dynamics controls

EQ/dynamics

enable/disable

Reverb send

Input scroll bar

EQ band selectors

LP/HP ﬁlter selector

Compressor selector

Inputs tab

C U E M I X F X

Figure 10-4: The EQ/Dynamics selectors.

Click the selector (Figure 10-4) for the desired EQ

band, low-pass (LP) ﬁlter, high pass (HP) ﬁlter or

compressor to view it across all channels.

Figure 10-5: The Compressor controls.

☛Shortcut: hold down the Option/Alt key while

clicking an EQ selector button to show just that

band of EQ in the graphs. Click any selector again

to return to viewing all bands.

Using the EQ/Dynamics knobs

Once you have chosen the desired EQ band, or the

compressor, you can modify its settings using the

two or three knobs below the graph. The knobs

match the color of the currently selected effect, to

help remind you of which effect you are currently

editing.

☛Important: before you can modify the settings

of an EQ band using the three knobs below the

graph, the EQ band must be enabled. This is done

in the EQ tab (Figure 10-10), as explained in

“Enabling EQ” on page 85.

EQ/Dynamics enable/disable buttons

Click the EQ or Dynamics button at the bottom of

the input channel (Figure 10-3) to toggle the effect

on or off. Note that you can program EQ and

compressor settings, even when the effect is

currently disabled. (You just won’t hear the result

until you enable it.)

Reverb send

The input reverb send (Figure 10-3) feeds the input

signal to the 828mk3’s global reverb processor,

where it is merged with any other signals being fed

to the reverb. The reverb’s output can then be fed

back into a mix or output pair. The send occurs

after all other settings in the input channel strip

(phase invert, EQ, compression, etc.)

THE OUTPUTS TAB

The Outputs tab (Figure 10-6) lets you apply EQ,

dynamics and reverb to any output pair, just before

the signal leaves the 828mk3. This is processing

that occurs at the very end of the signal ﬂow, after

everything else (host based effects, 828mk3 input

or bus processing, mixing, and so on). Processing

is done in the digital domain, just before the signal

goes analog through the D/A converter. Output tab

processing is applied to the entire output mix (all

signals being mixed to the output from various

sources).

Signal ﬂows from top to bottom

Settings in each Output tab channel strip are

applied to the signal in order from top to bottom.

For example, EQ occurs before Dynamics, which is

applied before the reverb send and return.

Naming an output

Click the output name at the top of the output

channel strip (Figure 10-6) to edit the name.

Output names are global and will also appear in

host audio software on the computer (if the

software supports channel names).

EQ band selectors

LP/HP ﬁlter selector

Compressor selector

Colored knobs

Orange

Green

Blue

Red

Yellow

White

Black

Compressor

graph

Compressor

meter

Compressor

selector

C U E M I X F X

Output channel focus

Click the channel focus button (Figure 10-6) to

view and edit parameters in the channel settings

section of the CueMix FX window (Figure 10-7 on

page 83).

Output EQ and Dynamics

The EQ/Dynamics section in the Outputs tab

(Figure 10-6) works identically to the EQ/

Dynamics section for the Inputs tab (Figure 10-3).

See “Input EQ and dynamics” on page 80.

Output reverb send/return

The output reverb send (Figure 10-6) feeds the

signal for the output to the 828mk3’s global reverb

processor, where it is merged with any other signals

being fed to the reverb. The reverb’s output can

then be fed back into the mixer at various return

points, including the same output from which it

was sent (discussed below). The output reverb

send is disabled (grayed out) when the reverb Split

Point is set to Mix to eliminate the possibility for

feedback loops created by reverb send/return

loops. See “Split point” on page 95.

The output reverb return (Figure 10-6) feeds the

output of the 828mk3’s global reverb processor

directly to the output. This includes any other

signals currently being fed to the reverb.

Both the send and return occur after EQ and

dynamics processing, but before listenback and

talkback.

Talkback/Listenback

Click the Talkback or Listenback buttons

(Figure 10-6) to toggle whether the output pair is

included in the Talkback or Listenback group. See

“Talkback and listenback” on page 97.

Monitor group assign

Click the Monitor buttons (Figure 10-6) to toggle

whether the output pair is included in the Monitor

group. See “The Monitor Group” on page 96.

Figure 10-6: The Outputs tab.

Output name

Channel focus

Outputs tab

EQ band selectors

LP/HP ﬁlter selector

Compressor selector

EQ/Dynamics graph

EQ/Dynamics controls

EQ/Dynamics

enable/disable

Output reverb

send/return

Talkback/listenback

enable/disable

Monitor group assign

Specyfikacje produktu

Marka:	Motu
Kategoria:	system hi-fi
Model:	828mk3 Hybrid

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