Manuale d’uso / di manutenzione del prodotto 1820 del fabbricante Creative
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Creative Professional 1 Owner's Man ual Digital A udio System.
2 E-MU Digital Audio System Owner’ s Manual © 2003 E-MU Systems All Rights Reserved Softwar e V ersion: 1.81 E-MU Digital Audio System E-MU World Headquarters E-MU Systems 1500 Gr een Hills Road Sc.
Creative Professional 3 T able of Contents 1- Introduction ................................................................. 7 Welcome! ...................................................................................................................
4 E-MU Digital Audio System The AudioDock Front Panel Indicators ........................................................................ 21 The MIDI Input Indicators ....................................................................................
Creative Professional 5 Effect ........................................................................................................................ ... 48 Input ......................................................................................
6 E-MU Digital Audio System E-Delay Compensator Use ......................................................................................... 85 E-Delay Units Parameter ..................................................................................
1- Intr oduction W elcome! E-MU Digital Audio System 7 1- Intr oduction W elcome! Thank you for purchasing the E-MU 182 0M, E-MU 1820 or E-MU 12 12M digital audio sy stem. Y our computer is about to be transformed into a powerful audio processing workstation.
1- Intr oduction W elcome! 8 Creative Professional outputs, virtual (ASIO/W A VE) inputs and outputs and internal hardw are effects and buses—no external mixer needed. Y ou can add digital effects, EQs, meters , level controls and ASIO/W A VE sends an ywhere you like in the signal chain.
2 - Installation Setting Up the Digital Audio System E-MU Digital Audio System 9 2 - Installation Setting Up the Digital Audio System There are six basic steps to installing your E-MU s ystem: 1. Re mov e any other sound cards y ou have in y our computer .
2 - Installation Setting Up the Digital Audio System 10 Creative Professional Safety First! As you install har dware components, observe the following general pr ecautions to avoid damage to your equipment and yourself. Connector T ypes These connector types are used to connect the E-MU 1010 hardware components.
2 - Installation Installing the E-MU 1010 PCI Car d E-MU Digital Audio System 11 Installing the E-MU 1010 PCI Car d Note: This installation is very simple but if y ou are not familiar with the install.
2 - Installation Install the Sync Daughter Car d or 0202 Daughter Card 12 Creative Professional Install the Sync Daughter Car d or 0202 Daughter Car d • E-MU 1820M - If y ou’re planning to use W ord Clock. MIDI Time Code or SMPTE s ync, un wrap the Sync Daughter Card and get ready to install it.
2 - Installation Install the Sync Daughter Car d or 0202 Daughter Card E-MU Digital Audio System 13 E-MU 0202 & AudioDock If you ha ve 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 .
2 - Installation Install the Sync Daughter Car d or 0202 Daughter Card 14 Creative Professional Rubber Feet F our rubber feet w ere included with the AudioDock. These feet should be used if y ou’re not going to rack mount the AudioDock. If y ou are going to rack mount the AudioDock, leav e the feet off.
2 - Installation Softwar e Installation E-MU Digital Audio System 15 Softwar e Installation Installing the E-MU 1010 Drivers The first time you restart y our PC after installing the E-MU 1010 PCI card, you will need to install the PatchMix DSP softw are and E-MU 1010 PCI card drivers.
2 - Installation Softwar e Installation 16 Creative Professional.
3 - PCI Car d & Interfaces The E-MU 1010 PCI Car d E-MU Digital Audio System 17 3 - PCI Car d & Interfaces The E-MU 1010 PCI Car d The E-MU 1010 PCI card is the heart of the sy stem and contains E-MU’s po werful E-DSP chip.
3 - PCI Car d & Interfaces The 0202 Daughter Car d 18 Creative Professional IEEE1394 Fir ewir e Important: The 6-pin Fir ewire connector/port has a 3-watt maximum power output. Connect only one high power usage device such as a IEEE 1394 har d disk or CD-RW drive to this port unless it is self-power ed.
