RME TotalMix FX
Table of Contents (TOC)
3.10 Channel Layout - Layout Presets
6.1 Store Setting for (Windows only)
TotalMix FX is a powerful digital real-time mixer, based on RME's unique, samplerate independent TotalMix technology. It allows for practically unlimited mixing and routing operations, with all inputs and playback channels simultaneously, to any hardware outputs. TotalMix FX adds 3-band parametric Equalizer, Low Cut, Echo, and Reverb for the Babyface. The Fireface UFX, UCX, MADIface XT and HDSPe MADI FX additionally feature Compressor, Expander and Auto Level.
This help uses excerpts from the full TM FX description found in the product's manual. The latest and most up-to-date version can be downloaded from the RME website, section Download, Manuals.
Mac users please substitute Ctrl with Command, the Apple key, throughout the whole text of this document.
For a better understanding of the TotalMix mixer you should know the following:
• As shown in the manual's block diagram the record signal usually stays unaltered. TotalMix does not reside within the record path, and does not change the record level or the audio data to be recorded (exceptions: EQ+D for Record and Loopback mode).
• The hardware input signal can be passed on as often as desired, even with different levels (= fader values). This is a big difference to conventional mixing desks, where the channel fader always controls the level for all routing destinations simultaneously.
• The level meters of input and playback channels are connected pre-fader, to be able to visually monitor where a signal is currently present. The level meters of the hardware outputs are connected post-fader, thus displaying the actual output level.
The visual design of the TotalMix mixer is a result of its capability to route hardware inputs and software playback channels to any hardware output. TotalMix can be used in a 2 row mode (Show 2 Row), which is often found in several DAW programs. However, the default is a vertical alignment in three rows as known from an Inline desk, so that the row Software Playback equals the Tape Return of a real mixing desk:
• Top row: Hardware inputs. The level shown is that of the input signal, i.e. fader independent. Via fader and routing menu, any input channel can be routed and mixed to any hardware output (bottom row).
• Middle row: Playback channels (playback tracks of the audio software). Via fader and routing menu, any playback channel can be routed and mixed to any hardware output (bottom row).
• Bottom row: Hardware outputs. Here, the total level of the output can be adjusted. This may be the level of connected loudspeakers, or the necessity to reduce the level of an overloaded submix.
TotalMix' capability to route anything anywhere in any
way is best visualized in the so-called Submix View.
Usage: simply click on the hardware output channel where you want to have an audio signal. This channel turns brighter, means it is selected as current submix. Now move the faders up from all sources - input and playback channels - that you want to hear at this submix output.
Then click on a different output - the faders of Input and Playback jump back to a default setting. Welcome to a second, completely independent mixing state for this output. Click back to the former output - the fader settings are still there, unchanged. Continue with the next output...
The following chapters describe all the features, controls and elements found in TotalMix FX.
A single channel can be switched between mono and stereo mode. The mode is set in the channel settings.
Channel name. The name field is the preferred place to select a channel by a mouse click. A double click opens a dialog to assign a different name. The original name will be shown when activating the option O-Names in the View Options.
Panorama. Routes the input signal freely to the left and right routing destination (lower label, see below). The level reduction in center position is -3 dB.
Mute and Solo. Input channels and playback channels each have a mute and solo button.
Numerical level display. Shows the current RMS or Peak level, updated twice per second. OVR means overload. The setting Peak/RMS is changed in the View Options.
Level meter. The meter shows both peak values (zero attack, 1 sample is enough for a full scale display) by means of a yellow line, and mathematically correct RMS values by means of a green bar. The RMS display has a relatively slow time constant, so that it shows the average loudness quite well. Overs are shown in red at the top of the bar. In the Preferences dialog (F2) the Peak Hold time, the over detection and the RMS reference can be set.
Fader. Determines the gain/level of the signal routed to the current routing destination (lower label). Please note that this fader is not the fader of the channel, but only the fader of the current routing. Compared to a standard mixing desk TotalMix does not have a channel fader, but only Aux Sends, as many as there are hardware outputs. Therefore TotalMix can create as many different Submixes as there are hardware outputs. This concept is understood best in the Submix View, but more on that later.
Below the fader the Gain is shown in a numerical display field, according to the current fader position. The fader can be:
• dragged with the left mouse button pressed
• moved by the mouse wheel
• set to 0 dB and - ∞ by a double click. The same happens with a single click plus held down Ctrl key.
• adjusted in fine mode by mouse drag and mouse wheel when holding the Shift key down
A Shift-click on a fader adds the fader to the temporary fader group. All faders now marked yellow are ganged, and move simultaneously in a relative way. The temporary fader group is deleted by a click on the F symbol in the upper right of the window.
The arrow symbol at the bottom minimizes the channel width to that of the level meters. Another click maximizes it again. A mouse click with held Ctrl key causes all channels to the right to enlarge and minimize at once.
The lowest field shows the current routing target. A mouse click opens the routing window to select a routing target. The list shows all activated routings of the current channel by arrows in front of the listed entries, the current one is shown in bold letters.
An arrow is only shown with an activated routing. A routing is seen as activated when audio data is sent. As long as the fader is set to -8 the current routing will be shown in bold letters, but not have an arrow in the front.
