Mult a Send to multiple Outputs

By holding down [shift] and clicking on the output assign box at the bottom of the mixer strip, you should be able to select multiple destinations.

Converter Latency

The ULN/LIO converters sound better, but they unfortunately introduce slightly more latency.

2882: A/D 39 samples, D/A 28 samples

LIO-8: A/D 63 samples, D/A 44 samples

So, at any given buffer setting, I believe the LIO will have 40 samples more latency than the 2882 (about .9ms at 44.1k).

Thanks James.

Box Remapping : Order

There are two rules to box mapping, and if you understand them, it
is not a problem to remap:

1) If you connect a box while MIO Console is running, it will be mapped to its own
serial number in the console (if it exists) or it will get a new tab.
2) If a box is already in the console or a file, the data will be mapped to that box.

So, if you have 4 boxes (a, b, c, and d) and you have a file for (a, b, c) and you
need to swap d for b, the process is as follows:

1) Disconnect all MIOs from computer
2) Open File
3) If (d) is in the file, forget that offline tab
4) Save updated console to new file
7) Connect boxes (a, d, c) to computer (you cannot have b connected if you want to
map its data)
8) Launch MIO Console with new file

If the data for d is in the file, or if b is connected to the computer then you will
not be able to map.

The forging applies to any combination.

The point is that you don’t forget the tab of the box you want to map FROM. You only
forget the tab of the box you want to map TO.

Thanks BJ

ULN8 – DI input

The DI path is DC coupled and single-ended. This means that it will gain up any DC
present on the input signal; if the DC offset is too high at the converter, it will

Word Clock : Termination

Termination is not needed when connecting a Master Word Clock sync to the MIO’s. The MIO’s should not be daisy chained in this case; they are internally terminated. They are AC-coupled, however, so the source will not see the 75- ohm to ground. So if the master clock has a termination indicator will not turn on…

Foo : THD Measurements

The THD Meter is documented in the next revision of the ‘Foo manual. It
was originally intended for internal use only, but after many requests
it has been added to the release version. This is why the UI is not
To select your input, hold the control key and click on the settings
button. This will allow you to select your input signal.
The Frequency Locked indicator will come on when the THD Meter senses a
single frequency signal, and will display the frequency.
– The S/(N+D): display shows the signal to noise plus distortion
– The THD+N display shows the total harmonic distortion plus noise

Both measurements are shown as a percentage, as well as their levels in
relative (dBr) and full scale (dBFS) units.

The THD Meter also shows the input level referenced to full scale. By
clicking the “A-Weight” checkbox, the results may be weighted.

To properly use the THD meter, you must analyze a single frequency
signal. An easy way to do this is by using SpectraFoo’s Signal
Generator, with synchronization enabled.

+DSP : SHARC Generations

Before the 2d Enhanced MIO, MH was using the ADSP-21065L SHARC.

When they designed the 2d card, they chose the ADSP-21364 family that is 5x faster and runs compatible code.

MIO Comp : Detection Meter

The meter in the MIOStrip compressor is the detector meter; it does not show the

peak level; the level that is shown depends on both the signal level and the attack

and release settings for the compressor.

2882 Steel panel vs aluminum

All original 2882’s shipped with solid steel top and bottom panels. Starting at serial #800, they were switched to aluminum. Older serial 2882’s can be upgraded to the newer aluminum panels through the MH shop. The unit must be sent back to Metric Halo as replacing the bottom panel necessitates re-mounting the PCB’s. The top panel can be user swapped in the field.

Spectrafoo : Lock scale with Groups

To tie window’s together (matched windows on x-axis), you can use ‘link groups’. Scaling one window will be mirrored in all windows of a group.

Rename MIO Mixer channels

No mixer channels can be renamed directly from the MIO Mixer window.

Renaming analog channels can be done in the MIO Console window, by double clicking the in/output name.
Renaming digital channels can be done in the MIO Console window, by double clicking the name under the drop down list after selecting the digital type (ADAT/TOS)

You can rename all channels (including DAW types) by using the Mixer Config utility found under the Mixer title bar menu.

AES/SPDIF : flagged bits

the ULN8 and LIO both set the AES bit flag to Consumer on output. This can cause trouble with limited devices that only accept the professional bit flag for input. the ULN8/LIO accepts any valid AES input regardless of of flag status.

The ULN2 and 2882 both mirror whatever bit-flags are sent to it. It is possible to have the professional bit flag over SPDIF with one of these devices. Anything on the input is mirrored directly to the output. (regardless of digital type, AES/SPDIF/TOS).

ULN8 – disable front power

jumper position J7 on the PSU board (by the power switch connector) bypasses the front panel power switch.

Spectrafoo : Migrate Window Sets

Foo Window Sets live in :

User/Preferences/SpectraFoo Preferences/

This can be copied between machines to migrate Window Sets from one to the other.

+DSP Memory limits

The legacy SHARC chips run up to 66 MHz, and have 68 KB of internal memory plus 8 MB of external very fast memory.

The SHARC chips in the Expanded 2D system run up to 333 MHz and have 375 KB of internal

MIO Mixer – Pan Laws

The  pan law on the MIO Hardware is  “-3dB”. Also known as “Equal Power”.

Hard panned channels are unattenuated.

Center pan channels are attenuated by -3dB and sent to both left and right.

Attenuation in the left output channel varies smoothly from 0dB (hard left) to -3dB (center) to -∞ (hard right) via a cosine gain curve (argument = 0 for hard left, 45° for center, 90° for hard right). The right channel is the converse.

Large recording – Disk I/O

For larger recordings, You’ll gain more disk I/O by  disabling Spotlight.

the Spotlight indexing has a substantial negative effect on disk write throughput. So, either disable Spotlight entirely, or add the Record drive (or even folder) into the Spotlight privacy list so that Spotlight does not try to index while you are recording….

Another good tip is to disable Time-Machine. Don’t let time-machine monitor your record drive, or schedule backups during that time.

+DSP Notch Filter EQ

The parametric EQs in MIOStrip can be narrowed to 1/10 octave, and the MIO EQ (included in the +DSP package) goes as narrow as 1/100 octave.

However there is a mathematical difference between a real notch filter and a very narrow and deep parametric cut filter.

To create a true notch instead of a deep cut filter

Set up a graph and choose the SVF control element and select the notch option.
(This requires a +DSP license, and the deep-and-narrow parametric might be good enough for many purposes).

The Sonic EQ also provides a true notch-filter without needing a SVF graph.

Multi-mono +DSP vs Multi-channel

When inserting a mono +DSP effect on a stereo (or multi-channel bus), the single set of GUI controls will control a instance of that effect on every channel of audio in the bus.

ex. a mono EQ inserted on a quad channel, will result in 4 identical EQ’s  all mirroring the settings for each channel in that bus.

