192 I/O™

Copyright Important Safety Instructions

When using electric or electronic equipment, basic precautions
This guide is copyrighted ©2006 by Digidesign, a division of should always be followed, including the following:
Avid Technology, Inc. (hereafter “Digidesign”), with all rights • Read all instructions before using this equipment.
reserved. Under copyright laws, this manual may not be • To avoid the risk of shock, keep this equipment away from
duplicated in whole or in part without the written consent of rain water, and other moisture. Do not use this equipment
Digidesign. if it is wet.
DIGIDESIGN, AVID and PRO TOOLS are trademarks or • The equipment should only be connected to the correct
registered trademarks of Digidesign and/or Avid Technology, rating power supply as indicated on the 192 I/O.
Inc. All other trademarks are the property of their respective • Do not attempt to service the equipment. There are no
owners. user-serviceable parts inside. Please refer all servicing to
All features and specifications subject to change without authorized Digidesign personnel.
notice. • Any attempt to service the equipment will expose you to a
risk of electric shock, and will void the manufacturer’s
PN 9106-18564-00 REV A 1/06 warranty.
Communications & Safety Regulation Information
Compliance Statement Warning!
The model 192 I/O complies with the following standards • HD audio interfaces need room at their sides to maintain
regulating interference and EMC: proper air flow and cooling.
• FCC Part 15 Class A • Do not install these units into a rack or other enclosure that
• EN55103 – 1, environment E4 doesn't leave room on either side for the unit fans.
• EN55103 – 2, environment E4 • Do not block the sides of the units (where fans are), or
• AS/NZS 3548 Class A disconnect the fan.
Radio and Television Interference • If the units are racked up in a case, remove all lids, doors,
This equipment has been tested and found to comply with the or covers before operating the units.
limits for a Class A digital device, pursuant to Part 15 of the • Failure to do so can result in the units overheating very
FCC Rules. quickly, which can permanently damage them.
Communications Statement
This equipment has been tested to comply with the limits for a
Class A digital device. Changes or modifications to this
192 I/O not authorized by Digidesign, Inc., could void the
Certification and negate your authority to operate the 192 I/O.
This 192 I/O was tested for CISPR compliance under
conditions that included the use of peripheral devices and
shielded cables and connectors between system components.
Digidesign recommends the use of shielded cables and
connectors between system components to reduce the
possibility of causing interference to radios, television sets,
and other electronic devices.
Safety Statement
This equipment has been tested to comply with USA and
Canadian safety certification in accordance with the
specifications of UL Standards; UL1419 and Canadian CSA
standard; CSA C22.2 No.1-M90. Digidesign Inc., has been
authorized to apply the appropriate UL & CUL mark on its
compliant equipment.
contents

Chapter 1. Introduction to the 192 I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

What’s Included . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
About www.digidesign.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Chapter 2. 192 I/O Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

192 I/O Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
192 I/O Back Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Using Input and Output Trims . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Appendix A. Adding or Removing I/O Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Installing an I/O Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Removing an I/O Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Appendix B. Pinout Diagrams for the DB-25 Connectors . . . . . . . . . . . . . . . . . . . . . . . . 17

Analog Output DB-25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Analog Input (+4 dBu) DB-25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Analog Input (–10dB(V)) DB-25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
AES/EBU DB-25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
TDIF DB-25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Appendix C. 192 I/O Calibration Mode Instructions. . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

About Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Calibrating the 192 I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Contents iii
iv 192 I/O Guide
chapter 1

Introduction to the 192 I/O

The Digidesign 192 I/O 16-channel digital audio • Legacy Port for Digidesign-qualified
interface is for use in a Pro Tools|HD system and Pro Tools|24 MIX audio interfaces.
features 24-bit analog-to-digital (A/D) and digi- • Optional addition of cards to expand analog
tal-to-analog (D/A) converters. The 192 I/O sup- or digital I/O.
ports sample rates of up to 192 kHz for superior
dynamic range and low noise floor. • Simultaneous use of multiple Pro Tools|HD
audio interfaces to further expand system in-
put and output. For more information see the
192 I/O Features
Expanded Systems Guide.
• 16 discrete channels of input and output,
with 4-segment LED Meters to monitor input
and output on each channel. Input and Out-
put channels can include: What’s Included
• Eight channels of 24-bit D/A and A/D con- • 192 I/O
verters for superior analog input and out- • AC power cable
put at sample rates of 44.1 kHz, 48 kHz, • DigiLink cable (1.5ft. [0.46m])
88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz
• BNC cable (1.5ft. [0.46m])
• Ten channels of 24-bit-supported AES/EBU
I/O, eight channels of which support sam-
ple rates of up to 192 kHz
• Sixteen channels of Optical I/O, through
System Requirements
two pairs of Lightpipe (ADAT) connectors; The Digidesign 192 I/O requires a Digidesign-
one pair of optical ports can be switched to qualified Pro Tools|HD system.
two channels of optical S/PDIF I/O
• Two 24-bit-capable S/PDIF I/O supporting Compatibility Information
sample rates of up to 96 kHz
Digidesign can only assure compatibility and
• Real-time sample rate conversion on inputs of provide support for hardware and software it
eight channels of either AES/EBU, Optical, or has tested and approved. For a list of Digidesign-
TDIF. qualified computers, operating systems, hard
• External Clock input and output for synchro- drives, and third-party devices, refer to the Digi-
nizing 192 I/O with external 1x Word Clock design Web site (www.digidesign.com).
or 256x (Slave Clock) devices.