3 - PCI Car d & Interfaces The AudioDock E-MU Digital Audio System 19 The AudioDock The AudioDock connects to the E-MU 1010 PCI card via the EDI cable . f The AudioDock is completely “hot pluggable”— It’ s OK to plug or unplug the AudioDock while the computer is turned on.
3 - PCI Car d & Interfaces The AudioDock 20 Creative Professional Fr ont Panel Connections Pr eamp Section Warning: Some micr ophones cannot tolerate phantom power and may be damaged. Check the micr ophone’ s specifications and r equirements befor e using phantom power .
3 - PCI Car d & Interfaces The AudioDock E-MU Digital Audio System 21 The AudioDock Fr ont Panel Indicators The MIDI Input Indicators These two indicators , labelled 1 & 2, show MIDI activity on the MIDI input jacks .
3 - PCI Car d & Interfaces The AudioDock 22 Creative Professional Rear Panel Connections Line Level Analog Inputs Six balanced 24-bit, line-level, analog inputs are pro vided (1-3). These can be used to input any line lev el signal from keyboards, CD-pla yers , cassette decks, etc.
3 - PCI Car d & Interfaces The AudioDock E-MU Digital Audio System 23 Computer Speaker Analog Outputs These stereo mini-phone (3.5mm) jacks duplicate line level outputs 1-4 with a lo wer output level to accommodate consumer speakers . These line level outputs are designed to interface easily with pow ered speakers.
3 - PCI Car d & Interfaces The Sync Daughter Car d 24 Creative Professional The Sync Daughter Car d The Sync Daughter card (included in the E-MU 1820M s ystem and a vailable as an option for other sy stems) provides w ord clock in and out, SMPTE (L T C) in and out and an additional MIDI output for transmitting MIDI Time Code (MTC).
4 - The PatchMix DSP Mixer PatchMix DSP E-MU Digital Audio System 25 4 - The PatchMix DSP Mixer PatchMix DSP The PatchMix DSP Mixer is a virtual console which performs all of the functions of a typical hardware mixer and a multi-point patch ba y . With PatchMix, you ma y not even need a hardware mixer .
4 - The PatchMix DSP Mixer Overview of the Mixer 26 Creative Professional Mixer Window The Mixer consists of four main sections. A simplified diagram of the mixer is shown belo w .
4 - The PatchMix DSP Mixer E-MU Icon in the Windows T askbar E-MU Digital Audio System 27 E-MU Icon in the Windows T askbar Right-clicking on the E-MU icon in the Window s taskbar calls the following windo w . The T oolbar f Click the buttons in the toolbar to learn about their function.
4 - The PatchMix DSP Mixer The Session 28 Creative Professional The Session The current state of the PatchMix DSP mixer (fader settings , effects routings…every- thing!) can be sav ed as a Session. Whenever y ou create or modify a mixer setup, all you hav e to do is S ave it to be able to recall it at a later time.
4 - The PatchMix DSP Mixer The Session E-MU Digital Audio System 29 Y ou can now select one of the factory template sessions. The factory templates are pre- programmed with specific setups such as audio recording or mixing. The selector tabs categorize T emplate Sessions into three groups based on sample rate , 44.
4 - The PatchMix DSP Mixer The Session 30 Creative Professional The System Settings include the follo wing: E Note: if set to “External” without an external clock pr esent, PatchMix DSP defaults to the internal 48kHz clock rate. Using External Clock E Note: The maximum supported sample rate for S/PDIF is 96kHz.
4 - The PatchMix DSP Mixer The Session E-MU Digital Audio System 31 I/O Settings Y ou can set the level (-1 0dBV 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 .
4 - The PatchMix DSP Mixer The Session 32 Creative Professional • Inputs +4 or -10 Selects between Consumer level (-10dBV) or Pr ofessional level (+4dBu) inputs. (Use the -10dBV setting if your input is too weak.) • Outputs +4 or -10 Selects between Consumer level (-10dBV) or Pr ofessional level (+4dBu) outputs.