MIO Console and Sonic Console automatically make multiple instances of the mono plugin when you instantiate a mono process on a multichannel bus. Each instance is connected to a channel of the bus, and all the parameters of all the instances are controlled by the UI of the first instance.

The UI of the first instance is what is displayed when you bring the UI up for the insert.So you have a stereo (or higher) version of Sonic EQ inserted and it performs as a multichannel plugin with the exception that it only displays metering for the first channel of the bus (effectively the left channel since all the multichannel layouts in the Console start with the left channel).BTW, this works with all the mono plugs — so you can always do multichannel with any of the mono plugs.

For things like EQ and delay, the multi-mono works like multichannel (minus the metering). For things like dynamics, multi-mono is different than multichannel because the multi-mono uses an independent detector per channel (e.g. a multi-mono limiter applies a different gain to each channel even when the settings are the same for each channel). Sometimes this is what you want, but often it is not what you would want.

Thanks BJ

Divide – Math block +DSP

all you get from divide is attenuation, like a -9.5 dB pad for x/3.

Brian Willoughby
Sound Consulting

+DSP RMS Side-chain control

BJ and Kurt comment on how  to create a RMS averaged signal for side-chain dynamics purposes. (among others)


If you multiply a signal by itself, using MIO Channel Multiplier,
you get the “Square”. If you put that result through a lowpass,
you get a  kind of “Mean Square” (an exponential moving average).
If you take the square root of that (using Square Root under Math),
you get the Root Mean Square.You get to choose the time constant for
your averaging by tuning the lowpass. This is essentially an RMS-based envelope extractor.

To do the “square” part, you use a Channel Multiplier with both inputs feed by the same signal.

To do stereo, you use the Max primitive, which will pass through the larger signal.

To do the mean part, you can use a Low Pass filter.


the standard definition of mean is

mean = sum (x0, x1, x2 … xn)/n

That yields the mean, but that would not be useful for a continuously applied process, so the mean used in an RMS detector could be a moving window mean

mean_n = sum(x(n-m), x(n-m+1), … x(n))/m

This is a FIR filter, with equal coefficients of 1/m and m taps.
This is a type of low-pass filter. This sort of FIR is generally inefficient to simply compute a moving average. You can build an IIR filter that has similar pass-band and stop band characteristics as the FIR, but the phase characteristics will be very different, and the transition band will be very different. But that doesn’t matter that much for a detector filter.

So when you use an IIR low pass filter, you are basically measuring the mean value. (The mean value is the DC component of a signal. The lower you set the cutoff of the filter, the closer the output of the filter will be to the mean value). For an RMS detector, you don’t really want the the RMS of the signal for all time. You want an new signal that approximates the “instantaneous” RMS level of the signal.

Square -> LPF -> Square-root gives you that.

Thanks BJ & Kurt

Monitor Control Gain Offset

On the 2882, the offset is done in the digital domain. You can adjust the
output trim BEFORE you put the outputs into monitor control, and it will use that
analog gain as the basis point for the maximum output level.

On the ULN-2, all monitor controller gain is in the digital domain, but you can
adjust the maximum level via the front panel knob for the monitor output.

On the ULN-8 and LIO-8 all monitor controller gain is in the analog domain (a big
plus for the LIO-8/ULN-8)!

Spectrafoo Inputs

SpectraFoo has a two-layer input routing system. 
From the Device -> Analyzer 
then from the Analyzer -> Instruments.

 Device -> Analyzer is controlled by the
popups in the Analyzer Control and Routing.

 Analyzer -> Instruments is controlled
via the prefs for each instrument.

Share/backup ‘Foo windowsets

To move Foo saves and window sets between users:

Copy the folder:

<admin_user1_home_directory>/Library/Preferences/SpectraFoo Preferences


<foo_user2_home_directory>/Library/Preferences/SpectraFoo Preferences

All window sets are stored in a signal file, so it is currently unable to move/backup only select window sets between users.

Playback Channel Order

The record panel records in order of the Firewire sends (1,2,3..), and plays back in order of the Daw (1,2,3..) channels.

Across multiple boxes, playback happens according to the order of the box serial order tab in the IO Preference Panel of MIO Console.

Master Strip – Sends

The send’s on a master strip don’t work like you think they do. All the inserts on the master strip are post master fader (the fader level is applied in the mixer and the inserts come AFTER the mixer). So if the send is set to pre-fader, then the send will have the mix as controlled by the master fader. If the send is set to post fader, the send will have the master fader gain applied TWICE.

What you need to do is make two additional busses. Send the master mix to each of the additional busses. Now use the two new busses as your outputs — and then you’ll have two independent master faders for the mix (don’t adjust the master fader for the full mix unless you want to adjust BOTH outputs).

Alternatively, you could set up sends on the inputs to the mix and make each of those sends post fader. Then the second mix will parrot the first mix.

ProSoundNews: BJ on MH Hardware

Are you using different components than you have traditionally?

B.J. Buchalter: Not really, although the components of the types that we have been using continue to evolve and we continually evaluate new products to see if they fit with upgrades or new designs.

what are they and in what areas are you seeing improvement (ease of design, performance aspects, etc).

B.J. Buchalter: Generally in terms of noise and distortion specifications. Unfortunately, this is always in competition with quiescent power, which is a real issue for the sorts of high-density designs we do.

If there are components that you have traditionally used (analog or digital, ancillary components other than chips) that are becoming hard to source; how are you adapting? What new approaches are you taking?

B.J. Buchalter: It is a struggle; in the past we have tried to focus on suppliers that have a good track record of part availability. This past year we’ve had to work harder than usual to find parts when we need them. As a result, we have been increasing our stocking position to be less sensitive to market availability.

Do your designs include surface mount components and is this usage increasing?

B.J. Buchalter: Yes; our designs are (and have been) almost completely surface mount; we generally only use through-hole parts for bulk capacitors, transformers, connectors and other electromechanical parts (like potentiometers, encoders and switches). SMT parts are easier to source these days, generally easier to rework/service and allow for (much) higher density designs.

What criteria determine your selection of A/D and D/A conversion parts.

B.J. Buchalter: First and foremost subjective sound quality evaluation. Secondarily is noise and distortion specs, and third is latency. Other factors like power and packaging are not really considered in our design process.

Have you adopted any new conversion parts this year? If so, which and why?

B.J. Buchalter: Yes. They are not new to the industry, but new to our products. AKM AK5394A and AK4395. Why? Because they sound so good.

Are you using SRC parts in your designs? What parts are you using, where and why?

B.J. Buchalter: Yes. On our older products CS8420 on the AES/SPDIF I/O (with SRC available on the input). On the 2d Card, we utilize the SRC block in the ADSP21364 for TOSLINK input. In both cases to allow the user to get input from a wild source device.

Formats such as USB, Ethernet, AES50 and FireWire are being increasingly used for audio purposes, alongside AES3 and ADAT optical. Are you incorporating new protocols into your designs? If so, which protocols are you adopting?