After a click on the T-button one channel's faders are all synchronized. Instead of changing only a single routing the fader affects all the channel's active routings. For a better overview the faders currently not visible are indicated by orange triangles beside the fader path. When moving the fader the triangles also move to a new position, equalling the faders new settings. Note that the fader button is set to the highest routing gain of all routings so that best control is offered. The gain (fader knob position) of the currently active routing (the submix selected in the third row) is shown as white triangle.
Background: TotalMix has no fixed channel fader. All outputs can be used as stereo Aux sends, shown alternately as single fader within the channel strip. The high number of Aux sends enables multiple and fully independent routings.
In some cases it is necessary to synchronize the gain changes of these routings. An example is the Post fader function, where a change of the singer's volume shall be performed identical to the volume change of the signal sent to the reverb device, so that the reverb level keeps its relation to the original signal. Another example is the signal of a guitar that is routed to different submixes, means hardware outputs, which gets much too loud during the solo part, and therefore needs to be reduced in volume on all outputs simultaneously. After a click on the Trim button this can be done easily and with a perfect overview.
As all channel's routings change simultaneously when Trim is active, this mode basically causes the same behaviour as a trim pot within the input channel, affecting the signal already before the mixer. That's how this function got its name.
In the View Options - Show the function 'Trim Gain' can be globally switched on and off for all channels. This global Trim mode is recommended when using TotalMix FX as live mixing desk.
A click on the tool symbol opens the channel's Settings panel with differing elements. For example with the Babyface the Option 'Inst' exists only in input channel 2, and the ADAT channels do not offer the phantom power option.
Stereo. Switches the channel to mono or stereo mode.
48V. Activates phantom power at the corresponding input. Serves as power supply for high quality condenser mics. This option should stay off with other sources to prevent failure by spikes.
Inst. UFX: Switches input 9 to 12 from XLR to the TRS jack at the unit. UC: Switches input 3/4 into high-impedance mode. Babyface: switches channel 2 from XLR to TRS.
Gain. Sets the gain for the four front inputs. The knob can be adjusted by dragging the mouse or by the mouse wheel. This also works when the mouse has been moved over the two gain displays. Then the gain can be changed separately for left and right channel, even when the channel is in stereo mode.
Level. Sets the reference level of the analog Line inputs. The available settings are -10 dBV, +4 dBu and LoGain.
AutoSet. Activates an automatic gain reduction preventing overloads caused by too high gain settings. AutoSet tries to keep a headroom of 6 dB. Levels higher than -6 dBFS will permanently reduce the gain. To check set the channels to a high gain and apply an input signal. The button will quickly rotate back to a gain that is appropriate.
Width. Defines the stereo width. 1.00 equals full stereo, 0.00 mono, -1.00 swapped channels.
FX Send. Setting the level of the signal sent to the FX bus which feeds Echo and Reverb. The current setting is also visible with closed channel settings, because knob and small fader are always synchronized. To make this function as useful as possible FX Send is locked to the highest submix, thus imitating the Aux Post Fader function of a standard mixing desk. When moving the big fader both knob and small fader will move. This way the reverb signal will always have the same relation to the dry signal.
The level of the signal sent to the effects can be checked by the FX In level meters of the FX window. It becomes visible after a click on 'FX' in the View Options.
MS Proc. Activates M/S processing within the stereo channel. Monaural information is sent to the left channel, stereo information to the right.
Phase L. Inverts the phase of the left channel by 180°.
Phase R. Inverts the phase of the right channel by 180°.
Note: the functions Width, MS Proc, Phase L and Phase R affect all routings of the respective channel.
Besides Stereo/Mono, Phase L und Phase R the settings of the Hardware Outputs have more options:
Level. (Not Babyface): Sets the reference level of the analog Line outputs. The available settings are -10 dBV, +4 dBu and HiGain.
FX Return. The effect signal (Echo and Reverb) is mixed to the respective hardware output by the duo knob/small fader.
Talkback. Activates this channel as receiver and output of the Talkback signal. This way Talkback can be sent to any outputs, not only the Phones in the Control Room section. Another application could be to send a certain signal to specific outputs by the push of a button.
No Trim. Sometimes channels need to have a fixed routing and level, which should not be changed in any case. An example is the stereo mixdown for recording of a live show. With No Trim active, the routing to this output channel is excluded from the Trim Gains function, therefore is not changed unintentionally.
Loopback. Sends the output data to the driver as record data. The corresponding submix can be recorded then. This channel's hardware input sends its data only to TotalMix, no longer to the recording software.
Another difference to the input and playback channels is the Cue button instead of Solo. A click on Cue sends the respective Hardware Output's audio to the Main Out, or any of the Phones outputs (option Assign / Cue to in the Control Room section). With this any hardware output can be controlled and listened to through the monitoring output very conveniently.
A click on EQ opens the Equalizer panel. It is available in all input and output channels, and affects all routings of the respective channel (pre fader). The panel includes a low cut and a 3-band parametric equalizer which can be activated separately.
EQ. Activated by the EQ button.