4 - The PatchMix DSP Mixer Input Mixer Strips E-MU Digital Audio System 33 Input Mixer Strips PatchMix DSP Input Mixer Strips are stereo except for the A udioDock Mic/Line inputs and the 0202 card inputs. Each input mixer strip can be divided into four basic sections .
4 - The PatchMix DSP Mixer Mixer Strip Cr eation 34 Creative Professional Mixer Strip Cr eation f Adding or deleting a strip “defragments” the effect/DSP r esources. If you have used all your effects and need another , try deleting an unused strip.
4 - The PatchMix DSP Mixer Mixer Strip Cr eation E-MU Digital Audio System 35 f See “ Pr e or Post Fader Aux Sends” on page 45. 4. Select Pre-Fader A ux Sends or leav e the box unchecked for Post-F ader Aux Sends . 5. Click OK to create a new strip or Cancel to cancel the operation.
4 - The PatchMix DSP Mixer Mixer Strip Cr eation 36 Creative Professional Insert Section The Insert Section is next in line . PatchMix DSP effects can be selected from the Effects Palette and dropped into the insert locations . See “The Effects Palette” .
4 - The PatchMix DSP Mixer Mixer Strip Cr eation E-MU Digital Audio System 37 The Insert Menu Right-Clicking ov er the insert section brings up a pop-up selection box containing various insert options to help y ou control and manage your inserts .
4 - The PatchMix DSP Mixer Mixer Strip Cr eation 38 Creative Professional 3. Choose one of the Send Outputs. Click on a destination to select it. 4. Choose one of the R eturn Inputs. Click on a source to select it. 5. Click OK to select the Send and R eturn, or Cancel to cancel the operation.
4 - The PatchMix DSP Mixer Mixer Strip Cr eation E-MU Digital Audio System 39 ASIO Dir ect 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).
4 - The PatchMix DSP Mixer Mixer Strip Cr eation 40 Creative Professional Meter Inserts Keeping track of signal lev els is important in any audio s ystem, be it analog or digital. Y ou want to keep the signal levels running as close to maximum in order to achiev e high resolution and low noise .
4 - The PatchMix DSP Mixer Mixer Strip Cr eation E-MU Digital Audio System 41 5. Each analog input pair has its own Input P ad (-1 0dBV 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 lev el.
4 - The PatchMix DSP Mixer Mixer Strip Cr eation 42 Creative Professional T rim Pot Insert The Trim P ot Insert allow s you to adjust the lev el of a signal in an insert location. The trim pot provides up to ±3 0dB of gain or attenuation and a phase inverter .
4 - The PatchMix DSP Mixer Mixer Strip Cr eation E-MU Digital Audio System 43 Managing Y our Inserts To Delete an Insert: f Tip: Select the Insert and pr ess the Delete key to delete the plug-in fr om the strip. 1. Right-Click ov er the Insert you wish to delete .
4 - The PatchMix DSP Mixer Mixer Strip Cr eation 44 Creative Professional Aux Section The Auxiliary Sends tap the signal from the channel strips and sum them together before sending the mix to the Auxiliary Effects section.
4 - The PatchMix DSP Mixer Mixer Strip Cr eation E-MU Digital Audio System 45 Pr e or Post Fader Aux Sends When you create a New Mixer Strip y ou hav e the option to place both Aux Sends after the channel volume fader and mute control or y ou can place them befor e the fader and mute .
4 - The PatchMix DSP Mixer Mixer Strip Cr eation 46 Creative Professional Level, Pan, Solo & Mute Contr ols The Pan control comes before the Level Control and Aux Sends in the signal flo w . On stereo strips we use an unconventional pan section with two pan pots – one for the left part of the signal and one for the right part of the signal.
4 - The PatchMix DSP Mixer Main Section E-MU Digital Audio System 47 Main Section The main section contains all controls for controlling the main mix elements as well as a “TV screen” for viewing the parameters of the current selected insert. The three buttons across the top of the main section select what is shown on the TV display .
