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Excellent condition and works perfectly. Complete withsoftware and driver disk and full set of I/O breakout cables. Also included is an extra midi cable (not shown in pics), and a few extra audio in/ouput and 1/4' cables (not shown in pics).

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Premium 24-bit/192kHz converters - 111dB signal-to-noise ratio A/D converters and 116dB signal-to-noise ratio D/A converters for pristine recording and playback of your tracks Hardware-accelerated effects - over 600 standalone and E-MU Power FX VST plug-in effects with no CPU overhead PatchMix™ DSP zero-latency hardware mixing and monitoring - with super-fl/exible patchbay - no external mixer needed Comprehensive analog and digital I/O plus MIDI - two analog inputs, two analog outputs, optical/coaxial S/PDIF plus MIDI I/O Compatibility with most popular audio/sequencer applications - ultra-low latency 24-bit/192kHz ASIO 2.0 and WDM drivers E-MU Production Tools Software Bundle - includes Cakewalk SONAR LE, Steinberg Cubase LE and Wavelab Lite, Ableton Live Lite 4 for E-MU, IK Multimedia AmpliTube LE, SFX Machine LT, plus E-MU's Proteus X LE Desktop Sound Module - everything you need to create, record, edit, master and burn is in the box

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Summary of Contents for Creative E-MU Digital Audio System 1820M

• Page 1 Digital Audio System Owner's Manual Creative Professional..
• Page 2 © 2003 E-MU Systems All Rights Reserved Software Version: 1.81 E-MU World Headquarters Europe, Africa, Middle East E-MU Japan Creative Media K K E-MU Systems Creative Labs Kanda Eight Bldg., 3F 1500 Green Hills Road Ballycoolin Business Park 4-6-7 Soto-Kanda..

• Page 3: Table Of Contents

  Analog Inputs and Outputs .........18 MIDI In/Out ............ 18 The AudioDock ............19 Front Panel Connections ..........20 Preamp Section ...........20 MIDI 1 In/Out ...........20 S/PDIF Optical Out ..........20 Headphone Output & Volume Control .......20 Creative Professional..
• Page 4 The AudioDock Front Panel Indicators ........ 21 The MIDI Input Indicators .........21 The Clock Source and Sample Rate Indicators ......21 The Clock Source LEDs ..........21 The Sample Rate Indicators .........21 Rear Panel Connections ..........22 Line Level Analog Inputs .......... 22 Turntable Inputs &..
• Page 5 Rendering Audio with E-MU PowerFX ........82 General Tips for Rendering using PowerFX ....... 82 Tips for using Freeze Mode on Cubase LE .......82 Using E-MU PowerFX with WaveLab and SoundForge .....82 E-MU E-Wire VST ............ 83 E-Delay Compensator ..........84 Creative Professional..
• Page 6 E-Delay Compensator Use .........85 E-Delay Units Parameter .......... 85 Grouping Tracks ...........86 6 - Using High Sample Rates ...... 87 Overview.............87 E-MU 1820 System at 88.2k/96k (1010 PCI Card & AudioDock) ...87 E-MU 1212M System at 88.2k or 96k (1010 PCI Card & I/O Card) ...88 E-MU 1820 System at 176.4kHz or 192kHz (1010 PCI Card &..

• Page 7: 1- Introduction

  16 simultaneous hardware-based effects, which place minimal load on your computer’s CPU. The Firewire port provides high-speed connec- tivity to the Creative NOMAD® portable digital audio player, external CD-RW drives and other Firewire compatible devices such as DV camcorders, printers, scanners and digital still cameras.

• Page 8: E-mu 1212m System

  E Tips describe applications for the topic under discussion. Warnings are especially important, since they help you avoid activities that can cause damage to your files, your computer or yourself. Creative Professional..

• Page 9: Installation

  2 - Installation Setting Up the Digital Audio System 2 - Installation Setting Up the Digital Audio System There are six basic steps to installing your E-MU system: Remove any other sound cards you have in your computer. (Once you are sure that the E-MU card works properly, your old sound card can be reinstalled if desired.) Install the E-MU 1010 PCI card in your computer.

• Page 10: Safety First

  However, because these standard cables types are used for other purposes, you must use caution to avoid connecting the cables incorrectly. Please verify that all cables are connected only to the proper components before powering up your system. Creative Professional..

• Page 11: Installing The E-mu 1010 Pci Card

  2 - Installation Installing the E-MU 1010 PCI Card Installing the E-MU 1010 PCI Card Note: This installation is very simple but if you are not familiar with the installation of computer peripherals and add-in boards, please contact your authorized E-MU Systems dealer or an approved computer service center to arrange for the installation.

• Page 12: Install The Sync Daughter Card Or 0202 Daughter Card

  PCI slot. If it doesn’t fit properly, gently remove it and try again. Secure the card into the slot using one of the screws you placed aside earlier. Figure 3 Figure 4 0202 Daughter Sync Daughter Card Card Creative Professional..