Chapter 1: Introduction to the 192 I/O 1

 About This Guide About www.digidesign.com
This guide provides a hardware overview of the The Digidesign Web site (www.digidesign.com)
192 I/O. is your best online source for information to
help you get the most out of your Pro Tools sys-
Complete instructions for connecting and con- tem. The following are just a few of the services
figuring the 192 I/O for your Pro Tools|HD sys- and features available.
tem are located in the Pro Tools|HD Getting
Started Guide. For additional information about Registration Register your purchase on-line. See
using Pro Tools software to route your interface the enclosed registration form for instructions.
inputs and outputs to Pro Tools inputs and out-
puts, see the Pro Tools Reference Guide. Support Contact Digidesign Technical Support
or Customer Service; download software up-
dates and the latest online manuals; browse the
Conventions Used in This Guide Compatibility documents for system require-
ments; search the online Answerbase or join the
Digidesign guides use the following conven-
worldwide Pro Tools community on the Digide-
tions to indicate menu choices and key com-
sign User Conference.
mands:
Training and Education Study on your own using
Convention Action
courses available online or find out how you can
File > Save Choose Save from the learn in a classroom setting at a certified
File menu Pro Tools training center.

Control+N Hold down the Control Products and Developers Learn about Digidesign
key and press the N key
products; download demo software or learn
Option-click Hold down the Option key about our Development Partners and their plug-
and click the mouse but- ins, applications, and hardware.
ton
News and Events Get the latest news from
The following symbols are used to highlight im- Digidesign or sign up for a Pro Tools demo.
portant information:
To learn more about these and other resources
User Tips are helpful hints for getting the available from Digidesign, visit the Digidesign
most from your system. Web site (www.digidesign.com).

Important Notices include information that

could affect your session data or the perfor-
mance of your system.

Cross References point to related sections in

this and other Digidesign Guides.

2 192 I/O Guide

chapter 2

192 I/O Overview

This chapter describes the front and back panel features of the 192 I/O.

See the Pro Tools|HD Getting Started Guide for complete system installation and configuration instruc-
tions. If you are adding the 192 I/O to an existing system, see the Expanded Systems Guide.

192 I/O Front Panel

192 I/O Front Panel

Power Switch and LED Ring Sample Rate

This button turns the 192 I/O on and off. These LEDs display the current sample rate of
the 192 I/O internal crystal oscillator: 44.1 kHz,
The LED ring around the power button will light 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, or
green to indicate that the unit has powered up 192 kHz. The sample rate can be set in Pro Tools
successfully and is connected to an active when you create a new session, or in the Hard-
Pro Tools|HD system. If the LED ring is orange, ware Setup or Playback Engine dialogs if no ses-
the unit has power, but the computer it is con- sion is open.
nected to is shut down.

Chapter 2: 192 I/O Overview 3

 Loop Master LED EXT (External) Indicates that the 192 I/O is us-
ing the EXT CLOCK IN port for system synchro-
The LOOP MASTER LED indicates which nization.
Pro Tools|HD audio interface is the master
Pro Tools peripheral. The Loop Master LED will External Clock input and output do not have to
be continuously lit on the current Loop Master be at the Word clock rate. EXT CLOCK IN syn-
peripheral only, and unlit on all other peripher- chronization will typically be 1x the current ses-
als. (Only one Pro Tools|HD I/O can be Loop sion sample rate. However, for sample rates
Master at a time.) The Loop Master LED will al- higher than 48 kHz, the 192 I/O will generate a
ways be lit with a single interface. choice of 1x or a base rate of 44.1 kHz or 48 kHz,
depending upon the higher rate, as follows:
Loop Master defaults to the first Pro Tools|HD
peripheral connected to the primary, or “core” Session Sample Rate Word Clock Support
Pro Tools|HD card. On Pro Tools|HD (for PCIe)
this is the Accel Core card. On Pro Tools|HD (for 44.1 kHz 44.1 kHz
(or 256x out)
PCI) this is the HD Core card.
48 kHz 48 kHz
(or 256x out)
Sync Mode LEDs
88.2 kHz 88.2 kHz
The SYNC MODE LEDs indicate the current 44.1 kHz
Clock Source as set in Pro Tools.
96 kHz 96 kHz
INT (Internal) Indicates the 192 I/O sample clock 48 kHz
is generated by its internal crystal oscillator, as 176.4 kHz 176.4 kHz
determined by the session Sample Rate. 44.1 kHz

DIG (Digital) Indicates that an external 192 kHz 192 kHz

AES/EBU, TDIF, Optical (ADAT), or S/PDIF de- 48 kHz
vice is providing system clock. If no valid clock
source is detected, 192 I/O will switch to INT, Meters
the DIG LED will flash, and an error message
will appear on-screen in Pro Tools. These four-segment LEDs indicate signal level
for each of the sixteen channels. The top row of
If at least two channels are not assigned from meters indicates input levels, and the bottom
the selected digital port in the Main page of the row shows output levels. These meters are cali-
Hardware Setup dialog, or if no valid clock brated at –42 dB, –18 dB, –6 dB, and 0 dB, respec-
source is detected at this port, 192 I/O will tively.
switch to INT and the DIG LED will flash.
Note that 0 dB is not to be confused with
LOOP (Loop Master) Indicates that the 192 I/O is clipping; use the on-screen meters in
slaving to another Pro Tools|HD I/O through Pro Tools to determine whether a signal is
Loop Sync. You do not set LOOP mode any- clipping. See the Pro Tools Reference Guide.
where in the software. This is done automati-
cally when you choose another peripheral as
LOOP MASTER.

4 192 I/O Guide

192 I/O Back Panel

Bay 1: Analog In Card Bay 3: Digital I/O Card Enclosure

Empty Bay for Optional Card

Bay 2: Analog Out Card

192 I/O back Panel

Although the 192 I/O is a 16-channel audio in- –10 dB(V) Balanced Provides eight balanced in-
terface, it has up to 50 inputs and outputs avail- put channels at –10 dB(V) nominal operating
able through its various back panel connectors. levels.