B.J. Buchalter: We have been using FireWire (and AES/SPDIF) since we began as a hardware company. We are investigating other protocols for future products.

If you are using digital interface protocols, what devices are you using for interface?

B.J. Buchalter: We use the TI PHY and LLC parts for Firewire (TSB41AB2 and TSB12LV32), with the protocol layer implemented in FPGA and DSP (our own design). We are happy with it; we believe that it has stood the test of time and freed us from reliance on system vendors and their release/bug fixing schedules. It has also allowed us to implement novel new solutions based upon existing hardware (with simply firmware changes) and support the addition of significant expansion capabilities to older products – thus preserving our customer’s long-term investments. For AES/SPDIF, we use AES transceivers from Cirrus. For ADAT, we use the Wavefront semi ADAT transmitter and receiver parts.

With some of the formats listed in Q7, devices are powered off of the interface bus, or for other reasons like portability, lower voltage supplies are employed than in traditional audio designs. Does this low voltage approach present challenges in the analog circuitry proceeding or following conversion?

B.J. Buchalter: It would if we didn’t utilize switching converters to get reasonable analog supply levels in our products.

Do these challenges mean performance compromises or present restrictions in analog performance?

B.J. Buchalter: Not in our products, but they do present significant challenges in the power supply and distribution engineering within the products.

If applicable, what techniques are you employing inside your products to raise these smaller voltages to higher supply rails?

B.J. Buchalter: In general SMPS technology (either boost/buck or flyback) generally with high-frequency filtering and linear post-regulation to provide clean analog supplies at a wide variety of required pro-audio rails sourced from a wide-range unregulated input power source. This is definitely one of the largest challenges we faced in designing our products.

If you are involved in DSP design, why have you chosen the components you use?

B.J. Buchalter: We use the Analog SHARC parts + some FPGA processing. The SHARCs have a really nice balance of floating point and fixed point processing as well as overall control/microcontroller type instructions. The SHARC is easily programmed in assembly code for optimal or nearly optimal algorithm implementation. The SHARC has a rich set of peripherals with dedicated DMA and a good memory model. Finally the SHARC has a well documented and easily understood machine programming model that made it possible for us to implement dynamic compilation and dynamic loading over FireWire – features that are critical to our +DSP environment.

Do you see advantages in one family of processors over another?

B.J. Buchalter: At the end of the day, if you can get the chip to do what you want, that’s all that matters. That being said, if the chip architecture and instruction set allows you to focus on DSP rather than managing the chip, you can get more done with less effort. The SHARC seems to be a near perfect blend. Also, since we have lots of code for the SHARC at this point, it has a natural advantage for us as we don’t need to recode if we continue moving forward with the SHARC.

Do you see advantages in the design tool sets available for DSP programming for particular families of components?

B.J. Buchalter: The VisualDSP tools are quite nice, but we don’t really exercise the tools very much. We have found that even with modern optimizing compilers, we can still do a much better job of optimizing DSP code by hand. With other DSPs, we may be more likely to utilize the compiler, but since the SHARC has an easy to manage execution model, we can routinely beat the compiler for code speed and size. In small machines where you want to get the most performance possible, this is a huge win.

Have you experimented with, or employed, FPGA processors for DSP tasks (and if you are employing them, why)?

B.J. Buchalter: We have experimented with it, and we have some small processing block implemented. We expect to add more in the future. The benefit is massive performance for specific tasks. The drawback is that they are much more complicated to develop for, and much less flexible at run-time.

Are their advances in native processing that are now allowing you to perform DSP tasks formerly relegated to dedicated hardware inside a computer’s CPU?

B.J. Buchalter: We actually started as a Native processing company. Native processing has come a long way, and is clearly better suited to a wide variety of processing tasks than DSPs (large memory, large processes, latency is not an issue types of process – like mixdown). Even though you can run current native DAWs on current native hardware with reasonably low latencies, you give up much of the advantage of native processing when running with very low buffer sizes (e.g. the available processing power drops dramatically as you approach single-sample buffers). We still find that the best approach is a native/DSP hybrid – where critical low-latency processing is done with singe-sample processing loops on DSP feeding and being fed by a native processing engine that can handle the tasks that are less latency sensitive.

Are there advances in DSP technologies that you are particularly excited about?

B.J. Buchalter: The new SHARC family has a number of exciting architectural features that we look forward to taking advantage of (FIR, IIR, and FFT coprocessors, delay line DMA, link-ports and DDR memory support along with a fast SHARC core).

What devices are you employing for system control—do you integrate control into DSP or other processes or are you using dedicated hardware for human interface, i.e. button commands and parameter display?

B.J. Buchalter: We utilize DSP + FPGA for system and UI control. The DSP does FireWire transport and system control and the FPGA implements lower-level UI functions like display controller, encoder decoding, debouncing and message formatting. Our newest product implements a large scale multi-channel PWM controller to allow color and brighness control of the 495 bi-color LEDs that are on the front-panel of the device. This allows software control over the usage of the indictators and has allowed us a great deal of flexibility in implementation and UI functionality.

What advice would you give a consumer who is trying to intelligently assess a purchasing decision—as a designer, do you have any guidance to share? Trends you’d like to comment on? Devices that we haven’t asked about that you are excited about or are turning to for more of your designs?

B.J. Buchalter: One critical thing is that parts don’t necessarily equal performance. Two designers can utilize the same basic components and come up with designs that have dramatically different performance characteristics. It is a mistake to say, “this box uses this ADC so it must be good”. The components (in some cases) may provide an absolute limit on the performance of a product, but they certainly do not guarantee a specific level of performance. Processors keep getting faster and cheaper, serial communications are the future, our audio devices will continue to get smarter, and audio quality has become extremely good at reasonable prices. This doesn’t mean that you can get world-class quality and functionality for a few hundred bucks, but you definitely can without having to spend tens or hundreds of thousands of $ these days. These are all good things.

*full article “2010 Semiconductors in Audio*

Non-Linear Map

The 4th Order Non-linear Map basic Graph Building block is useful for adding second, third, or fourth order harmonics, (among other uses) Brian has created a stand-alone app to help visualize the transfer function of this powerful graph block. Helping to choose the correct values (-4 to +4) to create the appropriate curve response.

For anyone interested in getting a view of what sort of transfer functions can be created with the MIO NL(4) Map, you’re welcome to download the program Brian put together to visualize this.

NonLinear Map
It’s a Universal Mac application for Intel and PowerPC, and you can drag-install it anywhere you please.

I might eventually get around to implementing the Symmetric version, as well as adding a checkbox to flip between the normal version and the [dB] scaled version of the parameters.