• Page 13: E-mu 0202 & Audiodock

  2 - Installation Install the Sync Daughter Card or 0202 Daughter Card E-MU 0202 & AudioDock If you have both the E-MU 0202 I/O card and the AudioDock, you are advised not to connect both to the same E-MU 1010 PCI card using this version of software. There are known issues with doing this what will be addressed in a future software update.

• Page 14: Rubber Feet

  Two AudioDocks fit side by side on a single rack shelf. Two screws are provided to secure the AudioDock to the rack shelf (M3 x 6mm). Do not use screws longer than 6mm or damage to the circuit board may result. Creative Professional..

• Page 15: Software Installation

  2 - Installation Software Installation Software Installation Installing the E-MU 1010 Drivers The first time you restart your PC after installing the E-MU 1010 PCI card, you will need to install the PatchMix DSP software and E-MU 1010 PCI card drivers. Windows 2000 or Windows XP The software is not compatible with other versions of Windows.
• Page 16 2 - Installation Software Installation Creative Professional..

• Page 17: Pci Card & Interfaces

  3 - PCI Card & Interfaces The E-MU 1010 PCI Card 3 - PCI Card & Interfaces The E-MU 1010 PCI Card The E-MU 1010 PCI card is the heart of the system and contains E-MU’s powerful E-DSP chip. The powerful hardware DSP on this card leaves more power free on your CPU for additional software plug-ins and other tasks.

• Page 18: Ieee1394 Firewire

  DIN connectors on the card. The adapter cables convert the mini-DIN to standard DIN connectors used on most keyboards and synthesizers. Connect MIDI Out to the MIDI In port of your synthesizer and MIDI Out of your synth to MIDI In of the 0202 Daughter Card. Creative Professional..

• Page 19: The Audiodock

  3 - PCI Card & Interfaces The AudioDock The AudioDock The AudioDock connects to the E-MU 1010 PCI card via the EDI cable. The AudioDock provides (6) balanced analog inputs, a pair of microphone preamp The AudioDock is inputs, (8) balanced line-level analog outputs, (4) 1/8” outputs for connecting powered completely “hot pluggable”—..

• Page 20: Front Panel Connections

  For this reason it has a very monitor or troubleshoot clean signal that can be used as another stereo output if you need it. This output is freely the signal flow. assignable in the mixer application. Creative Professional..

• Page 21: The Audiodock Front Panel Indicators

  3 - PCI Card & Interfaces The AudioDock The AudioDock Front Panel Indicators MIDI CLOCK SMPTE 44.1 The MIDI Input Indicators These two indicators, labelled 1 & 2, show MIDI activity on the MIDI input jacks. The Clock Source and Sample Rate Indicators These LED indicators on the front panel of the AudioDock show the current timing synchronization and sample rate.

• Page 22: Rear Panel Connections

  (pro or consumer) in the I/O preferences screen. IMPORTANT NOTE: Do NOT use balanced audio cables (TRS) when connecting balanced outputs to unbalanced inputs. Doing so can increase noise levels and introduce hum. Creative Professional..

• Page 23: Computer Speaker Analog Outputs

  3 - PCI Card & Interfaces The AudioDock Computer Speaker Analog Outputs These stereo mini-phone (3.5mm) jacks duplicate line level outputs 1-4 with a lower output level to accommodate consumer speakers. These line level outputs are designed to interface easily with powered speakers. Computer Speaker Output Duplicates Line Level Output 1 L/R..

• Page 24: The Sync Daughter Card

  MIDI Time Code is also output whenever MTC is being generated by the host application (sequencer or audio recorder). A special cable converts the mini DIN to a standard MIDI jack. See the Sync Daughter Card Supplement more information about using the Sync Daughter Card. Creative Professional..

• Page 25: The Patchmix Dsp Mixer

  4 - The PatchMix DSP Mixer PatchMix DSP 4 - The PatchMix DSP Mixer PatchMix DSP all of the functions of a The PatchMix DSP Mixer is a virtual console which performs typical hardware mixer and a multi-point patch bay. With PatchMix, you may not even need a hardware mixer.

• Page 26: Mixer Window

  Fader (both Aux Sends come after the channel fader) or Pre Fader (both Aux Sends come before the channel fader). The Pre-fader option allows you to use either Aux Send as another mix bus, which is unaffected by the channel fader. More Information. Creative Professional..

• Page 27: E-mu Icon In The Windows Taskbar

  4 - The PatchMix DSP Mixer E-MU Icon in the Windows Taskbar E-MU Icon in the Windows Taskbar Right-clicking on the E-MU icon in the Windows taskbar calls the following window. Right-Click Here Opens the PatchMix DSP Mixer. Restore Defaults: Always try this option Calls the PatchMix DSP help system.