Type. Band 1 and 3 can operate in peak (bell) or shelf (shelving) mode. The middle band is fixed to peak mode. Band 3 can also operate as Hi Cut (low pass filter), especially useful for LFE and subwoofer purposes.
Gain. All three bands can change their amplitude (amplification) between +20 dB to -20 dB.
Freq. The center frequency of the filter is adjustable from 20 Hz to 20 kHz. While in peak mode the center frequency is adjusted, in shelf mode the cutoff point (-3 dB) will be changed.
Q. The Quality factor of the filter is adjustable from 0.7 (wide) to 5.0 (narrow).
Lo Cut. Activated by the button Lo Cut. The slope of the high-pass filter is adjustable between 6, 12, 18 and 24 dB per octave. The cut-off point (-3 dB) is adjustable between 20 Hz and 500 Hz.
The frequency graphics give a precise overview of the filter results. Overlapping filters influence each other. This can be used to achieve more than 20 dB amplitude, or to generate difficult frequency response optimizations.
Preset. Settings of the EQ and the Low Cut can be stored, loaded, and copied between channels at any time. A click on Preset opens a menu with several entries:
• Recall: Presets stored before by the user can be selected and loaded
• Save to: There are 16 storage places available (EQ Preset 1 to 16)
• Import: Loads a previously stored TM EQ file (.tmeq)
• Export: Stores the current state as TM EQ file (.tmeq)
• Factory: Includes 14 examples for the creative use of Low Cut and Equalizer
• Reset: Resets the Low Cut and EQ to have zero influence (Gain 0 dB)
• Rename: The EQ Presets 1 to 16 can be renamed. The changes will be shown in both lists Recall and Save to.
Notes on the EQ Presets
Copy between channels: The EQ Preset menu of all channels is identical. If an EQ setup is stored via Save to on one of the 16 storage places, it is then also available in any other channel via Recall.
Copy between Snapshots: The Presets are not saved in Snapshots, therefore do not change when a different Snapshot is loaded. Presets are saved in Workspaces and also loaded with these.
Copy between Workspaces: is done by the export and import function of the Preset menu. Important and useful Presets should always be saved as TM EQ file, so that they can not get lost even on accidental overwrite.
A click on D opens the Dynamics panel with Compressor, Expander and Auto Level. They are available in all input and output channels, and affects all routings of the respective channel.
Dynamics. Activated by this button.
Thresh. Threshold where Compressor or Expander start to work. The Compressor is adjustable from -60 dB to 0 dB, the Expander is adjustable from -99 dB to -30 dB.
Ratio. Ratio of input to output signal. Defines the intensity of the signal processing. Adjustable from 1 to 10.
Gain. Gain stage to compensate a loss in level caused by the Compressor. Adjustable from -30 to +30 dB. With inactive Compressor (Threshold 0 dB, Gain 1:1) this function can also be used as universal digital gain stage.
Attack. Defines the rise time for the control voltage of Compressor and Expander. Adjustable from 0 ms to 200 ms.
Release. Defines the relase time fro the control voltage of Compressor and Expander. Adjustable from 100 ms to 999 ms.
The amplitude graphics give a precise overview of the level changes caused by the current settings of Compressor and Expander. The white dot shows the level of the input signal and with this whether the signal is within the processing range or not. The small light blue lines in the level meter show the currently active gain reduction. Settings for these Dynamic Meters are found in the Preferences dialog (F2).
Auto Level. Activated by this button.
Max. Gain. Defines the maximum amplification of the input signal. Adjustable from 0 dB to 18 dB.
Headroom. To minimize short-time overloads and clipping of the signal peaks Auto Level can be set to operate at a fixed offset to 0 dBFS. Adjustable from 3 dB to 12 dB.
Rise Time. Defines the speed of a level increase after a level reduction. Adjustable from 0.1 s to 9.9 s.
Preset. Includes the same functions as described on the previous page for the Equalizer.
In the section Control Room the menu Assign is used to define the Main Out which is used for listening in the studio. For this output the functions Dim, Recall, Mono, Talkback and Mute FX are automatically applied. The VOLUME knob of the Fireface UFX also follows this assignment.
Additionally the channel will be shifted from the Hardware Outputs into the Control Room section, and renamed Main. The same happens when assigning Phones 1 to Phones 4. The original name can be displayed by the function Names in the View Options at any time.
Phones will have Dim (set in Settings) and a special routing applied when Talkback is activated. Also putting them beside the Main Out increases the overview within the output section greatly.
Note: Phones can be freely assigned in TotalMix FX. As the Phones outputs on some unit are dedicated fixed outputs, these channels then are also fixed for operation at the unit. Selecting them at the unit will select the fixed phones output, no matter which channels have been selected for Phones in TotalMix FX.
Dim. The volume will be reduced by the amount set in the Settings dialog (F3).
Recall. Sets the gain value defined in the Settings dialog.
Speaker B. Switches playback from Main Out to Main Out B. The faders of the channels Main and Speaker B can be ganged via Link.
Mono. Mixes left and right channel. Useful to check for mono compatibility and phase problems.
Talkback. A click on this button will dim all signals on the Phones outputs by an amount set up in the Preferences dialog. At the same time the control room's microphone signal (source defined in Preferences) is sent to the Phones. The microphone level is adjusted with the channel's input fader.