Brian Willoughby
Sound Consulting

Metric Halo LIO-8

Metric Halo LIO-8 was released on 03/25/10 stands for Line In Out (as opposed to MIO Mobile In Out)

It is a lower cost option to the ULN-8 and was achieved by removing the ULN-R (remote) preamps, and removing the +DSP license.  Both of these options can be added at any-time as field upgrades, and bring the price in-line with a fully featured ULN-8.

There are no physical or quality differences between a ULN-8 stock, and a LIO-8 with upgraded pre-amps, and +DSP. (except that the MIO Console software will always show the unit as LIO, not ULN).

MIO Disassembly

————[MIO Disassembly]————-

To Disassemble your MIO you will need a torx15 wrench or allen key that shipped with the unit.

There is a very good disassembly video for 2882 and ULN2 by Travis Greg.

ULN8 has 12 Philips screws of all the same size securing it’s case. When replacing the case, be sure to line up the silver contact along the back-side. This is a grounding point.

***Notice not all these screws are the same length***

2882 screws

2882 screw back

ULN2 screws

ULN2 screws back

ULN8 screws

MIO Inside Internal

————[MIO Inside]————-

Now for the fun stuff 😉

2882+DSP w/ 2D upgrade card

Legacy ULN-2 with original bridge board

ULN-8 with 2D AES board

Data sheets for the ADC and DAC chips are further down the page under MIO Conversion.

MIO Flash Firmware

————[Flash Firmware]————-

A very good step-by-step install tutorial is available in Metric Halo Tech Notes

The install process is the same for all versions ( V1-5).

You must be plugged into AC power for this to work.

Current firmware files are located at MH Labs.

In the MIO Console App choose Utilities > Update Firmware

Reset and Service Menues

————[Reset and Service Menues]————-

There’s a second, alternative boot state on the 2882 that you can boot into if you press and hold the [mute] button when the box starts up. This alternative boot state is saved in the “Snapshot 1” state slot.
If there in nothing saved in this slot, the alternate bootstate will be the factory default boot state.Menu>Utilities>Save BootState

There are 9 additional alternative boot states stored in the ULN2, and 8 alternative boot states stored in the ULN8. They are accessed through the front panel up and down buttons. To store a boot state to the hardware, open MIO Console App and Menu>Utilities>Save BootState x(X= bootstate number corresponding to front panel button number)

you can enter safe-mode on a 2882 by pressing and holding the [Dim] when the box boots. When you safety boot the ULN2, hold the the [up arrow] button instead (there is no dim button on the ULN-2)

Erase Boot-State

————[Erase Boot_State]————-

Use the following to clear your bootstate and start again with the default setup in V5:Navigate on your user drive to Library/Preferences, and delete the MIO Console Preferences folder, as well as any MIOConsoleStatev2. . . files below it.

Empty the trash.

Then with the MIO connected, double click the erasebootstate tool after you unzip it. This will clear the boot state on your box.
**Warning: all save-states will be erased. **

Then power the box off, and safety boot it again with the dim button pressed in (hold this button down until the box boots up).

Then launch the Console and run the firmware update again. Quit the Console, and power cycle the box again.

MIO Error Log, Console State

————[System Log, Error Log, Console State]————-

to access the System Log to view a crash or problem in Real-Time

Open Applications/Utilities/Console, and choose File>Open System Log

If the MIO Console crashes hard enough it will generate it’s own Error Log. This log is kept at:

~/Library/Logs/CrashReport/MIO Console.crash.log

To restore the MIO Consle to it’s original factory state all user preferences and Console save-states must be removed (this does not include custom dsp graph presets). First close the MIO Console App and locate and remove the following files in:

~/Library/Preferences/MIO Console Pref/* and all MIOConsoleStatev2xxxxxx files.

When you next open the MIO Console you will be asked to load a template as when you first plugged in the box.

Network Remote Control

————[Network Remote Control]————-

the 2882 and the ULN8 both have remote controllable headamps. The ULN2 does not and the gain must be changed through the front panel analog controls. (Note: the controls are not actually analog. the knob is not a true stepped attenuator. It is a normal pot with a mechanical detented ring that controls the level digitally). The trim control is a analog pot, and can be bypassed with the ‘Trim Enable’ switch.

the ULN 2, 2882, and ULN8 all have dynamic routing and mixing controllable remotely. This can be done over wired or wireless Ethernet with a euphonix mixing board, MCU, or a VNC connection like Vine Server. Neither EuCon or MCU currently support loading MIO +DSP from the service, but VNC does.

ITM makes a MCU app for the Iphone and IPod Touch that supports the MIO.

Jugaari also make a VNC Iphone/IPod Touch app called Jaadu for remote control.

These can be used over an ad-hoc wireless network to control the MIO hardware itself wirelessly. All of these options need a local workstation with network functionality to be connected to the MIO at all times. All use client/server side model of control.

MCU feedback for tractile use in LC Xmu or others

Faders 1 – 8 pitch bend 1-9 range: 0-16383 in 1024 steps
Button LEDs note on 0-103 0 = off, 1 = flash, 127 = on
Vpot LED Rings CC 16 – 23 range: 0-127 in 11 steps

Full MCU messages are found at the MCMAP

Screen Shots

————[Screen Shots]————-

Save whole screen to desktop ⌘⇧3 Command-Shift-3
Save area to desktop

⌘⇧4 Command-Shift-4
Save a window to desktop

⌘⇧4 space Command-Shift-4-Space
Save whole screen to clipboard ⌘⌃⇧3 Command-Control-Shift-3
Save area to clipboard ⌘⌃⇧4 Command-Control-Shift-4
Save window to clipboard ⌘⌃⇧4 space Command-Control-Shift-4-space

Super Keys & Key Bindings

————[Super Keys & Key Bindings]————-

These are the default key bindings on a basic install.

: : : : : MIO v5 Mixer : : : :

Show 2D Mixer ⌘P command + P
New Mono mixer strip ⌘⇧N command + shift + N
Multiple Mixer Strips ⌘⇧M command + shift + M
New Bus ⌘⇧B command + shift + B
Mult Bus Output ⇧ + click shift + click output
Config Mixer ⌘⇧C command + shift + C
Select Multiple Strips (lock fader) ⌃ + drag ctrl + drag
Set selected strip(s) Color ⌘⌥C command + option + C
Delete selected strip(s) ⌘⇧D command + shift + D
Post Fade Meter ⌘⇧P command + shift + P
bypass process block ⌥ click option + click
snap fader(s) to 0 ⌥ click option + click selected fader(s)
snap pan(s) to 0 ⌥ click option + click sleected pan(s)
Reset all Meters ⌘D command + D
Show ConsoleConnect mixer ⌘⌥⌃X command + alt + ctrl + X
Show ConsoleConnect console ⌘⌥⌃C command + alt + ctrl + C
+DSP delete connection tie ⌥ click control + click input side

: : : : : MIO v5 Console : : : :