• Page 28: The Session

  Toolbar. The following dialog box appears. Select a Template or new Session at the desired sample rate Session Description Add your own comment or note about the Session Check this if you want to edit the New Session. Creative Professional..

• Page 29: Open Session

  88.2kHz/96kHz, and 176.4kHz/192kHz. You can create your own templates by simply copying or saving sessions into the “Session Templates” folder (Program FilesCreative ProfessionalE-MU PatchMix DSPSession Templates). The system model number in parenthesis (1820) or (1212) must precede the template name in order to be recognized as a template.

• Page 30: Using External Clock

  MIDI 2 In on the rear panel of the AudioDock. MIDI 2 Out on the rear panel of the AudioDock duplicates MIDI Word Clock and SMPTE 1 Out in this mode. Out will operate with Dock MIDI 2 selected. Creative Professional..

• Page 31: I/o Settings

  4 - The PatchMix DSP Mixer The Session I/O Settings You can set the level (-10dBV or +4 dBu) for each pair of analog outputs and the input gain setting for each pair of analog inputs. An output setting of +4 provides the most output and is compatible with professional audio gear.
• Page 32 PCI card ADAT Output. The coaxial S/PDIF Output is disabled when S/PDIF optical is selected. • S/PDIF Optical Format Selects between S/PDIF or AES/EBU format for S/PDIF . This sets the S/PDIF-AES status bit, but does not affect the signal level. Creative Professional..

• Page 33: Input Mixer Strips

  4 - The PatchMix DSP Mixer Input Mixer Strips Input Mixer Strips PatchMix DSP Input Mixer Strips are stereo except for the AudioDock Mic/Line inputs and the 0202 card inputs. Each input mixer strip can be divided into four basic sections. •..

• Page 34: Mixer Strip Creation

  Direct Sound, WDM, Windows Media From Windows (Sound generated or handled by Windows.) WAVE 1/2 - Default stereo source such as game sound, CD player, beep sounds, etc. WAVE 3/4, WAVE 5/6, WAVE 7/8 - Additional WDM channels Creative Professional..

• Page 35: Multichannel Wave Files

  4 - The PatchMix DSP Mixer Mixer Strip Creation Select Pre-Fader Aux Sends or leave the box unchecked for Post-Fader Aux Sends. See “Pre or Post Fader Aux Sends” on page 45. Click OK to create a new strip or Cancel to cancel the operation. To Delete a Mixer Strip: Click the top of the mixer strip you wish to delete.

• Page 36: Insert Section

  The effects are organized into categories. Click on a folder to open it. Select the effect you want, drag it over the insert section, then drop it into an insert location. To rearrange the order of effects, simply drag and drop them into the desired order. Creative Professional..

• Page 37: The Insert Menu

  4 - The PatchMix DSP Mixer Mixer Strip Creation The Insert Menu Right-Clicking over the insert section brings up a pop-up selection box containing various insert options to help you control and manage your inserts. To Add a Send Insert: This type of insert send splits the signal at the insert point and sends it out to the selected destination.

• Page 38: Using External Sends & Returns

  If you’re using a digital Send/Return, make sure that the external digital device is synchronized to the digital input. Otherwise, poor audio quality will result. (Alternatively, you can synchronize PatchMix DSP to your external device in the System Session Settings. See page 30.) Creative Professional..

• Page 39: Asio Direct Monitor Send/return

  4 - The PatchMix DSP Mixer Mixer Strip Creation ASIO Direct Monitor Send/Return This type of insert send breaks the signal at the insert point and sends it out to the selected ASIO Host Input destination (such as Cubase or Sonar). A return source signal is also selected which returns the signal to the channel strip from an ASIO Host Output.

• Page 40: Meter Inserts

  AudioDock or 0202 Daughter Card. The meter should be in the yellow Use +4 Output setting region most of the time with occasional forays into the red. If the clip indicator ever comes on, reduce the signal level. Creative Professional..

• Page 41: Making The Best Possible Recording

  4 - The PatchMix DSP Mixer Mixer Strip Creation Each analog input pair has its own Input Pad (-10dBV or +4dBu) which controls the input signal range. Changing the I/O settings can add or subtract 12dB. Check these settings if you cannot set the proper input level. See I/O Settings.

• Page 42: Trim Pot Insert

  White noise is a mixture of all frequencies in the audio spectrum at the same average level (analogous to white light in the visible spectrum). Pink noise provides equal power distribution per octave. (White noise has more power in the higher octaves.) Pink noise and white noise are useful as wideband sound sources. Creative Professional..

• Page 43: Managing Your Inserts

  4 - The PatchMix DSP Mixer Mixer Strip Creation Managing Your Inserts To Delete an Insert: Right-Click over the Insert you wish to delete. A yellow line around the insert Tip: Select the Insert location indicates that it is selected. A pop-up dialog box appears. and press the Delete key to delete the plug-in from Select Delete Insert to remove the selected insert or select Delete All Inserts to..