4 - The PatchMix DSP Mixer Main Section 48 Creative Professional TV Scr een & Selectors The “TV screen” at the top of the main section is a multi-function display and control center for the input and output routings and effect controls.
4 - The PatchMix DSP Mixer Main Section E-MU Digital Audio System 49 Input Selecting the Input display view sho ws a graphic representation of the P atchMix DSP Mixer inputs. This screen is only a displa y , unlike the Effects and Outputs screens, which allow y ou to make routing changes.
4 - The PatchMix DSP Mixer Main Section 50 Creative Professional Auxiliary Effects & Returns f The W et/Dry mix setting in the effect should normally be set to 100% when the effect is inserted as a sidechain effect. This is because the Aux Return Amount will contr ol the wet/dry mix.
4 - The PatchMix DSP Mixer Main Section E-MU Digital Audio System 51 Output Section Main Inserts The main inserts allow you to apply effects to the main stereo signal coming out of the mixer (both mains and monitor). Y ou might want to apply EQ or a compressor here .
4 - The PatchMix DSP Mixer Main Section 52 Creative Professional.
5 - Effects Overview E-MU Digital Audio System 53 5 - Effects Overview PatchMix DSP comes complete with a host of great core DSP effects including Compressors, Del ays, Choruses, Flangers and R everb . Each 32-bit effect has v arious parameters for editing, as well as factory presets .
5 - Effects The Effects Palette 54 Creative Professional To Select an Effect 1. Click the FX button to bring up the Effects Palette . The effect palette contains numerous folders containing effects presets. Click on an y folder to open it. f The or der of effects in a chain can have a big effect on the sound.
5 - Effects The Effects Palette E-MU Digital Audio System 55 Cr eating, Renaming & Deleting Categories or Pr esets There are several utilities to help y ou organize your effects presets . To Create a New Pr eset Category Y ou can create your own category folders to help organize your effects presets .
5 - Effects The Effects Palette 56 Creative Professional Importing and Exporting Cor e FX Pr esets and FX Insert Chains These utilities make it easy to import or export y our FX Presets and FX Insert Chains. Y ou can share presets with your friends or download new presets from the Internet.
5 - Effects FX Edit Scr een E-MU Digital Audio System 57 FX Edit Scr een E Note: Effects have to be placed into an insert location befor e you can pr ogram them. Click on an FX Insert to display the parameters for that effect. If an insert effect is not selected, the FX display will read “No Insert” .
5 - Effects FX Edit Scr een 58 Creative Professional Method #2 1. Right-click ov er the Insert Effect you w ant to Solo (in the Insert section). A pop-up menu appears. 2. Select “Solo Insert” from the list of options. The other Insert Effect names in the strip will “gray-out” to indicate that they are b ypassed.
5 - Effects FX Edit Scr een E-MU Digital Audio System 59 To Delete a User Preset 1. Select the user preset you wish to delete from the user preset menu. 2. Click on the Edit button. A pop-up menu appears. 3. Select Delete . A pop-up dialog box appears asking you to confirm y our action.
5 - Effects List of Cor e Effects 60 Creative Professional List of Cor e Effects DSP Resour ce Usage There are two main factors which determine the total number of effects a vailable for use at any giv en time: T ank Memory and DSP Instructions . Using too much of either resource will cause effects to be unav ailable (gray ed out) in the FX menu.
5 - Effects Cor e Effects Descriptions E-MU Digital Audio System 61 Cor e Effects Descriptions 1-Band Para EQ This single band parametric equalizer is useful when you just w ant to boost or cut a single range of frequencies. F or example , if you just w ant to brighten up the lead vocal a bit, y ou might choose this EQ.
5 - Effects Cor e Effects Descriptions 62 Creative Professional 3-Band EQ This versatile equalizer pro vides two shelving filters at the high and lo w ends of the frequency range and a fully parametric band in the center . Up to ±24 dB of boost or cut is provided for each band.
5 - Effects Cor e Effects Descriptions E-MU Digital Audio System 63 4-Band EQ This 4-band equalizer provides tw o 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.