Show Console I/O Control Pane ⌘1 command + 1
Show Console Mixer Pane ⌘2 command + 2
Show Console Routing Pane ⌘3 command + 3
Show Console +DSP Pane ⌘4 command + 4
Show Console Record Pane ⌘5 command + 5
Show/Hide all windows ⌘⌥⌃H command + alt + ctrl + H
Show/Hide Command Keys ⌘⌥⌃Z command + alt + ctrl + Z
Close Front Focus Window ⌘⇧W command + shift + W
Close All Floating Windows ⌘⇧⌥W command + shift + option + W
Close All Documents ⌘⌥W command + option + W
MIO Console > Preferences ⌘, command + comma
MIO Console > Hide ⌘H command + H
MIO Console > Hide Others ⌘⇧H command + shift + H
MIO Console > Quit ⌘Q command + Q)
Enable 2882 High Power mode ⌘⌥⌃P command +alt + ctrl + P
Open Template ⌘⇧O command + shift + O
Save as ⌘⇧S command + shift + S
Show all Windows ⌘B comand + B
Box Serial Options (multi-box) click ctrl + click serial tab in Console

: : : : MIO v5 Record Panel : : : :

Set Record Folder ⌘T command + T
Set Playback Folder ⌘Y command + Y
Record Preferences ⌘R command + R
Record Panel Play ⌘J command + J
Record Panel Stop ⌘K command + K
Record Panel Record ⌘L command + L
Record Zoom In Channels ⌘↑ command + up
Record Zoom Out Channels ⌘↓ command + down
Record Zoom In Timeline ⌘⇠ command + left
Record Zoom Out Timeline ⌘⇢ command + right
Record Scroll Up Channels ⇧⇡ shift + up
Record Scroll Down Channels ⇧⇣ shift + down
Record Scroll Timeline Back ⇧⇠ shift + left
Record Scroll Timeline Forward ⇧⇢ shift + right

: : : : : MIO v5 Monitor Controller : : : :

Volume Up ⌘⌥⌃↑ command + alt + ctrl + up arrow
Volume Down ⌘⌥⌃↓ command + alt + ctrl + down arrow
Toggle Dim ⌘⌥⌃D command + alt + ctrl + D
Toggle Mute ⌘⌥⌃M command + alt + ctrl + M
Toggle Graph ‘Enable PlugIn’ ⌘⇧I command + shift + I
Switch to/from Mini Controller ⌘⌥⌃F command + alt + ctrl + F
Select Monitor Source 1 ⌘⌥⌃1 command + alt + ctrl + 1
Select Monitor Source 2 ⌘⌥⌃2 command + alt + ctrl + 2
Select Monitor Source 3 ⌘⌥⌃3 command + alt + ctrl + 3
Select Monitor Source 4 ⌘⌥⌃4 command + alt + ctrl + 4
Select Monitor Source 5 ⌘⌥⌃5 command + alt + ctrl + 5
Select Monitor Source 6 ⌘⌥⌃6 command + alt + ctrl + 6
Select Monitor Source 7 ⌘⌥⌃7 command + alt + ctrl + 7
Select Monitor Source 8 ⌘⌥⌃8 command + alt + ctrl + 8
Select Monitor Destination 1 ⌘⌥1 command + alt + 1
Select Monitor Destination 2 ⌘⌥2 command + alt + 2
Select Monitor Destination 3 ⌘⌥3 command + alt + 3
Select Monitor Destination 4 ⌘⌥4 command + alt + 4
Select Monitor Destination 5 ⌘⌥5 command + alt + 5
Select Monitor Destination 6 ⌘⌥6 command + alt + 6
Select Monitor Destination 7 ⌘⌥7 command + alt + 7
Select Monitor Destination 8 ⌘⌥8 command + alt + 8

: : : : : MIO v5 Control Surface : : : :

Select Pans ⇧⌥⌃1 shift + alt + ctrl + 1
Select Input Gains ⇧⌥⌃2 shift + alt + ctrl + 2
Select Sends ⇧⌥⌃3 shift + alt + ctrl + 3
Bank Down ⇧⌥⌃4 shift + alt + ctrl + 4
Bank Up ⇧⌥⌃5 shift + alt + ctrl + 5
Shift Down ⇧⌥⌃6 shift + alt + ctrl + 6
Shift Up ⇧⌥⌃7 shift + alt + ctrl + 7
Toggle Legacy Mode ⇧⌥⌃8 shift + alt + ctrl + 8

: : : : : MIO SpectraFoo : : : :

Foo Show/Hide Window Sets ⌘⌥⌃V command + alt + ctrl + V
Foo Update Current Window Set ⌘⌥⌃U command + alt + ctrl + U
Foo Save Window Set As ⌘⌥⌃A command + alt + ctrl + A
Foo Rename Current Window Set ⌘⌥⌃R command + alt + ctrl + R
Foo Show/Hide Groups Window ⌘⌥⌃G command + alt + ctrl + G
Foo Toggle Instrument Power P ctrl + P
Foo Toggle Instrument Solo O ctrl + O
Foo Show Instrument Control ⌘A ctrl + A
Foo Start/Stop Signal Generator G ctrl + G
Foo Show/Hide Signal Generator ⌘⌥⌃’ command + alt + ctrl + apostrophe

Locking faders with ctrl + click affects the following attributes

* ctrl must be held down while changing values *

Physical Input source Character Input Gain/Trim *
Pan position * Channel Fader Gain * Pre-insert Direct Out (auto/nc)
Any Plug In Insert Phase Invert Post-insert Direct Out (auto/nc)
Solo Mute Record Enable
Bus Assignment

Mobile IO Clock

———-[Mobile IO Clock]———–

The old clock could be up to 50 ppm or so in practice(and it is actually only spec’ed to 100ppm) off in frequency accuracy.

The new 2D clock is speced to +/- 10ppm and in practice is generally within +/- 5ppm.

The Legacy clock had higher intrinsic jitter at 44.1k than at 48k (and multiples).

On legacy boxes, the 44.1 and mutiple clocks are generated via PLL from the 48k master crystal clock and the jitter is higher as a result of the PLL (the PLL oscillator has intrinsically higher jitter than the crystal reference).

In 2D clocking it is the same at all sample rates.

A BNC T adaptor cannot be used to split the MIO Word Clock because the unit is internally terminated. To chain Word Clock loop from the In to the Out on the rear of the MIO unit.

MIO Digital Conversion

———-[Mobile IO Conversion]———–

The MIO series uses Asahi Kasei (AKM) converter chips.

The AKM 5383 is a 108 kHz 24-bit ADC, used in both the ULN2 and 2882

The AKM 4393 is a 96 kHz 24-bit sigma-delta DAC, used in both th2 ULN2 and 2882

The AKM 5394 is a Multi-Bit 192kHz 24-bit sigma-delta ADC used in the ULN8

The AKM 4395 is a Multi-Bit 192 kHz 24-bit-sigma-delta DAC used in the ULN8

These are both stereo chips, so the ULN-2 has one for input and two for output, while the 2882 has four of each of them for the main analog I/O plus an additional DAC for the cans. The ULN8 has 8 of each, plus a DAC for the cans.

depending upon the sample rate, these AKM converters run at 128x oversampling – which happens to be the same rate as SACD. The DACs also have an 8x digital filter inside.