• Page 44: Aux Section

  These two mixes can be routed anywhere, such as to a physical output or an ASIO pair. You could route one of the Aux buses to the Monitor out to create a monitor mix while sending the main mix off to your audio recording software. Creative Professional..

• Page 45: Pre Or Post Fader Aux Sends

  4 - The PatchMix DSP Mixer Mixer Strip Creation Pre or Post Fader Aux Sends When you create a New Mixer Strip you have the option to place both Aux Sends after the channel volume fader and mute control or you can place them before the fader and mute.

• Page 46: Level, Pan, Solo & Mute Controls

  At the very bottom is the Scribble Strip text area, Scribble Strip into which you can type any short piece of text, thus naming the strip, i.e. “vocals”, “bass”, “drums” and so on. Creative Professional..

• Page 47: Main Section

  4 - The PatchMix DSP Mixer Main Section Main Section View Physical/Host Selection Select Buttons Buttons “TV” Screen Insert Section Master Aux Master Return Aux Send Amounts Amounts Sync & Sample Rate Indicators Main Insert Section Monitor Controls Output Fader & Session Name Meters The main section contains all controls for controlling the main mix elements as well as..

• Page 48: Tv Screen & Selectors

  When a Send or a Send/Return insert is selected with the effects display enabled, the TV screen shows you where the Send is going and where the Return is coming from. The bypass or solo buttons at the top of the display are available for Send/Return type inserts only. Send Destination Return Source Creative Professional..

• Page 49: Input

  4 - The PatchMix DSP Mixer Main Section Input Selecting the Input display view shows a graphic representation of the PatchMix DSP Mixer inputs. This screen is only a display, unlike the Effects and Outputs screens, which allow you to make routing changes. Input routing changes are made by adding mixer strips.

• Page 50: Auxiliary Effects & Returns

  44.1k/48k to a higher rate (or between any of the higher rates), the hardware automati- cally switches to internal 48kHz clock until the proper external clock is restored. The “LOCKED” LED will be off and the two units are NOT synchronized. Always check the “LOCKED” LED when using an external clock source. Creative Professional..

• Page 51: Output Section

  4 - The PatchMix DSP Mixer Main Section Output Section Clip Indicators Main Output Level Fader Sync/Sample Rate Indicators Main Insert Section Monitor Mute Monitor Balance Monitor Output Level Volume Meters Main Inserts The main inserts allow you to apply effects to the main stereo signal coming out of the mixer (both mains and monitor).
• Page 52 4 - The PatchMix DSP Mixer Main Section Creative Professional..

• Page 53: Effects

  5 - Effects Overview 5 - Effects Overview PatchMix DSP comes complete with a host of great core DSP effects including Compressors, Delays, Choruses, Flangers and Reverb. Each 32-bit effect has various parameters for editing, as well as factory presets. You can also create and save as many of your own effect presets as you wish.

• Page 54: Fx Insert Chains

  Select a category folder where your preset will be placed, and enter a new preset name for your FX Chain. Select a folder where your new preset will be placed, then type in a new preset name and click OK. Your preset is now saved. Creative Professional..

• Page 55: Creating, Renaming & Deleting Categories Or Presets

  5 - Effects The Effects Palette Creating, Renaming & Deleting Categories or Presets There are several utilities to help you organize your effects presets. To Create a New Preset Category You can create your own category folders to help organize your effects presets. Left-click on the New Folder icon at the top of the Effects Palette.

• Page 56: Importing And Exporting Core Fx Presets And Fx Insert Chains

  To Import Core FX Presets This option imports complete folders of Core FX presets into the E-MU PatchMix DSP folder (normally located here: “C:Program FilesCreative ProfessionalE-MU PatchMix DSPCore Effects”). If the name of an imported FX preset exactly matches a preset you already have, a number will be appended to end of the imported preset name.

• Page 57: Fx Edit Screen

  5 - Effects FX Edit Screen FX Edit Screen Click on an FX Insert to display the parameters for that effect. If an insert effect is not Note: Effects have to selected, the FX display will read “No Insert”. be placed into an insert location before you can Most effects have a wet/dry mix parameter to control the ratio of effect-to-plain signal.

• Page 58: User Preset Section

  Select the desired insert effect, highlighting it. The effect parameters appear in the TV screen. Click on the Edit button. A pop-up menu appears. Select New. A pop-up dialog box appears asking you to name the new preset. Name the preset and click OK. Your new preset is now saved. Creative Professional..

• Page 59: Core Effects And Effects Presets

  Core Effects and Effects Presets The Core Effects cannot be removed or copied. Effect presets (stored in “C:Program FilesCreative ProfessionalDigital Audio SystemE-MU PatchMix DSPEffect Presets”) can be copied, e-mailed or shared like any other computer file. Hint: You can open the effects presets with “NotePad” or other word processor to view and edit the name and parameters.