5 - Effects Cor e Effects Descriptions 64 Creative Professional Auto-W ah This effect creates the sound of a guitar wah-w ah pedal. The “W ah” filter sw eep is automatically triggered from the amplitude envelope of the input sound. A uto-wah works w ell with percussive sounds such as guitar or bass .
5 - Effects Cor e Effects Descriptions E-MU Digital Audio System 65 Chorus An audio delay in the range of 15-2 0 milliseconds is too short to be an echo, but is perceived b y the ear as a distinctly separate sound. If we no w vary the dela y time in this range , an effect called chorus is created, which gives the illusion of multiple sound sources.
5 - Effects Cor e Effects Descriptions 66 Creative Professional Basic Contr ols The three main controls of a compressor are the R atio control, the Thr eshold control and the Gain control. If the signal falls below the Thresh old , no processing will take place .
5 - Effects Cor e Effects Descriptions E-MU Digital Audio System 67 Distortion Most audio processors aim to provide lo w distortion, but not this one! The sole purpose of this effect is to add distortion, and lots of it.
5 - Effects Cor e Effects Descriptions 68 Creative Professional Flanger A flanger is a very short dela y line whose output is mixed back together with the original sound. Mixing the original and delayed signals results in multiple frequency cancella- tions known as a comb filter .
5 - Effects Cor e Effects Descriptions E-MU Digital Audio System 69 Fr eq 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.
5 - Effects Cor e Effects Descriptions 70 Creative Professional Leveling Amp The first compressors developed in the 195 0’s w ere based on a slow-acting optical gain cells which were able to control the signal lev el in a very subtle and musical w ay .
5 - Effects Cor e Effects Descriptions E-MU Digital Audio System 71 Lite Reverb Re v erberation is a simulation of a natural space such as a room or hall. The Lite R everb algorithm is designed to simulate various rooms and rev erberation plates while using fewer DSP resources than the Stereo R ev erb .
5 - Effects Cor e Effects Descriptions 72 Creative Professional Mono Delays - 100, 250, 500, 750, 1500, 3000 A delay line makes a cop y of the incoming audio, holds it in memory , then plays it back after a predetermined time . The delay number refers to the maximum dela y time that can be produced by the dela y line .
5 - Effects Cor e Effects Descriptions E-MU Digital Audio System 73 Phase Shifter A phase shifter produces a fixed number of peaks and notches in the audio spectrum which can be swept up and do wn in frequency with a low frequency oscillator (LFO).
5 - Effects Cor e Effects Descriptions 74 Creative Professional Speaker Simulator The Speaker Simulator provides realistic guitar speaker responses and is designed for use with guitar , bass or s ynthesizer . T welv e popular guitar amp speaker cabinets are modeled.
5 - Effects Cor e Effects Descriptions E-MU Digital Audio System 75 Ster eo Delays - 100, 250, 500, 750, 1500 The Stereo Delay s are true stereo delay lines in that the left and right channels are kept entirely separate from each other . The dela y number refers to the maximum delay time that can be produced by the dela y lines.
5 - Effects Cor e Effects Descriptions 76 Creative Professional Ster eo Reverb Re v erberation is a simulation of a natural space such as a room or hall. The stereo reverb algorithm is designed to simulate various halls , rooms and reverberation plates .
5 - Effects Cor e Effects Descriptions E-MU Digital Audio System 77 V ocal Morpher This unique effect allow s you to select tw o vocal phonemes and morph betw een them using an LFO . Phonemes are the consonants and vow els we use in articulating speech sounds and these sounds are very distinctiv e and evocativ e .
5 - Effects E-MU PowerFX 78 Creative Professional E-MU PowerFX E-MU PowerFX ar e not available at 96kHz and 192kHz sample rates. The hardware-accelerated effects of the E-MU Digital A udio System can also be used as VST inserts in Cubase LE.
5 - Effects E-MU PowerFX E-MU Digital Audio System 79 To Setup & Use E-MU PowerFX: Using any driver other than “E-MU ASIO” may pr oduce undesirable r esults when using E-MU PowerFX.