SRC in the 2882 and ULN-2 use a Cirrus Logic CS8420 Digital Audio Sample Rate Converter which runs at 108 kHz and 24-bit for real-time SRC.

The ULN8 uses a Cirruc logic CS8406-CZZ for AES input/output at 192kHz

There is a 24.57 MHz crystal on the Master Board, which matches the AK4393 clock requirement of 24.576 MHz for 48 kHz @ 512x oversampling and 96 kHz at 256x oversampling.

Mobile IO Anaog Stages

———-[Mobile IO Analog Stage]———–

Both the ULN2 and 2882 use the Excalibur low-noise high-speed JFET-input op-amps

from Texas Instruments, and the ULN-2 adds Burr-Brown OPA 2228 op- amps for high precision and low noise in high-gain situations.

MIO Microphone Gain

————–[MIO Mic Gain]————–

the ULN8 has +90 dB of gain on recallable headamps

the ULN2 has +72 dB of gain on non-recallable headamps

the 2882 has + 42.5 dB of gain on recallable headamps

MIO Microphone Sensitivity

————–[MIO Mic Sensitivity]————–

Sensitivity c.a. 20mV/Pa recommended for use with MIO

If x = sensitivity in dBV e.g. -66dBV/microbar(.1Pa)

then sensitivity in mV is

10^(x/20) * 1000

5mV/Pa, or .5mV/microbar

AKG C3000B mV/PA: 25 Baby Bottle PA: 35.5
AKG C480 mV/PA: 40 DPA 4053 mV/PA: 30
Audio-Technica AT4033 PA: 19.9 DPA4060 mV/PA: 20
Audio-Technica AT4050 mV/PA: 19.9 Earthworks QTC-1 mV/PA: 30
Audix SCX25 mV/PA: 29 Earthworks QTC-30 mV/PA: 30
B&K 4006 mV/PA: 35 Neumann TLM103 mV/PA: 21
Sanken CSS5 mV/PA: 23 tp 30 Neumann TLM193 PA: 18

Power Supply and Consumption

————–[Power Suppy and Consumption]————–

The minimum pre-regulation voltage is 9V.

The Maximum preregulation voltage is 33V.

At 12 Volts the current demand is:

ULN-8 : 3-3.5A 2882 High Power Mode 1.5A

2882 Low Power Mode 1A

ULN-2 : 0.75A

A custom jump boot device can be be built with a pair of 9V batteries. It is used to power-on the MIO if the inrush current is too high for some macbooks to power the MIO properly.

Both the 2882 and ULN2 can be bus powered, the ULN8 will pass bus power, but does not provide it. (it must be connected to a computer to power a MIO downstream)

the minimum power requirement for the 2.1mm on the ULN8 is 16V

the minmum power requirement for the 4pin XLR plug on ULN8 is 12V

Min/Max Running Specs

————–[Min/Max running Specs]————–

Drivers and Console utilities will run on any Firewire-equipped Mac with 128MB of RAM and 1024×768 or better monitor resolution. G4’s recommended, G3 min

Mac OS 9.1 or higher or Mac OS X.

+DSP Save Directory

————[+DSP Save Location]————-
+DSP Presets are saved into your Users Preferences folder.


+DSP Latency

————–[+DSP Latency]————-

All +DSP and routing is programmed on a SHARC DSP chip.

The routing from the master (routing) DSP to secondary (graph) DSP on legacy boxes is the source of the constant 16 samples of latency through the +DSP processing. The 16 samples is only for the legacy +DSP graph and it is from the source side to the process bus side

The 2d Card actually reduces the total latency of the hardware by about 32 samples (48 samples if you were running through +DSP).

In 2D there is an additional two sample buffer (one to buffer the input from the ADC/AES/ADAT/Firewire and one to buffer the processing before it is sent to the DAC/AES/ADAT/FireWire) — so that the DMA is not using the same side of each double buffer as the processing loop is.

So it is not zero, but it is really close (approximately 40-50 uSec at 1x rates and 20-30 uSec at 2x rates).

And it doesn’t increase no matter how much processing you throw on, except for:

The delays add latency.

The Pitch Shifter adds latency.

The Reverb (non-direct sound) adds latency.

on ULN8 the latency from A/D -> Mixer -> D/A is ~67 samples.  Adding character or EQ will not increase the latency

2D Character Guesses?

————–[2D Character]————–

All 2D Characters are based on the resposnse from realworld devices.

(EQs, comps , summing chains, etc…) None are meant as exact replications, rather are programmed to exhibit similar colorations and harmonic distortions as the vintage/original system. Full graphs are located on the right.

These are some ?guesses? at matching the Character to the device

boutique = j w fearn

boutique tube

american xfrm = distressor

americian transformer 1

cali tube = slam!

cali tube mic

modern tube = vac rac

modern tube sim

classic brit = neve

classic brit

cali vocal box = vox box

cali vocal box drive

brit mic pre clone = neve clone

brit pre clone


————–[MIO EQ]————–

The MIO EQ plugs provide 12 dB/octave slopes.

The only way to change it is to stack filters (then you can do 24 dB/oct or 36 dB/oct or 48 dB/oct).

The EQ does not introduce any latency

(just minimum phase shift from the minimum phase IIR filters).

ULN8 DB25 Cables

————–[ULN-8 DB25 Breakout Cables]————–

The ULN-8 uses US inch sized DB25 of # 4-40 sized thumb screws .

This is the same standard that Digidesign,Tascam, and Panasonic use.


Cable Number Hot DB25 pin Cold DB25 pin Ground DB25 pin
1 24 12 25
2 10 23 11
3 21 9 22
4 7 20 8
5 18 6 19
6 4 17 5
7 15 3 16
8 1 14 2
n/c 13 n/c

The correct AES cables are standard 110 Ohm AES to DB25


DB25 pin AES signal DB25 pin AES signal
1 Digital Out 7/8 + 14 Digital Out 7/8 –
2 Ground 15 Digital Out 5/6 +
3 Digital Out 5/6 – 16 Ground
4 Digital Out 3/4 + 17 Digital Out 3/4 –
5 Ground 18 Digital Out 1/2 +
6 Digital Out 1/2 – 19 Ground
7 Digital In 7/8 + 20 Digital In 7/8 –
8 Ground 21 Digital In 5/6 +
9 Digital In 5/6 – 22 Ground
10 Digital In 3/4 + 23 Digital In 3/4 –
11 Ground 24 Digital In 1/2 +
12 Digital In 1/2 – 25 Ground
13 n/c n/c n/c

ULN8 Input Specs

————–[ULN-8 Input Specs]————–

Are located at MH Labs

ULN8 Input Diagram

————–[ULN8 Input Diagram]————–

ULN8 input

MIO Video Sync

————–[MIO Video Sync]————–

The SMPT input on the ULN8 comes in on FW19. It can be routed out to any core audio application through the mixer. The ULN-8 has support for SMPTE input as an audio input. MIO Console has support for decoding the LTC and timestamping. Other apps can also

access the LTC audio stream and decode it. SMPTE Reader will convert the LTC to MTC for apps that will not decode the LTC directly. This allows 2882 and ULN2 users to sync to video through MTC. A related overview can be found at Mix Online.