For wiring information, see Appendix B, “Pi-

Input and Output Cards nout Diagrams for the DB-25 Connectors.”
The 192 I/O features four bays for I/O cards. For each channel, you can select input level and
Bays 1–3 contain Analog In, Analog Out, and Input Trim settings from within the Hardware
Digital I/O cards, respectively. The fourth bay is Setup dialog. (For instructions, see the
an expansion bay, for which you can purchase Pro Tools|HD Getting Started Guide.)
an additional audio card of your choice.
Input Trims
Installing an optional A/D, D/A, or D/D card
provides even more I/O (up to a maximum pos- Two dedicated Input Trims per analog input
sible 74 inputs and outputs). See Appendix A, channel provide further calibration options and
“Adding or Removing I/O Cards.” flexibility. Depending on how you utilize the
two DB–25 input ports, you can use the A and B
Analog Input trim settings for numerous applications. See “In-
put Trims” on page 9.
This section contains connectors for analog au-
dio input with 24-bit, 192 kHz A/D converters. In addition, the soft-clip limiter function helps
Input is provided through two discrete DB–25 avoid digital clipping. See “Input Trims” on
connectors. You can connect sources at both op- page 5, and “Soft Clip Limiting” on page 9.
erating levels and choose between them from
within Pro Tools. The two inputs are:

+4 dBu Balanced Provides eight balanced input

channels at +4 dBu nominal operating levels.

Chapter 2: 192 I/O Overview 5

 Analog Output AES/EBU DB–25 connectors for eight channels
of AES/EBU input and output. Each of the paired
This section contains a single DB–25 connector channels is a balanced three-conductor signal,
and Output Trims for eight channels of analog and supports 192 kHz sample rates in dual-wire
audio output. These balanced outputs operate at mode. Dual-wire mode uses two of 192 I/O’s
+4 dBu levels. See Appendix B, “Pinout Dia- physical I/O channels of AES/EBU I/O to carry
grams for the DB-25 Connectors.” each single stream of 192 kHz audio. Therefore,
only four simultaneous channels of AES/EBU
For –10 dB(V) gear, a special DigiSnake ca-
I/O are available at 192 kHz.
ble (sold separately) is available. If you want
to make your own cable, be sure to use in-line TDIF DB–25 connectors for eight channels of
transformers or resistor networks to properly
TDIF input and output. Conforms to standard
pad the +4 dBu output to –10 dB(V) levels.
eight-channel TDIF pinouts.
Output Trims For more information, see Appendix B, “Pinout
The Output Trims below the DB–25 connector Diagrams for the DB-25 Connectors.”
are used to individually calibrate each channel’s
Optical (ADAT) Dedicated, eight-channel 24-bit
output level.
capable Optical port. Using real-time sample
Two sets of Output Trims are provided for each rate conversion, these inputs will accept up to
channel allowing you to store a second set of 48 kHz sample rates and convert them to a
headroom values. This allows you to match two Pro Tools session running at up to 192 kHz.
different headroom values for either input con- These outputs will only output at sample rates
nector. of up to 48 kHz. Unlike the Optical port located
on the enclosure, this Optical (ADAT) port is not
Most consumer electronics operate at switchable to Optical S/PDIF.
–10 dB(V) levels, and may not feature bal-
anced inputs and outputs. You can connect The inputs on the Digital I/O Card feature real-
–10 dB(V) signals to the –10 dB(V) inputs, time sample rate conversion. For example, you
but you will need to make sure that the neg- can stream audio with a sample rate of 44.1 kHz
ative terminals are not connected. into a 96 kHz session.

For more information, see “About Input Operat- For more information, see the Pro Tools|HD Get-
ing Levels” on page 9. ting Started Guide.

Digital I/O Enclosure Connectors

This section contains connectors for eight chan- The right half of the back panel of 192 I/O fea-
nels each of AES/EBU I/O, TDIF I/O, and Optical tures a set of non-removable connectors that are
(ADAT) I/O. Only one digital format can be used mounted to the enclosure.
at a time.
These connectors feature two additional chan-
nels of AES/EBU I/O and another eight channels
of Optical I/O. These ports appear on-screen in
Pro Tools as AES/EBU [Encl], and

6 192 I/O Guide

Optical (ADAT) [Encl]. The reference to the en- About Lightpipe-Compatible Devices
closure [Encl] differentiates the chassis-
Lightpipe is an industry standard, eight-channel
mounted ports from the I/O of the same types
optical digital audio connection created by Ale-
on the Digital I/O Card.
sis. Lightpipe is found on many devices, includ-
Also mounted on the enclosure are two chan- ing Optical (ADAT) decks, modular digital mul-
nels of S/PDIF I/O on RCA connectors, Loop titracks (MDMs), sound cards, A/D or D/A
Sync, External Clock, and ports for attaching converters, and digital consoles.
the 192 I/O to Pro Tools|HD cards and other au-
dio interfaces. LOOP SYNC In and Out
Loop Sync is a dedicated clock loop for synchro-
AES/EBU [Encl]
nizing multiple Pro Tools|HD peripherals to-
These are balanced, three-conductor XLR con- gether (multiple audio interfaces, and/or a
nectors that accept and output a stereo, 24-bit Digidesign SYNC I/O and one or more audio in-
AES/EBU digital data stream. These two ports terfaces). Loop Sync uses a word clock signal
support up to 96 kHz sample rates. The enclo- based on sample rates of either 44.1 kHz or
sure ports do not support dual-wire mode (re- 48 kHz. As sample rate increases in the system,
quired for 176.4 kHz and higher sample rates), Loop Sync continues to operate at a base rate of
or provide real-time sample rate conversion (use 44.1 kHz or 48 kHz, depending upon the higher
the ports on the Digital I/O card for these fea- rate.
tures).
The Loop Sync In and Out ports are standard
BNC connectors that output a 1x Loop Sync
S/PDIF Stereo I/O clock signal. Loop Sync should only be used to
These are unbalanced, two-conductor RCA jacks chain multiple Pro Tools|HD peripherals to-
that accept and output a stereo S/PDIF digital gether.
data stream. S/PDIF supports up to 24-bit audio,
at sample rates up to 96 kHz. EXT. CLOCK In and Out
The External Clock I/O ports are standard BNC
Optical (ADAT) [Encl] connectors that receive and output a word clock
These are Optical ports that accept up to eight signal. These ports can be used to synchronize
channels of Optical (ADAT) input and output, the 192 I/O to any device that requires (or pro-
or two channels (stereo) optical S/PDIF input vides) word clock.
and output. Optical (ADAT) mode supports
External Clock In and Out are configured by
sample rates up to 48 kHz. In TOS-Link mode,
your choice for Clock Source in Pro Tools.
supports two-channel Optical input and output
at sample rates up to 96 kHz. This port does not Because crucial timing data is passed
feature real-time sample rate conversion. through the Loop Sync and Word Clock ports,
you should use high-quality, 75-ohm RG–59
cables for making connections.