External Input. Switches Main monitoring from the mix bus to the stereo input defined in the Settings dialog (F3). The relative volume of the stereo signal is adjusted there as well.
Mute FX. Mutes Reverb and Echo on the Main Out, to hear the mix without those effects.
Assign. Allows to define the Main Out, Main Out B (Speaker B) and up to four Phones outs. The choice is limited, as at 192 kHz not all channels are available. The output for the Cue signal, which is usually Main, can also be set to one of the Phones outputs. This setting also controls the PFL monitoring.
The Control Strip on the right side is a fixed element. It combines different functions that are either required globally, or constantly used, and therefore should not be hidden in a menu.
Device selection. Select the unit to be controlled in case more than one is installed on the computer.
FX - DSP Meter. Shows the DSP load caused by activated EQ, Low Cut, Compressor, Auto Level, Echo and Reverb. The DSP features an automatic load limiter. If no DSP resources are left further effects can not be activated. When switching to DS and QS modes effects will be deactivated automatically until the DSP is not overloaded anymore.
Undo / Redo. With the unlimited Undo and Redo changes of the mix can be undone and redone, at any time. Undo/Redo does not cover graphical changes (window size, position, channels wide/narrow etc.), and also no changes to the Presets. The accidental overwrite of an EQ Preset can not be made undone.
Undo/Redo also operates across Workspaces. Therefore a completely differently set up mixer view can be loaded via Workspace, and with a single click on Undo the previous internal mixer state is returned - but the new mixer view stays.
Global Mute Solo Fader.
Mute. Global Mute operates in a pre fader style, muting all currently activated routings of the channel. As soon as any Mute button is pressed, the Mute Master button lights up in the Control Strip area. With this button all selected mutes can be switched off and on again. One can comfortably set up a mute group or activate and deactivate several mute buttons simultaneously.
Solo. As soon as any Solo button is pressed, the Solo Master button lights up in the Control Strip area. With this button all selected Solos are switched off and on again. Solo operates as Solo-in-Place, post fader style, as known from common mixing desks. A typical limitation for mixing desks, Solo working only globally and only for the Main Out, does not exist in TotalMix. Solo is always activated for the current submix only.
Fader. A Shift-click on a fader adds the fader to the temporary fader group. All faders now marked yellow are ganged, and move simultaneously in a relative way. The temporary fader group is deleted by a click on the F symbol.
This area combines different functions of routing, the level meters and the mixer view.
Routing Mode
• Submix. The Submix view (default) is the preferred view and delivers the quickest overview, operation and understanding of TotalMix. The click on one of the Hardware Output channels selects the respective submix, all other outputs are darkened. At the same time all routing fields are set to this channel. With Submix view, it is very easy to generate a submix for any output: select the output channel, adjust the fader and pans of first and second row - finished.
• Free. The Free view is for advanced users. It is used to edit several submixes simultaneously, without the need to change between them. Here one works with the routings fields of the input and playback channels only, which then show different routing destinations.
Level Meters
• Post FX. Switches all level meters before (pre) or after (post) the effects. Level changes by these can be easily checked using this feature. Additionally the input signal can be checked for overloads. It is recommended to use Post FX as default setting, as the extreme reduction of a signal by LC/EQ is very seldom. Also all over displays of all level meters operate both pre and post, efficiently preventing overloads going unnoticed.
• RMS. The numerical level display in the channels displays peak or RMS.
Show
• FX. Opens the window to set up the effects Reverb and Echo.
• Trim. Activates all Trim Gain buttons on all channels. TotalMix thus behaves like a conventional, simple mixing desk. Each fader affects all active routings of the channel simultaneously, as if the fader were a trim-pot in the hardware input.
• 2 Row. Switches the mixer view to 2 rows. Hardware Inputs and Software Playbacks are placed side by side. This view saves a lot of space, especially in height.
• Names. Display of the original names of channels when they had been renamed by the user.
Snapshots include all mixer settings, but no graphical elements like window positions, window size, number of windows, visible EQs or Settings, scroll states, Presets etc. Only the state wide/narrow of the channels is registered. Moreover the Snapshot is only temporarily stored. Loading a Workspace causes the loss of all stored Snapshots, when these all had not been saved before in a Workspace, or separately via File / Save Snapshot as. Via File / Load Snapshot the mixer states can be loaded individually.
8 different mixes can be stored under individual names in the Snapshot section. A click on any of the 8 buttons loads the corresponding Snapshot. A double click on the name field opens the dialog Input Name to edit the name. As soon as the mixer state is changed the button starts flashing. A click on Store lets all buttons flash, whereby the last loaded one, the base of the current state, flashes inversely. The storage finishes by clicking the desired button (means storage place). The storage process is exited by another click on the flashing Store button.
The area Snapshots can be minimized by a click on the arrow in the title bar.
Groups. The area Groups provides 4 storage places each for fader, mute and solo groups. The groups are valid per Workspace, being active and usable in all 8 Snapshots. But with this they are also lost when loading a new workspace, in case they have not been saved before in a different Workspace.
Note: The Undo function will help in case of an accidental overwrite or deletion of the groups.