Automate MIO Mixer in Logic

————–[Automate MIO 80bit Mixer in Logic]————–

A Video walk-through is here

– Enable control surface support in the MIO preferences.

– Set Fader Pack 1 “from Controller” to IAC Driver IAC Bus 1.

– Unzip Geerts Template file and put it in

~/Library/Application Support/Logic/Project Templates folder.

– Start Logic and create a new project from this template.

– Screenset 9 is the arrange window plus the 8 faders as a floating window.

– Move the faders faders in the floating window in Logic you should see the faders move in the MIO mixer.

To record the fader moves make sure the “MIO FdrBnk 1” track is selected in the arrange window and that its record button is *disabled*, i.e. not red. Click the record button in Logic’s transport and when you move the faders you should see data being recorded on that track. On playback, the MIO faders will follow.

Automate MIO Mixer in Cubase

————–[Automate MIO 80bit Mixer in Cubase]————–

1. Set up the IAC driver and in the MIO Prefs, and select this driver in the ‘From Controller’ box. n/a should be in the ‘To Controller’ box and check that the Background Controlling is ticked.


2. In Cubase, create a midi track and set it’s input AND output to the BCF2000 and select the midi channel to whichever MIO fader you wish to control.


3. In this same midi track, you need to go to it’s ‘Midi Send’ and insert the ‘Transformer’ plug and set it’s output to the IAC driver.


4. In the transformer box you need to input this data to change CC to pitchwheel

Transformer Setup

5. Set a mackie control remote in Cubase and set the BCF2000 to Mackie Mode.

6. Now enable the write automation on the track the, red W. record and test with BCF200 Fader.

7. Repeat this for as many channels you wish to automate. And in Audio Midi setup, add further IAC drivers if you want more banks of 8 faders (remember also to select these in the MIO prefs).

XYtri Multi-Channel Speakers

————–[MIO XYtri 7.1 / 5.1 / quad / stereo processing]————–

XY-tri is a method of stereophonic recording created by Andrew Levine utilizing 3x pairs of 45 degree X/Y pairs. It is able to be upmixed to discreet 7.1, and downmixed to any combination of 5.1, 5.0, quad, LCR, stereo, or mono. The MIO +DSP is used to sum/difference the multiple pairs, allowing easy 5.1 monitor in a stereo headphone enviroment on location. A delay matrix built within the MIO is used to upmix to 7.1


Details can be found in Andrew’s AES White Paper or on his webpage.

—— XYtri folddown to 5.1 (L, R, C, LFE, Ls, Rs) —–

XYtri -> 5.1

– the Difference of C-XY_L minus C-XY_R is low-cut and sent to the front L speaker

– the Difference of C-XY_R minus C-XY_L is low-cut and sent to the front R speaker

– a small part (0.3) of the Sum of C-XY_L plus C-XY_R is low-cut and sent to the C speaker

– a small part of the low-cut filtered sum is added to the front L (0.3) and R (0.4) speakers

– the same sum is low-passed and sent to the LFE

– 2/3 of L-XY_L and 1/3 of L-XY_R are low cut and sent to the rear Ls speaker

– 2/3 of R-XY_L and 1/3 of R-XY_R are low cut and sent to the rear Rs speaker

—– XYtri fold down to Stereo —–

XYtri -> stereo

– the Difference of C-XY_L minus C-XY_R is low-cut and sent to the front L speaker

– the Difference of C-XY_R minus C-XY_L is low-cut and sent to the front R speaker

– a small part of the Sum of the C-XY_L plus C-XY-R is low-cut and added to the front L (0.4) and R (0.6) speakers

stereo seperation is increased by adding …

– L-XY_L is sent to the front L speaker

– R-XY_R is sent to the front R speaker

ULN8: Front Panel Controls

————–[ULN8 Front Panel Controls]————–

The official ULN-8 front panel guide is located at MH Labs.
The translated version found on this site is archived.

— Meters on the Knob —

When the Front Panel is in Input Trim mode: Input Meter mode: to toggle between meters on the knob mode and dual vernier mode, press and hold knob #1 and then (while still holding knob #1) press knob #8

— Brightness Display —

In either Control or I/O Trim mode, the illumination level of the front panel may be adjusted by holding down the I/O Trim tact switch and rotating channel encoder 8

— Software Control —

right click or [fn] + click the ULN8 tab in the top of the MIO Console

You are able to change the clip thresholds, as well as gain steps, and channel links.

ULN8 front panel software control

MH ChannelStrip VS MIOStrip

————–[Channel Strip VS MIO Strip]————–

The EQ and Gate in MIOStrip are very similar to the EQ and Gate in ChannelStrip. The Compressor, however, is a completely different beast than the compressor in ChannelStrip. While it is capable of generating the sounds that the ChannelStrip compressor was capable of (the overblown huge drum buss sound that was pretty unique to ChannelStrip), it is also capable of operating as much more “standard” compressor with more control than the ChannelStrip compressor offers. It has an adjustable knee control (ChannelStrip was always soft-knee and always compresses — even if the threshold is set to 0), and it also can capture transients with fast attacks in a way the ChannelStrip compressor cannot.

Record Panel: Stereo Interleave

————–[Record Panel Stereo Interleave]————–

The Record Panel will always make Mono recordings. Each FW track will have created it’s own named file in each take folder. These files can be stereo interleaved by running this script to create a new stereo AIFF.

-Open the Terminal window from Applications>Utilities>Terminal .

-Open the take folder in a Finder window with your mono files and the script file

-In the Terminal type cd followed by a space, then drag the title bar of the take
folder (the folder icon at the top of the finder window) into the Terminal and hit
enter. This will set the path so that your new interleaved file gets printed to the
same folder.

-Drag the afinterleave script into the Terminal, then drag in your left file,
followed by your right file.

-Type a space

-Then type -o (that’s a hyphen and a lower case “o”)

-Type another space and then type mynewfile.aiff (Call it whatever you want)

-Hit enter. The new interleaved file should show up in that folder.

Another option is to use the tool Deinterleaver by Scott Wilson.

MIO Box Maping

————–[Box Mapping]————–

Any version of a MIO (2882, ULN2, ULN8) can be loaded onto a different version box. This will have I/O restrictions and 2D save files do not support the mixer in Legacy boxes.