5 - Effects E-MU PowerFX 80 Creative Professional Automating E-MU PowerFX Steinber g Cubasis does not have the contr ol automation featur e. E-MU Po werFX can be automated in Cubase LE (or other recording host) just like an y other VST effect.
5 - Effects E-MU PowerFX E-MU Digital Audio System 81 E-MU PowerFX Compatibility Chart Application Name Compatible? Note Render Extra Buffers Steinber g Cubase VST 5.1 Ye s Off Off Steinber g Cubase SX 1 Ye s Off Off Steinber g Cubase SX 2 Ye s Instrument Fr eeze triggers err or if not in r ender mode.
5 - Effects Rendering Audio with E-MU PowerFX 82 Creative Professional Rendering Audio with E-MU PowerFX R endering (sometimes called Export) is a mixdown process performed b y the host application, which creates a new digital audio file from a multitrack song.
5 - Effects E-MU E-Wir e VST E-MU Digital Audio System 83 E-MU E-Wir e VST E-Wire is a special VST/ASIO Bridge which allow s you to route digital audio via ASIO to PatchMix and back again.
5 - Effects E-MU E-Wir e VST 84 Creative Professional To Setup and use E-Wire: Setup PatchMix DSP 1. Open PatchMix DSP application. 2. Insert an ASIO Input mixer strip into PatchMix DSP . (Alternately , y ou can select “New Session”, select “E-Wire Example” and skip to step 6.
5 - Effects E-MU E-Wir e VST E-MU Digital Audio System 85 Currently automatic delay compensation is supported b y 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.
5 - Effects E-MU E-Wir e VST 86 Creative Professional In practical use , how ever , you’ll probably never need to use more than one E-Wire VST on a single track since Pow erFX effects can be placed in series. W e have included this feature “just in case” you need it.
6 - Using High Sample Rates Overview E-MU Digital Audio System 87 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 .
6 - Using High Sample Rates Overview 88 Creative Professional E-MU 1212M System at 88.2k or 96k (1010 PCI Card & I/O Car d) When using the E-MU 12 12 sy stem at 88.2kHz or 96kHz you ha ve tw o analog inputs and outputs and two S/PDIF inputs and outputs .
6 - Using High Sample Rates Overview E-MU Digital Audio System 89 E-MU 1820 System at 176.4kHz or 192kHz (1010 PCI Car d & AudioDock) At the highest sample rate you hav e 4 inputs and 1 0 output channels. There are four possible input configurations when using the E-MU 1820 s ystem at 176.
6 - Using High Sample Rates Overview 90 Creative Professional In Out 3L 3R Phono MIDI 2 Card Gnd In Out 2L 2R 1L 1R 4L 4R L/R Ctr / Sub Sr L / R SrBk L/R 3L 3R 2L 2R 1L 1R 1 - 4 Monitor 3L 3R A Line M.
6 - Using High Sample Rates Overview E-MU Digital Audio System 91 WDM Recor ding and Playback Behavior WDM recording and playback is supported at all P atchMix sample rates. The beha vior of the driver with respect to P atchMix sample rate is described below .
6 - Using High Sample Rates Overview 92 Creative Professional.
7 - Appendix Sync Daughter Car d Supplement E-MU Digital Audio System 93 7 - Appendix Sync Daughter Car d Supplement SMPTE Conversion Warning: SMPTE and MTC do not pr ovide sample sync for digital I/O. Y ou must use W ord Clock, S/PDIF or ADA T sync.
7 - Appendix Sync Daughter Car d Supplement 94 Creative Professional SMPTE Modes of Operation Host Mode The host computer is the source of synchronization. MT C messages are sent to the Sync Daughter Card from the computer application and converted into SMPTE.
7 - Appendix SMPTE Backgr ound E-MU Digital Audio System 95 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.