• Page 60: List Of Core Effects

  3-Band EQ 1-Band EQ Stereo Delay 1500 1-Band EQ Compressor Mono Delay 250 Compressor Mono Delay 1500 Compressor Chorus Mono Delay 250 Chorus Mono Delay 1500 Auto-Wah Flanger 4-Band EQ 3-Band EQ Total Effects Total Effects Total Effects Creative Professional..

• Page 61: Core Effects Descriptions

  5 - Effects Core Effects Descriptions Core Effects Descriptions 1-Band Para EQ This single band parametric equalizer is useful +15dB when you just want to boost or cut a single range of frequencies. For example, if you just want to Boost brighten up the lead vocal a bit, you might Width..

• Page 62: 3-band Eq

  Sets the amount of cut (-) or boost (+) of the low frequency shelf. Range: -24dB to +24dB Low Corner Freq. Sets the frequency where the signal begins getting cut or boosted with the Low Gain control. Range: 50Hz to 800Hz Creative Professional..

• Page 63: 4-band Eq

  5 - Effects Core Effects Descriptions 4-Band EQ This 4-band equalizer provides two shelving filters at the high and low ends of the frequency range and two fully parametric bands in the center. Up to ±24 dB of boost or cut is provided for each band.

• Page 64: Auto-wah

  Range: 10ms to 1000ms Sweep Range Controls the amount of “wah” sweep. Range: 0% to 100% Center Frequency Sets the initial bandpass filter frequency. Range: 80Hz to 2400Hz Bandwidth Sets the width of the bandpass filter. Range: 1Hz to 800Hz Creative Professional..

• Page 65: Chorus

  5 - Effects Core Effects Descriptions Chorus An audio delay in the range of 15-20 milliseconds is too short to be an echo, but is perceived by the ear as a distinctly separate sound. If we now vary the delay time in this range, an effect called chorus is created, which gives the illusion of multiple sound sources.

• Page 66: Basic Controls

  Sets the ratio of input signal level to output signal level, or “how much” compression will be applied. Range: 1:1 to ∞:1 Post Gain Amplifies the signal after it has been compressed to bring up the volume. Range -60dB to +60dB Creative Professional..

• Page 67: Distortion

  5 - Effects Core Effects Descriptions Parameter Description Attack Time Controls how quickly the gain is turned down after the signal exceeds the threshold. Range .1ms to 500ms Release Time Controls how fast the gain is returned to its normal setting after the signal has fallen below the threshold.

• Page 68: Flanger

  flanging effect. Range 05 to 100% LFO Waveform Selectable between Sine or Triangle wave. LFO L/R Phase Controls the stereo width by adjusting the phase difference between the left and right sweeps. Range: -180° to +180° Creative Professional..

• Page 69: Freq Shifter

  5 - Effects Core Effects Descriptions Freq Shifter This unusual effect is sometimes called “spectrum shifting” or “single sideband modulation”. Frequency shifting shifts every frequency in the signal by a fixed number of Hz which causes the harmonics to lose their normal relationship. The more common pitch shifter, in contrast, preserves the harmonic relationships of the signal and so is better suited to creating “musical”..

• Page 70: Leveling Amp

  Post Gain Amplifies the signal after it has been compressed to bring up the volume. Range 0dB to 36dB Creative Professional..

• Page 71: Lite Reverb

  5 - Effects Core Effects Descriptions Lite Reverb Reverberation is a simulation of a natural space such as a room or hall. The Lite Reverb algorithm is designed to simulate various rooms and reverberation plates while using fewer DSP resources than the Stereo Reverb. Up to five Lite Reverbs can be used at once. Decay time defines the time it takes for the reflected sound from the room to decay or die away.

• Page 72: Mono Delays - 100, 250, 500, 750, 1500, 3000

  Range: 1 millisecond to 3 seconds Feedback Sets the amount of delayed signal that will be recirculated through the delay line. Range: 0% to 100% High Freq. Rolloff Damps high frequencies in the feedback path. Range: 0% to 100% Creative Professional..

• Page 73: Phase Shifter

  5 - Effects Core Effects Descriptions Phase Shifter A phase shifter produces a fixed number of peaks and notches in the audio spectrum which can be swept up and down in frequency with a low frequency oscillator (LFO). This creates a swirly, ethereal sound with harmonically rich sound sources of a type of pitch shift with simpler sounds.

• Page 74: Speaker Simulator

  2 x 12 Combo Modeled from an American, 1960’ s era, 2-speaker combo amplifier. 4 x 12 Combo Modeled from an American, 1960’ s era, 4-speaker amplifier set. Metal Stack 1 & 2 Modeled from a modern era, power amplifier stack. Creative Professional..