To load a save file created on one box onto a different serial box.

– Disconnect all the MIOs from the computer.

– Open the CUSTOM MIX save file created by MIO1.

– if you see both MIO1 and MIO2 boxes in MIO Console (both with offline tabs).

– Forget the MIO1 box by right clicking on it’s tab in the upper Console window

– leaving the MIO2 box with the custom mixer config in MIO Console.

– Resave the file (or save it to a different file)

– *** Quit the Console ***

– Reconnect the MIO2 box.

– Launch MIO Console.

– Open your just-saved-file, and the MIO1 mixer will be remapped onto the MIO2 box.

Reaper MIO Custom Tracks

————–[Reaper MIO Custom Tracks]————–

Reaper Metric Halo Custom

Reaper is ~beta on OSX, at least not as stable as PC.

–Track Icons–

Indivual Icons are located on the left side-bar. Right click to download and place in:

PC- C:\Program Files\REAPER\Data\track_icons\


OSX – Show Package Contents – Reaper/Contents/InstallFiles/Data/track_icons/

If the Icons don’t show up, place them on the desktop, and manually browse to them when selecting track Icons from within Reaper in OSX.

download all MIO Custom Icons and Splash.

–Splash Screen–

PC – edit: Reaper.ini

(C:/Documents and Settings/User/Application Data/Reaper/Reaper.ini )


“splashimage=C:\Program Files\REAPER\MIO_Custom_Splash.bmp”


OSX – Show Spackage Contents – Reaper/Contents/Resources/splash_v3.png

*overwrite “splash_v3.png* (PPC offsets image)

2D +DSP Meter

————–[2D +DSP Meter]————–

The DSP meter in the Box Info Pane is sort of an oversight for legacy  boxes. What it is showing on legacy boxes is the DSP load of the  primary transport and mix engine DSP. You have no control over that  number — it is a characteristic of the Firmware and the sample rate  (as well as the state of firewire transport — it goes up when audio is being streamed to and from the box). Basically, if you are on aa legacy box, you should just ignore that number in the current version of MIO Console. (5.2)

The DSP meter in the +DSP pane is the one that gives you the actual  DSP load due to the plugins you have instantiated. On 2d Expanded boxes, the DSP load for the 2d Card is displayed in the  Box Info Pane — and that is reflective of the mixer and plugin configuration that you have created.

+DSP Delay Calculator

————–[+DSP delay calculator & phase]————–

All delay is set per sample in the MIO +DSP system. This worksheet will convert from seconds/miliseconds/ waveform length /phase/ and temperature, and give the corresponding delay in samples for 44.1, 48, 88.2, 96, and 192k.

freq - phase - delay

2882: Headphone Outs

————–[2882 Headphone Outs]————–

A couple of things to be aware of with respect to the headphone output:

A) the outputs were designed to work best with high-sensitivity type headphones (like the Sony studio monitor headphones). They will work fine with low-sensitivity types (600-ohm broadcast cans), but they will not be able to get very loud (probably about 85-90dBSPL Max).

B) the headphone output is a floating output and is not grounded. This means that you cannot just split the output with a Y-cord and run the individual sides into unbalanced inputs. You can split the outputs into balanced inputs. There will be more details about this in the manual.

MH: SHARC 80-bit DSP

————–[Metric Halo SHARC 80 bit]————–

Mobile I/O uses the Analog Devices SHARC 21065 DSP.

This is a 40 bit floating point processor which can also do 32 bit fixed point with 80 bit accumulation. For large MAC (multiply accumulate) loops, like summing in a large mixer, wide fixed point processing can provide better results, but for most applications, wide floating point is the way to go.

The nice thing about the SHARC is it gives you the freedom to use the best arithmetic system for a given processing application.

Legacy +DSP: PI Window

————–[Legacy +DSP ‘ Enable PI Window’]————–

If the ‘enable PI window’ is enabled, single-clicking on a module in the graph will cause the shared Plug-in UI window to switch to showing that module’s UI. You can use this as an inspector.

Sometimes when I double-click on a DSP module, only the menu bar of the window for that DSP module pops up without showing the parameter section of that window. Am I doing something wrong??

That is because you have the “Enable PI Window” turned on; double clicking causes it to be shown and hidden.

If you don’t have the “Enable PI Window” turned on, double clicking will open a dedicated window for that module.

Audio Scubbing in SpectraFoo

————–[Audio Scrubbing in SpectraFoo Complete]————–

To scrub in SpectraFoo Complete:

<control>-click in the capture overview and drag to scrub.

If you turn off “Data Slicing” and route the internal buses into the analyzer devices you can meter and analyze our scrubbing (as well as hear it). It you leave Data Slicing on, the analyzer will look at the underlying audio without the pitch-shifting.

Let me know what you think. I’ve compared it to both Sonic and Pro Tools. We’re definitely better. We’re more inline with Augan (which is pretty impressive with the hardware control surface).

With proper buffering, the UI is still very responsive. So, to get the best response, you definitely still need some RAM, but certainly no more than you need with any of the other audio apps.


————–[ULN2 DI]————–

the TRS on the Combo Jack is 200K, which is pretty Hi-Z and would be a good DI.

Metric Halo +DSP Mastering
Search Post Info:
2D Card +DSP Additions
2D Card+DSP

- Character (22 types)
- MultiBus V5 Mixer
- Surround Support
- Monitor Controller
- HaloVerb
- Bass Head
- Bass Head Shape 1
- Bass Head Shape 2
- British Mil Spec
- British Mil Spec Bright Cab
- British Mil Spec Grind
- British Mil Spec Light Grind
- British Mil Spec Rhythm
- British Mil Spec+Vibrato+Trem
- MH Clean
- MH Clean Tweed
- MH Hi-Gain
- Small Dark
- Small Dark No Cab
- Small Tweed Crunch
- Small Tweed Touch O' Dirt
- Autoflanger
- Autoflanger 2
- Autoflanger 3
- Cool Mono Echo
- LoFi Mod Echo
- Mono Rotary
- Slap Delay
- Vibrato+Tremolo
- Stereo Rotary Speaker
- Diffuse Prime
- Diffuse Room
- Early Diffuse Room (no tail)
- Hall 1
- LongVerb
- Med Diffuse Room
- ModVerb
- Small Diffuse Room
- Parallel Compressor
- Parallel Limiter
- Mid-Side Compressor
- Mid-Side EQ
- Mid-Side Limit
- Stereo Parallel Limiter
- Nezumi
- Nezumi Less Gain
- Screamer
- Closed 2x12
- Closed 2x12 with Air
- 4x12 Cab

+DSP Math
- Max
- Min
- Select
- Map Range
- Divide
- Constant
- Square Root
- Reciprocal Square Root
- Exponential ADSR
- Band Split