7 - Appendix SMPTE Backgr ound 96 Creative Professional time! (A one hour program would actually be 59 minutes and 56.4 seconds long.) Drop frame was designed to correct this time difference . In 3 0 Drop Frame , every minute except 00-1 0-20-30-40-5 0 hav e the first two frames , 00 and 0 1, “dropped”, hence the name drop-frame .
7 - Appendix SMPTE Backgr ound E-MU Digital Audio System 97 Duplicating SMPTE time code The Sync Daughter Card al ways 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 .
7 - Appendix MIDI Time Code (MTC) 98 Creative Professional MIDI T ime Code (MTC) MTC and SMPTE do NOT synchr onize at the sample rate and ar e not locked to wor d clock in any way . SMPTE and MTC ar e used to synchr onize music but do not have the r equired r esolution to sample-lock digital audio.
7 - Appendix Wo rd Clock In/Out E-MU Digital Audio System 99 W ord Clock In: R eceiv es word clock (sample clock) from another digital device such as a digital video deck, digital recorder or digital mixer . W ord Clock Out: Sends w ord clock (sample clock) to another digital recorder .
7 - Appendix Getting in Sync 100 Creative Professional Getting in Sync Whenever y ou connect external digital audio devices together , y ou need to be aw are of how they are s ynchronized to each other . Simply connecting digital out to digital in doesn’t guarantee that two digital devices are s ynced, even if audio is being passed.
7 - Appendix Useful Information E-MU Digital Audio System 101 Useful Information AES/EBU to S/PDIF Cable Adapter This simple adapter cable allow s you to receiv e AES/EBU digital audio via the S/PDIF input on the E-MU 1010 PCI card.
7 - Appendix Useful Information 102 Creative Professional Unbalanced Cables Unbalanced cables hav e one conductor and one ground (shield) and usually connect via unbalanced 1/4" phone plugs or RCA phono plugs . The shield stay s at a constant ground potential while the signal in the center conductor varies in positiv e and negative voltage .
7 - Appendix T echnical Specifications E-MU Digital Audio System 103 T echnical Specifications Specifications: 1820M System GENERAL Sample Rates 44.
7 - Appendix T echnical Specifications 104 Creative Professional MIC PREAMP/LINE INPUT T ype TFPr o™ combination micr ophone preamp and line input Fr equency Response +0.8/-0.1 dB, 20 Hz - 20kHz Ster eo Crosstalk < 120 dB, 1kHz LINE INPUT Gain Range: -12 to +28 dB Max Level: -17 dbV (19.
7 - Appendix T echnical Specifications E-MU Digital Audio System 105 TURNT ABLE INPUT RIAA equalized phono input Fr equency Response: +/-0.5 dB, 50 Hz - 20 kHz THD+N: -76 dB (.
7 - Appendix T echnical Specifications 106 Creative Professional Specifications: 1820 System GENERAL Sample Rates 44.1 kHz. 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz fr om internal crystal. Externally supplied clock from S/PDIF , ADA T (or wor d clock with optional Sync Card) Bit Depth 16 or 24-bits Har dware DSP 100MIPs custom audio DSP .
7 - Appendix T echnical Specifications E-MU Digital Audio System 107 MIC PREAMP/LINE INPUT T ype TFPr o™ combination micr ophone preamp and line input Fr equency Response +0.8/-0.1 dB, 20 Hz - 20kHz Ster eo Crosstalk < 120 dB, 1kHz LINE INPUT Gain Range: -12 to +28 dB Max Level: -17 dbV (19.
7 - Appendix T echnical Specifications 108 Creative Professional TURNT ABLE INPUT RIAA equalized phono input Fr equency Response: +/-0.5 dB, 50 Hz - 20 kHz THD+N: -76 dB (.
7 - Appendix T echnical Specifications E-MU Digital Audio System 109 Specifications: 1212 System GENERAL Sample Rates 44.1 kHz. 48 kHz, 88.2 kHz, 96 kHz, 176.4kHz, 192 kHz from internal crystal. Externally supplied clock from S/PDIF , ADA T (or wor d clock with optional Sync Card) Bit Depth 16 or 24-bits Har dware DSP 100MIPs custom audio DSP .