• Page 75: Stereo Delays - 100, 250, 500, 750, 1500

  5 - Effects Core Effects Descriptions Stereo Delays - 100, 250, 500, 750, 1500 The Stereo Delays are true stereo delay lines in that the left and right channels are kept entirely separate from each other. The delay number refers to the maximum delay time that can be produced by the delay lines.
• Page 76 Range: 0% to 100% High Freq. Damping Sets the rate at which high frequencies die away. Range: -10.0 to +3.0 damping factor Low Freq. Damping Sets the rate at which low frequencies die away. Range: -10.0 to +3.0 damping factor Creative Professional..

• Page 77: Vocal Morpher

  5 - Effects Core Effects Descriptions Vocal Morpher This unique effect allows you to select two vocal phonemes and morph between them using an LFO. Phonemes are the consonants and vowels we use in articulating speech sounds and these sounds are very distinctive and evocative. 30 different phonemes are available and these can be shifted up or down in pitch for even more effects.

• Page 78: E-mu Powerfx

  FX Presets Select from the list of preprogrammed effect presets here. Preset Editing Click here to Save, Delete, Rename or Overwrite a User Preset. See the “User Preset Section” for more information Creative Professional..
• Page 79 5 - Effects E-MU PowerFX Parameter Description Preferences The Preferences menu allows you to: • Toggle the Tooltips On or Off • Extra Buffers - Check this box if excessive stuttering occurs when using E-MU PowerFX in your VST Host application. This box should be checked when using Fruity Loops.

• Page 80: Automating E-mu Powerfx

  • If DSP resources ARE available, but no Hardware I/O Paths are available, the plug-in will run in soft pass-through mode. • If the sample rate is changed in the middle of a E-MU PowerFX session, E-MU PowerFX plug-ins will be bypassed, since the hardware effects cannot operate at 96kHz or 192kHz. Creative Professional..
• Page 81 5 - Effects E-MU PowerFX E-MU PowerFX Compatibility Chart Extra Application Name Compatible? Note Render Buffers Steinberg Cubase VST 5.1 Steinberg Cubase SX 1 Steinberg Cubase SX 2 Instrument Freeze triggers error if not in render mode. Steinberg Cubase LE Steinberg Cubase SL Steinberg WaveLab 4 Steinberg WaveLab Lite (ver 4)

• Page 82: Rendering Audio With E-mu Powerfx

  file. • Pad the beginning (and/or end) of your audio file with silence (.5 to several seconds depending on the file). This action causes the buffer discontinuities to occur before the song begins. Creative Professional..

• Page 83: E-mu E-wire Vst

  5 - Effects E-MU E-Wire VST E-MU E-Wire VST E-Wire is a special VST/ASIO Bridge which allows you to route digital audio via ASIO to PatchMix and back again. E-Wire VST incorporates smart time alignment technology that automatically compen- sates for system latencies and ensures proper synchronization of audio throughout the VST chain.

• Page 84: E-delay Compensator

  VST host applications support this automatic compensation. A host will support PowerFX and E-Wire’s plug-in delay compensation if it supports the SetInitialDelay feature of the VST 2.0 specification. Creative Professional..

• Page 85: E-delay Compensator Use

  5 - Effects E-MU E-Wire VST Currently automatic delay compensation is supported by the Steinberg 2.0 family (Nuendo 2.x, Cubase SX 2.0, Cubase LE 2.0,), Magix Samplitude 7.x, and Sonar (using the Cakewalk VST adapter 4.4.1), but not by Steinberg Cubase VST 5.1 and Cubasis. The E-Delay Compensator utility plug-in is used to manually compensate for the transfer delay for hosts that DO NOT support plug-in delay compensation.

• Page 86: Grouping Tracks

  E-Delay Compensator on the output of the group or bus. • E-MU Digital Audio System and PatchMix DSP must be installed. • E-Wire is compatible with Cubase SX/SL/LE, Cubase VST, Wavelab, and Cakewalk Sonar (via DirectX-VST adapter) among others. Creative Professional..

• Page 87: Using High Sample Rates

  6 - Using High Sample Rates Overview 6 - Using High Sample Rates Overview When operating at 88.2k, 96k, 176.4k and 192k sample rates, the mixer functionality and number of I/O channels are reduced. These changes are summarized in the following tables.

• Page 88: E-mu 1212m System At 88.2k Or 96k (1010 Pci Card & I/o Card)

  When using the E-MU 1212 system at 88.2kHz or 96kHz you have two analog inputs and outputs and two S/PDIF inputs and outputs. The ADAT input/output channels are reduced from eight to four using the S/MUX standard. E-MU 1212M Inputs/Outputs at 88.2kHz or 96kHz Source Inputs Outputs ADAT S/PDIF Line Total Creative Professional..

• Page 89: E-mu 1820 System At 176.4khz Or 192khz (1010 Pci Card & Audiodock)

  6 - Using High Sample Rates Overview E-MU 1820 System at 176.4kHz or 192kHz (1010 PCI Card & AudioDock) At the highest sample rate you have 4 inputs and 10 output channels. There are four possible input configurations when using the E-MU 1820 system at 176.4kHz or 192kHz.
• Page 90 ADAT optical is reduced to two channels. You can choose one of the following options: • Microphone Inputs & Line 2 Inputs • Line Inputs 1 & ADAT • Microphone Inputs & ADAT Inputs • Line Inputs 1 & 3 Creative Professional..

