SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS FOR THE STAGE-B16 (“PRODUCT”)
CAUTION! READ THIS SAFETY GUIDE BEFORE YOU BEGIN INSTALLATION OR OPERATION. FAILURE TO COMPLY WITH SAFETY INSTRUCTIONS
COULD RESULT IN BODILY INJURY OR EQUIPMENT DAMAGE.
HAZARDOUS VOLAGES: CONTACT MAY CAUSE ELECTRIC SHOCK OR BURN. TURN OFF UNIT BEFORE SERVICING.
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR OTHER MOISTURE.
CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
WARNING: DO NOT PERMIT FINGERS TO TOUCH THE TERMINALS OF PLUGS WHEN INSTALLING OR REMOVING THE PLUG TO OR FROM THE OUTLET.
WARNING: IF NOT PROPERLY GROUNDED THE MOTU PRODUCT COULD CAUSE AN ELECTRICAL SHOCK.
The MOTU product is equipped with a three-conductor cord and grounding type plug which has a grounding prong, approved by Underwriters' Laboratories and the Canadian Standards Association.
This plug requires a mating three-conductor grounded type outlet as shown in Figure A below. If the outlet you are planning to use for the MOTU product is of the two prong type, DO NOT REMOVE
OR ALTER THE GROUNDING PRONG IN ANY MANNER. Use an adapter as shown below and always connect the grounding lug to a known ground. It is recommended that you have a qualified
electrician replace the TWO prong outlet with a properly grounded THREE prong outlet. An adapter as illustrated below in Figure B is available for connecting plugs to two-prong receptacles.
WARNING: THE GREEN GROUNDING LUG EXTENDING FROM THE ADAPTER MUST BE CONNECTED TO A PERMANENT GROUND SUCH AS TO A
PROPERLY GROUNDED OUTLET BOX. NOT ALL OUTLET BOXES ARE PROPERLY GROUNDED.
If you are not sure that your outlet box is properly grounded, have it checked by a qualified electrician. NOTE: The adapter illustrated is for use only if you already have a properly grounded two-prong
receptacle. Adapter is not allowed in Canada by the Canadian Electrical Code. Use only three wire extension cords which have three-prong grounding type plugs and three-prong receptacles which
will accept the MOTU product plug.
IMPORTANT SAFEGUARDS
1. Read these instructions. All the safety and operating instructions should be read before operating the product.
2. Keep these instructions. These safety instructions and the product owner’s manual should be retained for future reference.
3. Heed all warnings. All warnings on the product and in the owner’s manual should be adhered to.
4. Follow all Instructions. All operating and use instructions should be followed.
5. Do not use the product near water.
6. Cleaning - Unplug the product from the computer and clean only with a dry cloth. Do not use liquid or aerosol cleaners.
7. Ventilation - Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
8. Heat - Do not install the product near any heat sources such as radiators, heat registers, stoves, or another apparatus (including an amplifier) that produces heat.
9. Overloading - Do not overload wall outlets and extension cords as this can result in a risk of fire or electrical shock.
10. Grounding - Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade
or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult and electrician for replacement of the obsolete outlet.
11. Power cord - Protect the product power cord from being walked on or pinched by items placed upon or against them. Pay particular attention to cords and plugs, convenience receptacles, and the point where they exit from the unit.
12. Power switch - Install the product so that the power switch can be accessed and operated at all times.
13. Disconnect - The main plug is considered to be the disconnect device for the product and shall remain readily operable.
14. Accessories - Only use attachments/accessories specified by the manufacturer.
15. Placement - Use only with the cart, stand, tripod, bracket or table specified by the manufacturer, or sold with the product. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
16. Surge protection - Unplug the product during lightning storms or when unused for long periods of time.
17. Servicing - Refer all servicing to qualified service personnel. Servicing is required when the product has been damaged in any way, such as when a power-supply cord or plug is damaged, liquid has been spilled or objects have fallen
into the product, the product has been exposed to rain or moisture, does not operate normally, or has been dropped.
18. Power Sources - Refer to the manufacturer’s operating instructions for power requirements. Be advised that different operating voltages may require the use of a different line cord and/or attachment plug.