Chapter 2: 192 I/O Overview 7

 AC Power Legacy Port
This connector accepts a standard AC power ca- This port lets you connect MIX-series Digidesign
ble. The 192 I/O is auto power-selecting (100V audio interfaces to the 192 I/O. You can connect
to 240V) and will automatically work with a two eight-channel interfaces (such as the 888|24
standard modular cable to connect to AC power or 882|20) or a single sixteen-channel interface
receptacles in any country. (such as the 1622 I/O, or 24-bit ADAT Bridge
I/O) for expanded input and output options, us-
Primary DigiLink ing their original cables.

The Primary port is where the DigiLink cable When the Legacy port has been activated from
connects a Pro Tools|HD card (or other audio in- within Pro Tools, your MIX-series I/O will ap-
terface) to the 192 I/O. The Primary DigiLink pear as channels 17–32 in Pro Tools.
port sends and receives all 32 I/O channels. As
the 192 I/O is a 16-channel only device, chan- For more information on using Expansion
nels 17–32 are passed through to the Expansion or Legacy audio interfaces, see the
or Legacy port. Pro Tools|HD Getting Started Guide, and the
Expanded Systems Guide.
DigiLink Length Specifications
Legacy and Expansion Peripheral Port
There are five different lengths of DigiLink ca- Limitations
bles.
Because both the Legacy port and the Expansion
• 18” (0.46m), included with each interface port use channels 17–32, you can only use one
• 12’ (3.6m), included with each at a time.
Pro Tools|HD card
The Legacy port is not available in any session in
• 25’ (7.62m)
which the sample rate is set for higher than
• 50’ (15.25m), the maximum length sup-
48 kHz.
ported for 192 kHz sessions (sold sepa-
rately)
Accessory Port
• 100’ (30.5m), the maximum length sup-
ported by 96 kHz sessions (sold separately) This port is not supported.

For more information about DigiLink ca-

bles, refer to the Digidesign Web site
(www.digidesign.com).

Expansion DigiLink
The Expansion port lets you connect an addi-
tional Pro Tools|HD audio interface to the
192 I/O. The Expansion port passes channels
17–32 to the secondary, or expansion I/O.

8 192 I/O Guide

 Consider the following when connecting a
Using Input and Output Trims mixer:
◆ If your mixer cannot handle more than 1.5V
Input Trims (RMS) inputs at +4 dBu, then you should set the
192 I/O to operate at –10 dB(V) line level.
The Input Trims below the two DB–25 connec-
tors on the Analog In card are used to store two ◆ If your mixer can handle up to 15.5V (RMS)

different calibration settings (A and B) for each inputs, or has pads or attenuators on its inputs,
channel. then you can use the +4 dBu setting on the
192 I/O.
These two adjustable Input Trims are for pre-
◆ 192 I/O is calibrated for 18 dB headroom at
cisely calibrating and switching between a
the +4 dBu setting.
choice of independently adjustable headroom
settings for each channel. You can adjust each Most manuals contain device input specifica-
Input Trim by hand with a small screwdriver. tions, including whether or not there are pads or
attenuators. Consult the manufacturer’s docu-
For example, you could use the A trims for the
mentation for your mixer or power amplifier for
+4 dBu port, and use the B trims for –10. Or, use
further information.
A and B to maintain two different trims for any
signal input port (+4 dBu or –10 dB(V)).
Selecting Analog Input Operating
If you are not using the –10 dB(V) input connec- Levels
tor, the B trims can be used to store an alternate
If you want to switch the input levels of the
set of headroom values for the +4 dBu inputs.
192 I/O from +4 dBu to –10 dB(V), you can ac-
Once set, you can switch between the different
cess these parameters on a channel-by-channel
trim headroom values for the same input level
basis in the Hardware Setup dialog. For instruc-
from within Pro Tools.
tions, see the Pro Tools|HD Getting Started Guide

About Input Operating Levels

Soft Clip Limiting
Check the owner’s manual for your mixer,
power amplifier or effects processor to see if it The 192 I/O provides an optional “soft” limiter
operates more comfortably at line level, in for each input. The Soft Clip limiter can be used
which case consider setting the 192 I/O to oper- to attenuate incoming analog signals to provide
ate at –10 dB(V) line levels and/or adjusting the extra protection from temporary clipping tran-
Input Trims. sients and digital distortion.

With Soft Clip enabled, 192 I/O supports an ad-

ditional 4 dB of headroom by rounding off the
top 4 dB to the clip point.

For more information on Soft Clip Limiting

and other 192 I/O settings, see the
Pro Tools|HD Getting Started Guide.