7 - Appendix T echnical Specifications 110 Creative Professional DIGIT AL I/O S/PDIF • 2 in/2 out coaxial (transformer coupled) • 2 in/3 out optical (softwar e switchable with ADA T) • AES/EBU or S/PDIF (switchable under softwar e control) ADA T • 8 channels, 24-bit @ 44.
7 - Appendix Internet Refer ences E-MU Digital Audio System 111 Internet Refer ences 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 .
7 - Appendix Internet Refer ences 112 Creative Professional Declaration of Conformity T rade Name: E-MU Systems Model No.: EM88 1 0 & EM8820 EM88 1 0, EM8830 & EM8840 EM88 1 0, EM8830 & EM884 1 Responsible Party: E-MU Systems Addr ess: 1500 Green Hills R oad, Scotts V alley , CA 95 066 U.
7 - Appendix Internet Refer ences E-MU Digital Audio System 113 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.
7 - Appendix Internet Refer ences 114 Creative Professional.
Index Numerics E-MU Digital Audio System 115 Index Numerics 0202 Daughter Card 18 1010 PCI Card 17 1-Band Para EQ 61 1-Band Shelf EQ 61 1-Time Jam Sync, SMPTE 94 3-Band EQ 62 48 Volt Phantom Power 20 .
Index F 116 Creative Professional Effects 1-band para EQ 61 1-band shelf EQ 61 3-band EQ 62 4-band EQ 63 auto wah 64 chorus 65 compressor 65 create new folder 55 creating robot voice 72 descriptions 6.
Index J E-MU Digital Audio System 117 types 36 Installing disk drive power cable 13 E-MU 0202 daughter card 12 E-MU 1010 PCI card 11 rubber feet 14 sync cables 24 sync daughter card 12 Interface ADAT .
Index N 118 Creative Professional N New mixer strip 34 session 27 , 28 Notes, Tips & Warnings 8 O OpAmp Type 1212 system 109 1820 system 106 1820M system 103 Optical Cables 102 Output fader, main .
Index T E-MU Digital Audio System 119 Signal Level Indicators LEDs 20 meters 51 Signal Level, increasing 18 , 22 SMPTE 93 background 95 example connection 97 Software Installation 15 Solo button 46 in.
Index Z 120 Creative Professional Notes.
Un punto importante, dopo l’acquisto del dispositivo (o anche prima di acquisto) è quello di leggere il manuale. Dobbiamo farlo per diversi motivi semplici:
Se non hai ancora comprato il Creative 1820 è un buon momento per familiarizzare con i dati di base del prodotto. Prime consultare le pagine iniziali del manuale d’uso, che si trova al di sopra. Dovresti trovare lì i dati tecnici più importanti del Creative 1820 - in questo modo è possibile verificare se l’apparecchio soddisfa le tue esigenze. Esplorando le pagine segenti del manuali d’uso Creative 1820 imparerai tutte le caratteristiche del prodotto e le informazioni sul suo funzionamento. Le informazioni sul Creative 1820 ti aiuteranno sicuramente a prendere una decisione relativa all’acquisto.
In una situazione in cui hai già il Creative 1820, ma non hai ancora letto il manuale d’uso, dovresti farlo per le ragioni sopra descritte. Saprai quindi se hai correttamente usato le funzioni disponibili, e se hai commesso errori che possono ridurre la durata di vita del Creative 1820.
Tuttavia, uno dei ruoli più importanti per l’utente svolti dal manuale d’uso è quello di aiutare a risolvere i problemi con il Creative 1820. Quasi sempre, ci troverai Troubleshooting, cioè i guasti più frequenti e malfunzionamenti del dispositivo Creative 1820 insieme con le istruzioni su come risolverli. Anche se non si riesci a risolvere il problema, il manuale d’uso ti mostrerà il percorso di ulteriori procedimenti – il contatto con il centro servizio clienti o il servizio più vicino.