TotalMix uses flashing signals to guide you through the group setup. After a click on Edit and click on the desired storage place all desired functions for this group have to be activated or selected. The storage process is finished by another click on Edit.
When setting up a fader group make sure to not add faders that are at the most top or most lowest position, except all faders of that group have this position.
The Mute groups operate - other than the global mute - exclusively for the current routing. This way you can not mute signals on all outputs unintentionally. Instead signals can be muted on specific submixes by the push of a button.
A solo group operates exactly like the global solo, signals outside the current routing are not affected.
3.10 Channel Layout - Layout Presets
To maintain overview within TotalMix FX channels can be hidden. Channels can also be ex-cluded from being remoted. Under Options / Channel Layout a dialog lists all I/Os with their current state. Selecting one or several channels enables the options to the right:
• Hide Channel in Mixer/Matrix. The selected channels are no longer shown in TotalMix FX, nor are they available via MIDI or OSC remote control.
• Hide Channel in MIDI Remote 1-4. The selected channels are hidden for MIDI remote (CC and Mackie Protocol).
• Hide Channel in OSC Remote 1-4. The selected channels are hidden for OSC remote control.
Hidden channels in Mixer/Matrix are still fully functional. An existing routing/mixing/FX processing stays active. But as the channel is no longer visible it can not be edited anymore. At the same time the hidden channels are removed from the list of remote controllable channels, to prevent them from being edited unnoticed.
Hidden channels in MIDI Remote x are removed from the list of remote controllable channels. Within an 8-channel block of a Mackie compatible control they are skipped. The control therefore is no longer bound to consecutive orders. For example it will control channels 1, 2, and 6 to 11, when channels 3 to 5 are hidden.
The same can be done for OSC. With unnecessary channels made invisible for the OSC remote the more important channels are available as one block on the remote.
The Channel Layout dialog can be called directly from TotalMix by a right mouse click on any channel. The corresponding channel will then be preselected in the dialog.
Rows Inputs, Playbacks and Outputs are set up individually by the tabs at the top. Active indicates currently available channels. At higher sample rates many ADAT channels are no longer active. In Use shows which channels are currently used in the mixing process.
After finishing those settings the whole state can be stored as Layout Preset. A click on Store and the desired memory slot makes the current channel layout recallable anytime. The button All makes all channels temporarily visible again.
With a simple click on a button it will then be possible to easily switch views of only the channels involved with the mixing of the drum section, the horn section, the violins, or any other useful view. An optimized remote layout can be activated here as well, with or without visible changes. Double-click the default slot name to enter any other name.
Layout Presets are stored within the Workspace, so make sure to save the current state before loading a different Workspace!
The button Sub activates another useful special view. When in Submix view, Sub will cause all channels to disappear that are not part of the currently selected Submix/Hardware Output. Sub temporarily shows the mix based on all channels from Inputs and Playback row, independent from the current Layout Preset. That makes it very easy to see and to verify which channels are mixed/routed to the current output. Sub makes checking and verifying of mixes, but also the mix editing itself, a lot easier, and maintains perfect overview even with lots of channels.
Another feature to improve overview and working with TotalMix FX are scroll location markers (TotalMix view only). These are displayed automatically when the horizontal size of the TotalMix FX window is smaller than the channel display requires. Shown on the right side of the scrollbar of each row they have four elements:
• Arrow to the left. A left mouse click let the channels scroll to the very first one, or most left.
• 1. Marker number 1. Scroll to the desired position and perform a right mouse click on 1. A dialog comes up with precise information. Once stored, a left mouse click will scroll the channels to the stored position.
• 2. Marker number 2. See 1 for details.
• Arrow to the right. A left mouse click let the channels scroll the last one, or most right.
Location markers are stored in the Workspace.
Application Examples. While originally added to improve navigation in the HDSPe MADI FX (having 196 channels that never fit on any screen), the scroll location markers are also helpful with units having much less channels.
• When the TotalMix FX window is intentionally made small in width, so only a few channels are shown.
• When some or all EQ or Dynamics panels are open. Then all relevant settings are always visible, but require a lot of space horizontally.
A click on FX in the View Options / Mixer Setup brings up the Output FX panel. Here all parameters for the effects Reverb and Echo are adjusted.
Reverb. Activated by the On button.
Type. Lists different reverb algorithms for selection. Available are:
• Rooms 1 - 4. Algorithm for room simulation with different tonal colours. Room 1 and 2 sound dry and small, Room 3 and 4 brilliant and a bit bigger.
• Envelope. Reverb effect in multitap technology, where the volume course (envelope) is freely adjustable.
• Gated. Simpler version of the Envelope reverb for cut reverb effects.
• Classic. Classic feedback-based reverb with comb filter, generating both the typical sound and the very long reverb times.
General Settings Settings
PreDelay. Delay of the reverb signal. Adjustable from the current buffer size (some milliseconds) up to 999 ms.
Low Cut. High-pass filter before the reverb generation, removes low frequency signals which should not cause a reverb sound. Adjustable from 20 Hz up to 500 Hz.
Smooth. Softens the reverb effect, affects stereo width, density and sound colour. Adjustable from 0 up to 100.