Chapter 2: 192 I/O Overview 9

 Output Trims
18 dB and 20 dB Output Levels

The 192 I/O has two Output Trims for each out-
put signal. You can switch between these Out-
put Trim levels from within Pro Tools.
• Output Trim A is factory calibrated for 18 dB
headroom.
• Output Trim B is calibrated for 20 dB head-
room.

For more information, see Appendix C,

“192 I/O Calibration Mode Instructions.”

Digital Format Settings and

Sample Rate Conversion
The 192 I/O lets you specify the digital format
for input, and apply sample rate conversion.

To configure digital formats and sample rate

conversion:
1 Launch Pro Tools.

2 Choose Setup > Hardware.

3 Click the Digital tab and select Input Format

(AES/EBU, ADAT, or TDIF).

4 Enable real-time Sample Rate Conversion by

selecting channel pairs (1–2, 3–4, 5–6, 7–8) in
the SR Conversion box on the Digital tab.

At session sample rates above 48 kHz, sam-

ple rate conversion for the TDIF and Optical
(ADAT) inputs on the Digital I/O card is
automatically enabled on all eight inputs of
the selected format.

For more information, see the Pro Tools|HD Getting

Started Guide.

10 192 I/O Guide

appendix a

Adding or Removing I/O Cards

The 192 I/O comes with one available expan-

sion bay on the back of the unit. This bay lets Installing an I/O Card
you add another 192 AD Card, 192 DA Card, or
192 Digital Card (all sold separately) to increase Installing an optional card in the expansion bay
the amount of available I/O on the unit.
To insert or replace a card:
The expansion bay is the only bay that allows
1 Power off and disconnect the 192 I/O from
for another card. The other three bays are hard-
your Pro Tools|HD system.
wired for the appropriate card (the upper left
bay houses a 192 AD card; the upper right, the 2 Make sure that the equipment is properly
192 Digital card; and the lower left, the 192 DA grounded.
card). See “Installing an I/O Card” on page 11.
3 Remove all 16 of the small Phillips-head
Bay Card screws around the edges of the top cover. Don’t
Number Allowed lose the screws—put them in a safe place!
1 A/D

2 D/A

3 D/D

4 Any

It is important that you follow the guidelines

in this chapter to avoid damaging your
192 I/O or any of your I/O cards.

These factory-installed cards can be removed, if Removing the top cover screws
needed, for servicing, or to swap out cards in the
fourth bay for different studio setups. If you re-
move a single card from the 192 I/O, the unit
will continue to function while the audio card is
being serviced. See “Removing an I/O Card” on
page 14.

Appendix A: Adding or Removing I/O Cards 11

 4 Lift off the top of the 192 I/O and set it aside.

5 Remove the five screws on the cover over the

empty bay. Do not misplace these screws; note
that they are a different size and shape from the guide rails
top cover screws.

Placing the edge of the card into the guide rails

7 Slide the edges of the card into the guide rails

on each side of the bay.

8 Gently push the card back into the bay, lifting

slightly to keep components underneath the
card from touching the back panel.

Removing the cover on the empty bay

6 Look into the empty bay to locate the guide

rails for the card to slide in on.

Guide Rails Lifting slightly while pushing the card back into the bay
guide rails 9 Attach the card’s faceplate onto the back
panel surface of the 192 I/O with the same
screws you removed from the empty bay cover.
Locating guide rails along sides of empty bay

Attaching the card faceplate into the back panel

surface of the 192 I/O

12 192 I/O Guide

10 Locate the raised ridge in the middle of the 14 Connect the 192 I/O to your Pro Tools|HD
50-pin cable which connects to the 192 I/O system.
chassis. This ridge is only on one side of the con-
15 Power on your 192 I/O.
nector, and there is a matching groove on only
one side of the 50-pin connector on the card. 16 When you power on the unit, the power LED
should turn orange.

17 Start up the computer.

18 When you boot up the computer, the power

ring should turn from orange to green.
– or –

If it doesn’t, see “Troubleshooting” on page 14.

19 If the ring turns green, and the computer

boots properly, launch Pro Tools.

20 Open the Hardware Setup dialog to confirm

that the new card is recognized:
• If you installed a 192 Digital card, you
Locating the ridge on the 50-pin cable and the matching should see a new tab called Digital 9–16.
groove on the 50-pin connectors on the card • If you installed a 192 AD card, you should
11 Gently push the cable connector into the see a new tab called Analog In 9–16.
card’s connector. The ridge on the cable connec- • If you installed a 192 DA card, you should
tor must line directly into the groove on the see a new tab called Analog Out 9–16.
card connector. Be very careful not to bend any
21 If the new card does not appear in the Hard-
of the pins or to over-stress the card.
ware Setup dialog, power down, check the seat-
ing of the card, and recheck the cables inside the
192 I/O.

Pressing the 50-pin cable connector into the card

12 Place the top cover onto the 192 I/O.

13 Replace the original screws.

Appendix A: Adding or Removing I/O Cards 13

 Hardware Setup Changes After
Adding a Card Removing an I/O Card
The additional inputs and/or outputs provided In the event of a problem with one of the cards
by the new card will appear in the Hardware in your 192 I/O, you can remove the card and
Setup dialog, with the same controls and param- send it to Digidesign for repair.
eters as for the original card of the same type.
The modular nature of the Pro Tools|HD system
For example, if you add an Analog Input card to allows you to simply return the specific card, in-
the original three cards, a second Analog Input stead of the entire 192 I/O. Your Pro Tools|HD
tab will appear in the Hardware Setup dialog. system will continue to function while missing
You can route these new inputs (which will in a single card. It will not function if more than
this case be called Analog Inputs 9–16) with the one of the factory-installed cards is missing, or if
same controls and parameters as the factory-in- the wrong card is in detected in any of the first
stalled version of the card. three bays.