• Page 91: Wdm Recording And Playback Behavior

  6 - Using High Sample Rates Overview WDM Recording and Playback Behavior WDM recording and playback is supported at all PatchMix sample rates. The behavior of the driver with respect to PatchMix sample rate is described below. When PatchMix and the WDM audio content (.WAV file format, playback and record settings in WaveLab.
• Page 92 6 - Using High Sample Rates Overview Creative Professional..

• Page 93: Appendix

  7 - Appendix Sync Daughter Card Supplement 7 - Appendix Sync Daughter Card Supplement SMPTE Conversion One of the main functions of the Sync Daughter Card is to convert SMPTE (LTC) to Warning: SMPTE and MIDI Time Code (MTC) and vice-versa. The term “Host MTC” refers to MTC, which is MTC do not provide sample sync for digital generated or used by the host application (Cubase, etc.).

• Page 94: Smpte Modes Of Operation

  flywheeling until valid code is received, then relocks. Upon any dropout, MTC continues outputting Quarter-frame messages 1-Time Jam Sync at the same rate (flywheeling) without monitoring the SMPTE input until the Stop button is pressed. Creative Professional..

• Page 95: Stripe Mode

  7 - Appendix SMPTE Background Stripe Mode This mode is used to record SMPTE time code onto an audio track of another recorder. SMPTE is output when the Start button is pressed in the System Settings menu and begins at the time set by the Start Time setting. MTC is also simultaneously output from the Sync Daughter Card MIDI out.

• Page 96: Why Use Smpte

  SMPTE signal if the input level is too high. Always check playback to insure that the time code is usable. In general, no signal processing should be used on the SMPTE signal. SMPTE code is delicate and should be treated as such. Creative Professional..

• Page 97: Duplicating Smpte Time Code

  7 - Appendix SMPTE Background Duplicating SMPTE time code The Sync Daughter Card always generates clean SMPTE from the SMPTE output when reading SMPTE in. This time code is in sync with the incoming SMPTE and can be used to feed other devices in your studio or to clean up old SMPTE tracks. Copying SMPTE code from track to track produces deterioration of the signal with each generation, although one generation of dubbing will probably be OK.

• Page 98: Midi Time Code (mtc)

  “House Sync” with a distribution system so that each device receives a phase-coherent and jitter-free word clock. Creative Professional..
• Page 99 7 - Appendix Word Clock In/Out Digital Digital Device 3 Device 1 House Sync Generator Digital Digital Device 2 Device 4 A master word clock generator is preferable for larger digital setups. Word Clock In: Receives word clock (sample clock) from another digital device such as a digital video deck, digital recorder or digital mixer.

• Page 100: Getting In Sync

  A/D - D/A. The external device MUST be set to receive external clock via ADAT or the units will not be synchronized. The E-MU Digital Audio System is the Master and the external A/D - D/A is the Slave. Creative Professional..

• Page 101: Useful Information

  7 - Appendix Useful Information Useful Information AES/EBU to S/PDIF Cable Adapter This simple adapter cable allows you to receive AES/EBU digital audio via the S/PDIF input on the E-MU 1010 PCI card. This cable may also work to connect S/PDIF out from the 1010 PCI card to the AES/EBU input of other digital equipment.

• Page 102: Unbalanced Cables

  To Improve the Appearance Settings: Open the Windows Control Panel. (Start, Settings, Control Panel). Select System. Select the Advanced Settings tab. Under Visual Effects, select Adjust for Best Performance. Click OK. Creative Professional..