Width. Adjusts the stereo width of the reverb signal from 100 (stereo) to 0 (mono).
Volume. Adjusts the level of the reverb effects signal sent to the FX return bus.
Special Settings for Room 1-4
High Cut. Low-pass filter after the reverb generation. A reduction of the treble often lets the reverb sound more natural. Adjustable from 5 kHz up to 20 kHz.
Room Scale. Determines the size of the room, thus changing density and length of the reverb effect. Adjustable from 0.5 up to 2.0.
Special Settings for Envelope and Gated
High Cut. Low-pass filter after the reverb generation. A reduction of the treble often lets the reverb sound more natural. Adjustable from 5 kHz up to 20 kHz.
Attack. Length of time for the volume increase of the reverb signal. Also called rise time. Adjustable from 5 ms up to 400 ms.
Hold. Length of time for the fixed volume part of the reverb signal. Adjustable from 5 ms up to 400 ms.
Release. Length of time for the volume decrease of the reverb signal. Adjustable from 5 ms up to 400 ms.
Special Settings for Classic
Reverb Time. Sets the duration of the reverb referenced to a volume drop of 20 dB. Adjustable from 0.1 s up to 9.9 s.
High Damp. Sets the treble damping over time for the reverb signal. In principle, this is a low-pass filter. Because of the operation principle of the Classic reverb it shows a slightly different behaviour. Adjustable from 5 kHz up to 20 kHz.
Echo. Activated by the On button.
Type. Lists different echo algorithms for selection. Available are:
• Stereo Echo. Separated echo generators on left and right channel. As a result the echo follows the sound source within the stereo field.
• Stereo Cross. Echo generator on left and right channel with cross coupled feedback which is only working for the stereo parts of the input signal. In case the input signal is only left or right the Stereo Cross acts exactly like the Pong Echo.
• Pong Echo. Generates an echo that jumps between left and right channel, independent from the source signal's stereo position.
Settings
Delay Time. Sets the delay time for the first echo.
Feedback. Feedback to produce further echoes.
Width. Adjusts the stereo width of the echo signal from 100 (stereo) to 0 (mono).
Volume. Adjusts the level of the echo effects signal sent to the FX return bus.
Preset. Settings of the Reverb and the Echo can be stored, loaded, and copied between channels at any time. A click on Preset opens a menu with several entries:
• Recall: Presets stored before by the user can be selected and loaded
• Save to: There are 16 storage places available (Reverb/Echo Preset 1 to 16)
• Import: Loads a previously stored TM FX Reverb file (.tmrv) or a TM FX Echo file (.tmeo)
• Export: Stores the current state as TM FX Reverb file (.tmrv) or as TM FX Echo file (.tmeo)
• Factory: Includes 10 examples for the configuration of the Reverb
• Reset: Resets the Reverb or Echo
• Rename: The Presets 1 to 16 can be renamed. The changes will be shown in both lists Recall and Save to.
5. Direct USB Recording (Fireface UFX only)
The Fireface UFX can record and playback up to 60 channels of audio via the USB port on the front panel. This functionality is provided by the internal DSP and is therefore independent from a Windows or Mac computer connected via USB or FireWire.
In TotalMix FX the Recorder panel controls the record and playback functions. The configuration of record/playback is stored in the workspace, therefore identical in its 8 Snapshots.
• File selection: Multi-purpose dialog. Displays detailed information on current USB media conditions. No Media (no media recognized), Initializing (Medium is currently initialized), FS Error (File System Error, no FAT32), No Files (no audio files found). In case the media contains audio material, files can be selected from the file dialog box after a click on the arrow to the right. Clicking on the red button will initiate recording, and a new file will be created immediately, with an increment file number according to present files.
• Info: Opens a dialog with information about the selected file: file name, number of channels, sample rate, length (time), free memory.
• Delete: Offers direct erasure of the current file. After deletion, the media is read again (Initializing) which can take some time on larger hard drives. Deleting further files is possible even while the initialization is still in progress.
• Status Panel: Displays some important data in an overview window: current position or length of the file, free memory, USB Load, Errors.
• Position display: The position of the knob shows the current playback position within the file. The knob, and with it the playback position, can also be moved by dragging it with the mouse.
• Transport bar: Stop, Play/Pause and Record. Two clicks on Stop cause a jump to the beginning of the file.
• Record View: Switches from Mixer View to Record View. In Record View the Mute and Solo buttons in the first and third row are replaced by Play and Record (Arm) buttons. A click on the Playback button opens a dialog to assign channels. A playback is not only possible at the outputs but also at the mixer input. This way, signals can also be processed with Echo/Reverb and mixed with any other signal to any output. The Record buttons behave in a similar way to other buttons in TotalMix: Activation/deactivation of all channels to the right by Ctrl + mouse click, flashing buttons when the maximum number of channels has been exceeded after changing the sample rate. When loading a different work-space during ongoing recording and playback, the configuration of record and playback is not updated or changed.
Note: The Level Meters show the playback signal only when in Post FX mode.
Important notes and requirements for Direct USB Recording
The media must be formatted as FAT32, primary type. Only the first partition is used. Logical partitions are not supported.