Whenever a card is added or removed from Before handling any of the cards or internal
an Pro Tools|HD I/O, the routing in the components of 192 I/O, discharge any static
Hardware Setup dialog will revert to default electricity by touching the outer casing of the
assignments. If you have complex routing power supply.
and or mirroring in place, please note the
To remove an I/O card from the 192 I/O:
assignments and reassign the inputs and
outputs after the new card has been properly 1 Power off and disconnect the 192 I/O from
identified. your Pro Tools|HD system.

2 Make sure that the equipment is properly

Troubleshooting grounded.
If the power ring does not turn from orange to 3 Remove the top cover of the 192 I/O by ex-
green when you boot the computer, make sure tracting the 16 small Phillips-head screws
you reconnected the DigiLink cable to the Pri- around the edges of the top cover, and lift it off.
mary port on the back of the unit. If the Dig- Put the screws in a safe place.
iLink cable is securely fastened and the other
4 Remove the five screws on the front plate of
end is plugged into an HD Core or Process card
the card to be removed.
in a computer that is booted, you may have in-
advertently disconnected another 50-pin cable 5 Gently pull the 50-pin connector off of the
when installing the card. edge of the card.

14 192 I/O Guide

6 Pull the card out by gripping the edges be-
tween your thumb and forefinger. Pull straight
back, lifting very slightly to avoid contact be-
tween components on the underside of the card
and the 192 I/O back panel faceplate.

When you pull a card out, pay particular at-

tention to keeping components on the sur-
faces of the card from bumping into any of
the internal components or the back panel
faceplate on the 192 I/O.

Hardware Setup Changes After

Removing a Card
In this case, the Hardware Setup dialog will re-
flect the change by greying out the removed in-
puts and outputs, and reverting them to their
default assignments. The remaining inputs and
outputs will function normally.

For example, if you remove the Analog Input

card, the Analog Input tab will disappear from
the Hardware Setup dialog.

You will lose the configuration of any pairs of

inputs or outputs that were assigned to the card
being removed.

Appendix A: Adding or Removing I/O Cards 15

16 192 I/O Guide
appendix b

Pinout Diagrams for the DB-25 Connectors

Analog Output DB-25 Analog Input (+4 dBu) DB-25

+4" Analog Outputs 24

CH1_HOT
CH1_HOT 24 12
1 CH1_COLD
1 CH1_COLD 12
25
CH1_GND 25
CH1_GND CH2_HOT 10
CH2_HOT 10
23 2 CH2_COLD 23
2 CH2_COLD
11
CH2_GND 11
CH2_GND CH3_HOT 21
CH3_HOT 21
3 CH3_COLD 9
3 CH3_COLD 9
22
CH3_GND 22
CH3_GND CH4_HOT 7
CH4_HOT 7 20
4 CH4_COLD
4 CH4_COLD 20
8
CH4_GND 8
CH4_GND CH5_HOT 18
CH5_HOT 18
6 5 CH5_COLD 6
5 CH5_COLD
19
CH5_GND 19
CH5_GND CH6_HOT 4
CH6_HOT 4
6 CH6_COLD 17
6 CH6_COLD 17
5
CH6_GND 5
CH6_GND CH7_HOT 15
CH7_HOT 15 3
7 CH7_COLD
7 CH7_COLD 3
16
CH7_GND 16
CH7_GND CH8_HOT 1
CH8_HOT 1
14 8 CH8_COLD 14
8 CH8_COLD
2
CH8_GND 2
CH8_GND NC_1 13
NC_1 13 26
MH1
MH1 26 27
MH2
MH2 27

Appendix B: Pinout Diagrams for the DB-25 Connectors 17

 Analog Input (–10dB(V)) DB-25 AES/EBU DB-25

CH12_RCV_HOT 24
CH1_HOT 24 1-2 CH12_RCV_COLD 12
1 CH1_COLD 12 RCV CH12_RCV_GND 25
CH1_GND 25 10
CH34_RCV_HOT
CH2_HOT 10 3-4 CH34_RCV_COLD 23
2 CH2_COLD 23 RCV CH34_RCV_GND 11
CH2_GND 11 21
CH56_RCV_HOT
CH3_HOT 21 5-6 CH56_RCV_COLD 9
3 CH3_COLD 9 RCV CH56_RCV_GND 22
CH3_GND 22 7
CH78_RCV_HOT
CH4_HOT 7 7-8 CH78_RCV_COLD 20
4 CH4_COLD 20 RCV CH78_RCV_GND 8
CH4_GND 8 18
CH12_XMT_HOT
CH5_HOT 18 1-2 CH12_XMT_COLD 6
5 CH5_COLD 6 XMT CH12_XMT_GND 19
CH5_GND 19 4
CH34_XMT_HOT
CH6_HOT 4 3-4 CH34_XMT_COLD 17
6 CH6_COLD 17 XMT CH34_XMT_GND 5
CH6_GND 5 15
CH56_XMT_HOT
CH7_HOT 15 5-6 CH56_XMT_COLD 3
7 CH7_COLD 3 XMT CH56_XMT_GND 16
CH7_GND 16 1
CH78_XMT_HOT
CH8_HOT 1 7-8 CH78_XMT_COLD 14
8 CH8_COLD 14 XMT CH78_XMT_GND 2
CH8_GND 2 13
NC_1
NC_1 13 26
MH1
MH1 26 27
MH2
MH2 27

18 192 I/O Guide

TDIF DB-25

CH12_RCV_DATA 13
1-2 GND1 25
RCV DATA

CH34_RCV_DATA 12
3-4 GND2 24
CH56_RCV_DATA 11
5-6 GND3 23
CH78_RCV_DATA 10
7-8 GND4 22
CH12_XMT_DATA 1
1-2 GND5 14
XMT DATA

