MOTU 896HD, Руководство пользователя

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C U B A S E , N U E N D O A N D O T H E R A S I O S O F T W A R E
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enable the desired inputs and outputs. Only
enabled inputs and outputs will be available to
Cubase, so this is an important step. For complete
details regarding the MOTU FireWire Audio
Console, see chapter 5, “MOTU FireWire Audio
Console” (page 35).
Figure 6-1: The MOTU FireWire Audio Console gives you access to all
of the settings in the 896HD hardware, including the clock source,
sample rate and optical I/O enable/disable.
For complete details about the 896HD settings, see
chapter 6, “MOTU FireWire Control Panel (Mac
OS 9)” (page 45). The following sections provide a
brief explanation of each 896HD setting for use
with Cubase.
Sample rate
Choose the desired overall sample rate for the
896HD system and Cubase. Newly recorded audio
in Cubase will have this sample rate. Before
running the 896HD at the 4x sample rates, see
“Operation at 4x sample rates (176.4 or 192kHz)”
on page 36.
Clock Source
This setting is very important because it
determines which audio clock the 896HD will
follow.
If you do not have any digital audio connections to
your 896HD (you are using the analog inputs and
outputs only), and you will not be slaving Cubase
to an external clock source, choose
Internal .
If you are slaving the 896HD to the ADAT Sync or
Word Clock input connector, choose
ADAT 9-pin
or Word Clock In , respectively.
For information about the other clock source
settings, see “Clock Source” on page 37.
If you have digital audio devices connected to the
896HD, see “Making sync connections” on
page 21.
Samples Per Buffer
The Samples Per Buffer setting can be used to
reduce the delay — or monitoring latency — that
you hear when live audio is patched through your
896HD hardware and Cubase. For example, you
might have MIDI instruments, samplers,
microphones, and so on connected to the analog
inputs of the 896HD. If so, you will often be mixing
their live input with audio material recorded in
Cubase. See chapter 8, “Reducing Monitoring
Latency” (page 59) for complete details.