A recording is always stopped when the sample rate changes.
Changing the record configuration (armed channels) is not possible during an ongoing recording. Channels are recorded without placeholders and without labelling, in straight ascending order. For a playback on the exact same channels, the playback channels have to be selected accordingly in TM FX or the unit.
The recording is done at the current sample rate as 24 bit WAV file. A file can be up to 2 GB in size and includes all (up to 60) channels in interleaved format. The filename is UFX01_00.wav. After reaching the 2 GB limit a new file is automatically written, with an incremental file number (UFX01_01.wav). The UFX will write up to 100 files consecutively (UFX_01_99.wav). After that, a new recording has to be started (UFX02_00.wav).
At a sample rate of 48 kHz, up to 60 channels (inputs and outputs), at 96 kHz 34 channels, at 192 kHz 16 channels can be selected. The actual number of channels that can be used error-free depends on the media, see chapter 31.5 of the latest UFX manual.
The recording signal is taken before EQ and Dynamics, on both inputs and outputs. To record with EQ/Dyn, activate REC on an output and route a signal processed by the input EQ/Dyn to that output. The insert point of playback is at the same place. Manuals 1.8 and up include a detailled block diagram and further notes on the signal flow.
The playback from a medium does not change the current sample rate. To match pitch and speed, the sample rate has to be set manually to the correct value. Playback can be assigned to multiple outputs.
The UFX can play back externally recorded WAV files, as long as these have 16 or 24 bit resolution.
The dialog Preferences can be opened via the Options menu or directly via F2.
Level Meters
• Full scale samples for OVR. Number of consecutive samples to trigger an over detection (1 to 10).
• Peak Hold Time. Hold time of the peak value. Adjustable from 0.1 up to 9.9 s.
• RMS +3 dB. Shifts the RMS value by +3 dB, so that full scale level is identical for Peak and RMS at 0 dBFS.
Mixer Views
• FX Send follows highest Submix. Locks the FX Send knob to the channel fader. As TotalMix supports multiple routings per channel, a definition is needed which fader (only one is visible) is the one that FX Send will follow. This is always the one with the highest fader position, means the highest gain.
• FX Send follows Main Out. Locks the FX Send knob to the channel fader only for the Main Out submix. This is a typical Live feature, where the FX Send is always tied to the fader for the most important output - the Main Out. When adjusting other submixes the FX send will not follow the fader movement.
• Center Balance/Pan when changing Mono/Stereo. When switching a stereo channel into two mono channels the pan-pots are set fully left and right. This option will set them to center instead.
• Disable double click fader action. Prevents unintentional gain settings, for example when using sensitive touchpads.
Dynamic Meters
• Compressor/Expander. Activates the display of the Compressor/Expander’s gain reduction as thin blue line in the level meters of the corresponding channel.
• Include Gain setting. The currently set fixed amplification value (by the Gain knob) is included in the display. This can lead to positive values, with the display limited to +6 dB. In case the option Compressor/Expander is deactivated this option is also not available, therefore grayed out.
• Auto Level. Activates the display of the variable amplification of the Auto Leveler. As Auto Level can both amplify and attenuate the audio signal, depending on its configuration, the display can show negative (typical gain reduction) as well as positive (above 0 dB, amplification) values.
Snapshots
• Do not load Main volume/balance. The values stored in the Snapshot are not loaded for the Main Out, so the current setting is not changed.
Device Handling
• Always init DSP devices with TotalMix FX settings. Used to suppress the mismatch message after using the unit stand-alone. Settings in the unit are lost.
• Count MADI Channels per port. On devices with more than one MADI port the channels shown in TotalMix are counted 1 to 64 multiple times.
• Disable ASIO Direct Monitoring. Disables ASIO Direct Monitoring (ADM) for the unit within TotalMix FX.
Graphics
• Use D2D (Change requires restart). Default on. Can be deactivated to use a compatible but CPU-taxing graphics mode, in case graphics problems show up..
Store Setting for (Windows only)
• All Users (Restart required). See next chapter..
Special Options
• Lock User Interface. Default off. Can be activated to freeze the current mix state. Faders, buttons and knobs relating to the mix state can not be moved anymore.
6.1 Store Setting for (Windows only)
TotalMix FX stores all settings, workspaces and snapshots for the current user in:
XP: C:\Documents and Settings\ Username\Local Settings\ Application Data\TotalMixFX
Vista/7/8: C.\Users\Username\AppData\Local\TotalMixFX
Current User ensures that when workstations are used by several people they all find their own settings. In case the settings should be identical or given for any user, TotalMix FX can be changed to use the All User directory. An admin could even write protect the file lastunitname1.xml, which results in a complete reset to that file's content whenever TotalMix FX is restarted. The xml-file is updated on exit, so simply set up TotalMix as desired and exit it (right mouse click on the symbol in the notification area).
The dialog Settings can be opened via the Options menu or directly via F3.
On the mixer page some typical settings for the mixer operation are set, like Talkback source, Dim amount when Talkback is active, the stored main volume or the input used for the External Input function.
Talkback
• Input. Selects the input channel of the Talkback signal (microphone in control room). Default: None.