• Page 103: Technical Specifications

  7 - Appendix Technical Specifications Technical Specifications Specifications: 1820M System GENERAL 44.1 kHz. 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz from Sample Rates internal crystal. Externally supplied clock from S/PDIF , ADAT (or word clock with optional Sync Card) 16 or 24-bits Bit Depth 100MIPs custom audio DSP .
• Page 104 600 ohm load: -94 dB (0.002%) 117 dB (A-weighted) SNR: 117 dB (A-weighted) Dynamic Range: < -100 dB (1kHz at -1 dBFS, 600 ohm load) Stereo Crosstalk: 500 mW Max Output Power: 22 ohms Output Impedance: 85 dB Gain Range: Creative Professional..
• Page 105 7 - Appendix Technical Specifications Specifications: 1820M System TURNTABLE INPUT RIAA equalized phono input +/-0.5 dB, 50 Hz - 20 kHz Frequency Response: -76 dB (.015%) (1 kHz, 10 mV RMS unbalanced input) THD+N: 90 dB (1kHz, 10 mV RMS unbalanced input) SNR: <..
• Page 106 Consumer: -10dBV nominal, 6dBV maximum (unbalanced) +0.0/-0.8 dB, 20 Hz - 20 kHz Frequency Response -98 dB (.0006%) 1kHz signal at -1dBFS THD + N 112 dB (A-weighted) 112 dB (A-weighted) Dynamic Range < -120 dB, 1kHz Stereo Crosstalk 560 ohms Output Impedance Creative Professional..
• Page 107 7 - Appendix Technical Specifications Specifications: 1820 System MIC PREAMP/LINE INPUT TFPro™ combination microphone preamp and line input Type +0.8/-0.1 dB, 20 Hz - 20kHz Frequency Response < 120 dB, 1kHz Stereo Crosstalk LINE INPUT -12 to +28 dB Gain Range: -17 dbV (19.2 dBu) Max Level: -94 dB (.002%), 1 kHz at -1 dBFS..
• Page 108 44.1kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz Internal Crystal Sync: ADAT, S/PDIF (optical or coaxial) SRSync SourceRMS jitter in picoseconds RMS JITTER @ 44.1K (Measured via Audio Precision 2) 44.1kHz Internal Crystal 596ps 44.1 kHz Optical Input 795ps Creative Professional..
• Page 109 7 - Appendix Technical Specifications Specifications: 1212 System GENERAL 44.1 kHz. 48 kHz, 88.2 kHz, 96 kHz, 176.4kHz, 192 kHz from Sample Rates internal crystal. Externally supplied clock from S/PDIF , ADAT (or word clock with optional Sync Card) 16 or 24-bits Bit Depth 100MIPs custom audio DSP .
• Page 110 AudioDock Weight Alone: W: 8.6' H: 1.7' L: 9.6' Dimensions: W: 218.5mm H: 43.2mm L: 244mm 1010 PCI Card 0.30lb / 0.14kg Weight: L: 6.7' / 170.2mm Dimensions: 0202 Daughter Card 0.25lb / 0.10kg Weight: L: 5.04' / 128mm Dimensions: Creative Professional..

• Page 111: Internet References

  7 - Appendix Internet References Internet References The internet contains vast resources for the computer musician. A few useful sites are listed here, but there are plenty more. Check it out. Software Updates, Tips & Tutorials..http://www.emu.com Setting up a PC for Digital Audio ..http://www.musicxp.net MIDI Basics......Search for “MIDI Basics”..

• Page 112: Declaration Of Conformity

  • Consult the dealer or an experienced radio/TV technician for help. The supplied interface cables must be used with the equipment in order to comply with the limits for a digital device pursuant to Subpart B of Part 15 of FCC Rules. Creative Professional..
• Page 113 7 - Appendix Internet References Compliance Information United States Compliance Information FCC Part 15 Subpart B Class B using: CISPR 22 (1997) Class B ANSI C63.4 (1992) method FCC Site No.90479 Canada Compliance Information ICES-0003 Class B using: CISPR 22 (1997) Class B ANSI C63.4 (1992) method Industry of Canada File No.IC 3171-B European Union Compliance Information..
• Page 114 7 - Appendix Internet References Creative Professional..

• Page 115: Index

  Index Numerics Index Background program, disabling 27 Balance Control, monitor 51 Balanced Cables 22 Block Diagram, mixer 26 Bypass effect insert 57 send/return insert 48 Numerics Category 0202 Daughter Card 18 create new preset 55 1010 PCI Card 17 delete effects 55 1-Band Para EQ 61 rename effects 55 1-Band Shelf EQ 61..
• Page 116 External Sync Source 30 add send 37 Extra Buffers 79 add send/return 37 bypass 43 delete 43 Factory Templates 29 menu 37 Firewire Connector 18 meter 40 Flanger 68 mixer strip 36 Flywheel Mode, SMPTE 94 solo 43 Creative Professional..
• Page 117 Index types 36 output fader 51 Installing section 47 disk drive power cable 13 Master E-MU 0202 daughter card 12 return level 47 E-MU 1010 PCI card 11 send level 47 rubber feet 14 volume control 51 sync cables 24 Meter sync daughter card 12 insert 40..
• Page 118 Settings Pre-Delay, compressor 66 I/O 31 Pre-Fader Aux Sends 47 input level 20 Preset MIDI 30 create new 58 system 29 delete 59 Sidechain Effects 50 overwrite effects 59 routing 44 rename effects 59 Signal generator, insert 42 Creative Professional..
• Page 119 Index Signal Level Indicators LEDs 20 Unbalanced Cables 102 meters 51 User Preset, effect 58 Signal Level, increasing 18 SMPTE 93 background 95 Vocal Morpher 77 example connection 97 Volume Control 33 Software Installation 15 Solo button 46 insert 57 Wah-Wah 64 send/return insert 48 WDM Recording &..
• Page 120 Index Notes Creative Professional..