CH34_XMT_DATA 2
3-4 GND6 15
CH56_XMT_DATA 3
5-6 GND7 16
CH78_XMT_DATA 4
7-8 GND8 17
RCV_LRCK 9
21
RCV RCV_EMPHASIS NC=
8
CLK+CTRL RCV_FS1 NC=
RCV_FS0 20 NC=
XMT_LRCK 5
18
XMT XMT_EMPHASIS
19
CLK+CTRL XMT_FS1
XMT_FS0 6
GND9 7
MH1 26
MH2 27

DB25F_RA_TDIF
FB30 FB31

22PF 22PF

GND_C

GND_C GND_A GND_C GND_A

Appendix B: Pinout Diagrams for the DB-25 Connectors 19

20 192 I/O Guide
appendix c

192 I/O Calibration Mode Instructions

Before you use the 192 I/O audio interface, you Headroom
may want to calibrate its input and output levels
to the level of your mixing console. The concept of headroom is slightly different for
analog and digital devices.
The 192 I/O has +4 dBu and –10 dB(V) inputs,
and +4 dBu outputs, each with their own trim Analog Most analog devices allow for a certain
pots for proper calibration. amount of headroom above 0 VU. If you send a
signal above 0 VU to an analog recorder, you
The 192 I/O is factory-calibrated so that its still have a margin of headroom, and if tape sat-
+4 dBu input operating level is set for 18 dB uration occurs, it does so fairly gracefully, giving
headroom above +4 dBu (maximum input/out- the audio a compressed sound that some find
put +22 dBu). desirable.

If you need to recalibrate your 192 I/O or other Digital Digital devices, on the other hand, do
components of your studio, you can use the not allow for signals that exceed the dynamic
alignment procedure described in this chapter. range of the input or dBFS (dB full scale). When
a signal exceeds the maximum input level for a
digital device, clipping occurs, causing digital
distortion, which is harsh and usually undesir-
About Calibration able.
Calibrating levels on a digital recording device is
different from calibrating levels on an analog re-
The Calibration Process
cording device. Unlike analog devices, most dig-
ital devices do not have a standard “0 VU” level Analog To calibrate the input level of an analog
setting that corresponds to nominal input and device to a mixing console’s output level, you
output levels. Instead, with an interface such as would typically send a 1 kHz tone at 0 VU from
the 192 I/O, the meters are calibrated in decibels the console to the analog deck and align the re-
below peak or dBFS (dB full scale)—digital clip- cording deck’s meters to read 0 VU.
ping level.

Appendix C: 192 I/O Calibration Mode Instructions 21

 Digital With a digital recording device such as 2 Choose Setup > Preferences and click Opera-
the 192 I/O, in order to allow for headroom, you tion.
must align a 0 VU tone from the console to a
3 Enter the desired Calibration Reference Level
value less than zero (or below dB full scale
value in dB. A level of –18 dB is typical. (It is not
[–x dBFS]) on the 192 I/O, by exactly the
necessary to type a minus sign here.)
amount of headroom that you want.
4 Click Done.
For example, to have 12 dB of headroom above
0 VU with the 192 I/O, you must align the in- 5 Create a new mono audio track by choosing
coming 0 VU 1kHz tone to a level of –12 dBFS. Track > New.
For 18 dB of headroom, you would align it to 6 Insert the Signal Generator plug-in on the
–18 dBFS. (Since it is assumed that you are using track.
the 192 I/O with a +4 dBu device or console, a
0 VU signal level coming out of the device or 7 Set the Signal Generator output level. This
console is actually equivalent to a nominal should be the same value you entered as the Cal-
+4 dBu level signal.) ibration Reference Level (such as –18 dB).

8 Set the Signal Generator frequency to

1000 Hz. 1000 Hz is typical, but any frequency
Calibrating the 192 I/O will work. Other typical values are 250 Hz and
500 Hz.
To calibrate the 192 I/O you will put Pro Tools
in a special operating mode called Calibration 9 Set the Signal Generator signal waveform to

mode, then use the Signal Generator plug-in to Sine.

generate a test tone for alignment. 10 Route the track’s output to Bus 1. In the cal-
ibration template, Bus 1 has been renamed to
The Pro Tools installer includes a standard 8-
“1k Tone.”
channel calibration session for the 192 I/O. You
can use this session as is and change the input 11 Create a mono Auxiliary Input track for each
and output assignments for more 192 I/O chan- 192 I/O output you want to calibrate. Set the
nels or use it as a base to make your own calibra- output assignment for each of these Auxiliary
tion template. Inputs to its respective I/O output.

The following instructions show how the cali- 12 Set the input of each Auxiliary Input track to
bration session was created. You can create a ses- Bus 1, or 1k Tone for the template session.
sion from scratch or open the calibration tem-
13 Create an additional mono Auxiliary Input
plate and walk through these instructions.
track for each input you want to calibrate. Set
the input assignment for each of these Auxiliary
Turn down your monitoring system before
Inputs to its respective I/O input. Then set the
beginning calibration! The Signal Genera-
output of each of these Auxiliary Inputs to an
tor plug-in emits a continuous signal when
unused bus pair (for example Bus 3–4). In the
inserted on a track.
template session the bus names are Null and
To calibrate the 192 I/O Outputs: Out. This makes sure feedback doesn’t occur
when monitoring main outputs 1–2.
1 Launch Pro Tools and create a new session.