• Dim. Amount of attenuation of the signals routed to the Phones in dB.
Listenback
• Input. Selects the input channel of the Listenback signal (microphone in recording room). Default: None.
• Dim. Amount of attenuation of the signals routed to the Main Out in dB.
Main Out
• Recall. User defined listening volume, activated by the Recall button at the unit or in TotalMix.
• Dim. Amount of attenuation for the Main Out in dB.
• External Input. Selects the stereo input that replaces the mix signal on the Main Out when activated. The volume of the stereo signal is adjusted by the slider Gain.
PFL Mode
• Live Mode, PFL replaces Solo. PFL means Pre Fader Listening. This feature is very useful when operating TotalMix in a live environment, as it allows to quickly listen/monitor any of the inputs by hitting the Solo button. The monitoring happens on the output set for the Cue signal via the Assign dialog.
The MIDI page has four independent settings for up to four MIDI remote controls, using CC commands or the Mackie Control protocol.
Index
Select one of four settings pages and thus remote controls. Settings are remembered automatically. To activate or deactivate any of the four remote controls check or uncheck In Use.
MIDI Remote Control
• MIDI In. Input where TotalMix receives MIDI Remote data.
• MIDI Out. Output where TotalMix sends MIDI Remote data.
• Disable MIDI in background. Deactivates MIDI Remote Control as soon as another application is in the focus, or when TotalMix has been minimized.
Mackie Control Options
• Enable Protocol Support. When disabled TM FX will only react on the Control Change commands described in the manual as Standard MIDI control.
• Map Stereo to 2 Mono Channels. One fader controls one (mono) channel. Should be disabled when stereo channels are used.
• Submix Selection in Input/Playback Row. Enables a selection of the submix when in first row, without having to change to the third row first. However, when using both mono and stereo channels first and third row usually do not match anymore, so the selection often becomes unclear this way.
• Enable full LCD Support. Activates full Mackie Control LCD support with eight channel names and eight volume/pan values.
• Send User defined names. Channel names defined by the user will be sent to the remote device via MIDI and – if supported – shown in its display.
• Send Level Messages. Activates the transmission of the level meter data. Peak Hold activates the peak hold function as set up for the TotalMix level meters in the preferences.
Note: When MIDI Out is set to NONE then TotalMix FX can still be controlled by Mackie Control MIDI commands, but the 8-channel block is not marked as remote target.
The OSC page has four independent settings for up to four MIDI remote controls via Open Sound Control (OSC). This is a network based remote protocol that can be used for example by Apple’s iPad with the app TouchOSC or Lemur to wirelessly remote control TotalMix FX running on a Mac or Windows computer..
Index
Select one of four settings pages and thus remote controls. Settings are remembered automatically. To activate or deactivate any of the four remote controls check or uncheck In Use.
TotalMix FX OSC Service
• IP. Shows the network address of the computer running TotalMix FX (local host). This address must be entered on the remote side.
• Host Name. Local computer name.
• Port Incoming. Must match the remote entry ‘Port outgoing’. Typical values are 7001 or 8000.
• Port Outgoing. Must match the remote entry ‘Port incoming’. Typical values are 9001 or 9000.
Remote Control
• IP or Host name. Enter the IP or host name of the remote control. Please note that the IP number usually works better than the host name.
Options
• Send Peak Level. Activates the transmission of the peak level meter data. Peak Hold activates the peak hold function as set up for the TotalMix level meters in the preferences.
The RME OctaMic XTC is a highly flexible hi-quality 8-channel microphone, line and instrument preamp with integrated AD-conversion to ADAT, AES/EBU and MADI, plus 4 channels of DA-conversion for monitoring. It can be used as universal front-end for the Fireface UFX and other interfaces.
To simplify operation the most important parameters of the XTC (gain, 48V, phase, mute, Auto-Set) can be controlled directly from the TotalMix FX input channels. This special remote control uses MIDI of any format (DIN, USB, MIDI over MADI).
TotalMix FX version 0.99 or higher will show the panel Aux Devices which has all the settings to activate remote functionality.
Device Settings
• Digital Channels. Select where the OctaMic XTC sends its 8 analog channels to.
• Device. At this time only the OctaMic XTC is supported and can be chosen.
MIDI Settings
• MIDI In. Set the currently used MIDI connection to OctaMic XTC.
• MIDI Out. Set the currently used MIDI connection to OctaMic XTC.
• Device ID. Default 0. This setting relates to the current choice in Digital Channels.
When using more than one OctaMic XTC these must have different Device IDs (configuration is done at the OctaMic XTC). Aux Devices supports to set different Device IDs to the 8-channel blocks as well. Storing the setting is done automatically when selecting a Device ID. To check the current assignments toggle the existing 8-channel blocks.
As soon as the above settings have been confirmed with OK, the chosen channels show new elements for phantom power, Inst/PAD, Gain and AutoSet. Control operates bidirectional, so changing the gain at the unit will be mirrored in the TotalMix channels. Changing the gain in TotalMix FX will set the gain in the unit, which is also shown on the unit’s display.
For the remote to work the XTC’s currently used MIDI I/Os have to be set to Control. More details are found in the manual of the OctaMic XTC.