22 192 I/O Guide

14 Connect an external VU meter to each of the 3 Adjust the 192 I/O input level trim pots with
I/O outputs in turn. (One at a time as you cali- the same small flat-head screwdriver or tweaker.
brate.) It is best to calibrate the inputs with the back of
the 192 I/O facing you and the Pro Tools screen
15 Set all Pro Tools track faders to their default
well in sight. If you cannot see the Pro Tools
of 0 dB (Alt-Shift-click (Windows) or Option-
screen, consider asking another person to assist
Shift-click (Macintosh).
you with the input calibration. When the level
16 The trim pots are located at the back of the is properly matched, the track name will stop
unit, underneath the DB-25 connector. The de- flashing and the peak volume indicator will in-
fault trim assignment is “A.” If you wish to cali- dicate your headroom value (the default is
brate both the A and B trims, select the active “–18.0”).
trim in the Analog Output tab in the Hardware
Setup dialog. The Automatch indicator arrows on each track
show the direction of adjustment required for
17 Adjust the I/O output level trim pot with a alignment:
small, flat-head screwdriver to align the outputs
◆ When the incoming level is higher than the
to read “0 VU” on the external VU meter. We
reference level, the down arrow will appear lit
recommend using a tweaker tool with a recessed
(blue). In this case, trim the I/O input level
flat-head surrounded by a plastic tube to hold
down.
the trim pot. Tweakers can usually be found at
electronic supply stores. ◆ When the incoming level is lower than the
reference level the up arrow will appear lit (red).
To calibrate the 192 I/O inputs: In this case, trim the I/O input level up.

1 Connect the 192 I/O outputs to a bank of When you have properly aligned the incoming
192 I/O inputs by doing either of the following: peak signal levels to match the calibration refer-
• Use a DB-25 to DB-25 straight through ca- ence level, both Automatch indicator arrows
ble. will light: the up arrow red and the down arrow
• Interconnect the XLR ends of DB-25-to- blue.
XLR together.
Above the fader is a peak volume indicator. This
2 In Pro Tools, select Options > Calibration indicator will show the dB level above and be-
Mode. low your chosen headroom value. If the peak in-
dicator is showing –19.1, you are –1.1 dB below
The names of all uncalibrated tracks begin to a headroom value of –18 dB. If the display is
flash. In addition, the track volume indicator of showing –16.5, you are +2.5 dB above your
each Auxiliary Input track receiving an external headroom value of –18 dB.
input signal now displays the reference level
coming from the calibrated output (default is 4 When you have finished, deselect Options >
–18 dB). Calibration Mode.

Appendix C: 192 I/O Calibration Mode Instructions 23

 Calibrating a System with Both
192 I/O and 96 I/O Audio
Interfaces
The “A” trim on the192 I/O is factory preset
with 18 dB of headroom in its +4 dB line level
operating mode. The 96 I/O, however, is fixed at
14 dB of headroom and its inputs are not adjust-
able.

When setting up a 96 I/O (particularly in sys-

tems using a combination of the 192 I/O and
96 I/Os), it may make sense to calibrate all I/Os
for –14 dB headroom. This helps ensure that re-
corded audio files have the same relative levels
regardless of which interface they user for re-
cording.

24 192 I/O Guide

index

Symbols C
+4 dBu 5, 6, 9 calibrate 22
calibrating the 888/24 I/O 22
Numerics calibration 9
–10 dBV 5, 6, 9 Cards
192 I/O I/O 5
Back Panel 5 cards
Front Panel 3 Analog In 5
Overview 3 Analog Out 5
96 I/O and level calibration 24 Digital I/O 5
removal 14
clipping 21
A
Clock Source 7
A/D converters 5
connecting a mixer 9
AC Power connector 8
Accessory Port 8
Adding I/O Cards 11
D
AES/EBU 6 DB–25 connectors 5
In/Out 7 DIG (Digital) mode 4
Analog In DigiLink 8
card 5 cable 8
Analog Input 5 Length Specifications 8
(+4 dBu) DB-25 17 digital distortion 21
(+4 dBu) DB-25 Pinout Diagram 17 Digital Format
(–10dBV) DB-25 18 settings 10
(–10dBV) DB-25 Pinout Diagram 18 Digital I/O
analog monitoring 1 card 5
Analog Out connectors 6
card 5 Digital mode 4
Analog Output 6 Digital tab 10
DB-25 Pinout Diagram 17 Dual-wire mode 6
Analog Output DB-25 17

Index 25
 E L
AES/EBU LED ring 3
AES/EBU 7 legacy
Enclosure peripheral port limitations 8
Optical (ADAT) 7 port 8
Connectors 6 Lightpipe
Expansion Optical port 7
DigiLink 8 line level 9
Peripheral Port Limitations 8 Loop
port 8 Master 4
expansion bay 11 Master LED 4
External Clock 7 mode 4
I/O ports 7 Loop Master
In 4 LED 4
port 4 mode 4
Loop Sync 4
H sample rates 7
Hardware Setup 3, 5
headroom 10 M
adjustable settings 9 Meters 4
settings 6 MIX-series 8
Soft Clip limiter and 9
O
I Optical
I/O Cards (ADAT) 4
Adding or Removing 11 I/O 6
Input Cards 5 Optical (ADAT)
Input Levels 9 about Lightpipe-compatible devices 7
Input Trims 5, 9 Output Cards 5
inputs Output Levels 10
calibrating 22 Output Trims 6, 10
Internal clock mode 4 outputs
(INT) 4 calibrating 22

P
Pinout Diagrams 17
Playback Engine 3, 9
Power Switch
and LED ring 3
Primary
DigiLink 8
port 8

26 192 I/O Guide

R
Removing an I/O Card 14
Removing I/O Cards 11

S
S/PDIF In/Out 7
Sample Rate 3
conversion 6
conversion, AES/EBU 10
conversion, Optical (ADAT) 10
conversion, TDIF and Optical (ADAT) 10
Session 4
Soft Clip limiter 9
and headroom 9
Sync Mode
LEDs 4
synchronization 7

T
TDIF 6
TDIF DB-25 Pinout Diagram 19
TOS-Link
Optical port and 7
Trims
Input 5
Output 6
Troubleshooting 14

W
word clock 4, 7

Index 27
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