19. Installation - Do not install the product in an unventilated rack, or directly above heat-producing equipment such as power amplifiers. Observe the maximum ambient operating temperature listed below.
20. Power amplifiers- Never attach audio power amplifier outputs directly to any of the unit’s connectors.
21. Replacement Parts - When replacement parts are required, be sure the service technician has used replacement parts specified by the manufacturer or have the same characteristics as the original part. Unauthorized substitutions
may result in fire, electric shock or other hazards.
22. Safety Check - Upon completion of any service or repairs to this MOTU product, ask the service technician to perform safety checks to determine that the product is in safe operating conditions.
ENVIRONMENT, HEAT AND VENTILATION
Operating Temperature: 10°C to 40°C (50°F to 104°). The product should be situated away from heat sources or other equipment that produces heat. When installing the product in a rack or any other location, be sure there is adequate
space around the product to ensure proper ventilation. Improper ventilation will cause overheating and can damage the unit.
TO REDUCE THE RISK OF ELECTRICAL SHOCK OR FIRE
Do not handle the power cord with wet hands. Do not pull on the power cord when disconnecting it from an AC wall outlet. Grasp it by the plug.
Do not expose this apparatus to rain or moisture. Do not place objects containing liquids on it.
AC INPUT
100 - 240VAC ~ • 50 / 60Hz • 0.5A max
3-prong plug
Grounding prong
Properly grounded 3-prong outlet
Grounding lug
Screw
3-prong plug
Adapter
Make sure this is connected to
a known ground.
Two-prong receptacle
Figure A Figure B
III
Contents
Part 1: Getting Started
7
Quick Start Guide
9
Stage-B16 Front Panel
10
Stage-B16 Rear Panel
11
MOTU AVB Control Web App
21
About the Stage-B16
25
Packing List and System Requirements
27
Software Installation
31
Hardware Installation
Part 2: Using the Stage-B16
45
Presets
49
Working with Host Audio Software
57
Mixer Effects
63
Networking
Part 3: Appendices
71
Troubleshooting
73
Audio Specifications
75
Mixer Schematics
79
Updating Firmware
81 OSC Support
83 Rack-mount brackets and handles
85 Index
About the Mark of the Unicorn License Agreement and
Limited Warranty on Software
TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the
terms and conditions of the “click-wrap” license agreement presented to you when
you install the software. Using the software or this documentation indicates your
acceptance of the terms and conditions of that license agreement.
Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation.
Both the program and the documentation are protected under applicable copyright,
trademark, and trade-secret laws. Your right to use the program and the
documentation are limited to the terms and conditions described in the license
agreement.
Reminder of the terms of your license
This summary is not your license agreement, just a reminder of its terms. The actual
license can be read and printed by running the installation program for the software.
That license agreement is a contract, and clicking “Accept” binds you and MOTU to
all its terms and conditions. In the event anything contained in this summary is
incomplete or in conflict with the actual click-wrap license agreement, the terms of the
click-wrap agreement prevail.
YOU MAY: (a) use the enclosed program on a single computer; (b) physically transfer
the program from one computer to another provided that the program is used on only
one computer at a time and that you remove any copies of the program from the
computer from which the program is being transferred; (c) make copies of the
program solely for backup purposes. You must reproduce and include the copyright
notice on a label on any backup copy.
YOU MAY NOT: (a) distribute copies of the program or the documentation to others;
(b) rent, lease or grant sublicenses or other rights to the program; (c) provide use of
the program in a computer service business, network, time-sharing, multiple CPU or
multiple user arrangement without the prior written consent of MOTU; (d) translate,
adapt, reverse engineer, decompile, disassemble, or otherwise alter the program or
related documentation without the prior written consent of MOTU.
MOTU warrants to the original licensee that the disk(s) on which the program is
recorded be free from defects in materials and workmanship under normal use for a
period of ninety (90) days from the date of purchase as evidenced by a copy of your
receipt. If failure of the disk has resulted from accident, abuse or misapplication of the
product, then MOTU shall have no responsibility to replace the disk(s) under this
Limited Warranty.
THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF,
AND YOU HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH
EXPRESS AND IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES
OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE
LIABILITY OF MOTU PURSUANT TO THIS LIMITED WARRANTY SHALL BE
LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK(S), AND IN NO
EVENT SHALL MOTU OR ITS SUPPLIERS, LICENSORS, OR AFFILIATES BE
LIABLE FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, INCLUDING
BUT NOT LIMITED TO LOSS OF USE, LOSS OF PROFITS, LOSS OF DATA OR
DATA BEING RENDERED INACCURATE, OR LOSSES SUSTAINED BY THIRD
PARTIES EVEN IF MOTU HAS BEEN ADVISED OF THE POSSIBILITY OF
SUCH DAMAGES. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS
WHICH MAY VARY FROM STATE TO STATE. SOME STATES DO NOT ALLOW
THE LIMITATION OR EXCLUSION OF LIABILITY FOR CONSEQUENTIAL
DAMAGES, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU.
Update Policy
In order to be eligible to obtain updates of the program, you must complete and return
the attached Mark of the Unicorn Purchaser Registration Card to MOTU.
Copyright Notice
Copyright © 2015 by Mark of the Unicorn, Inc. All rights reserved. No part of this
publication may be reproduced, transmitted, transcribed, stored in a retrieval system,
or translated into any human or computer language, in any form or by any means
whatsoever, without express written permission of Mark of the Unicorn, Inc., 1280
Massachusetts Avenue, Cambridge, MA, 02138, U.S.A.
Limited Warranty on Hardware
Mark of the Unicorn, Inc. and S&S Research (“MOTU/S&S”) warrant this equipment
against defects in materials and workmanship for a period of TWO (2) YEARS from
the date of original retail purchase. This warranty applies only to hardware products;
MOTU software is licensed and warranted pursuant to separate written statements.
If you discover a defect, first write or call Mark of the Unicorn at (617) 576-2760 to
obtain a Return Merchandise Authorization Number. No service will be performed on
any product returned without prior authorization. MOTU will, at its option, repair or
replace the product at no charge to you, provided you return it during the warranty
period, with transportation charges prepaid, to Mark of the Unicorn, Inc., 1280
Massachusetts Avenue, MA 02138. You must use the product’s original packing
material for in shipment, and insure the shipment for the value of the product. Please
include your name, address, telephone number, a description of the problem, and
the original, dated bill of sale with the returned unit and print the Return Merchandise
Authorization Number on the outside of the box below the shipping address.
This warranty does not apply if the equipment has been damaged by accident,
abuse, misuse, or misapplication; has been modified without the written permission
of MOTU, or if the product serial number has been removed or defaced.
ALL IMPLIED WARRANTIES, INCLUDING IMPLIED WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE
LIMITED IN DURATION TO TWO (2) YEARS FROM THE DATE OF THE
ORIGINAL RETAIL PURCHASE OF THIS PRODUCT.
THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE
AND IN LIEU OF ALL OTHERS, ORAL OR WRITTEN, EXPRESS OR IMPLIED.
No MOTU/S&S dealer, agent, or employee is authorized to make any modification,
extension, or addition to this warranty.
MOTU/S&S ARE NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR
CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF
WARRANTY, OR UNDER ANY LEGAL THEORY, INCLUDING LOST PROFITS,
DOWNTIME, GOODWILL, DAMAGE OR REPLACEMENT OF EQUIPMENT
AND PROPERTY AND COST OF RECOVERING REPROGRAMMING, OR
REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH
MOTU/S&S PRODUCTS.
Some states do not allow the exclusion or limitation of implied warranties or liability for
incidental or consequential damages, so the above limitation or exclusion may not
apply to you. This warranty gives you specific legal rights, and you may have other
rights which vary from state to state.
MOTU, Digital Performer, AudioDesk, Mark of the Unicorn and the unicorn silhouette
logo are trademarks of Mark of the Unicorn, Inc.
Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S.
and/or other countries.
This equipment has been type tested and found to comply with the limits for a class B digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with the instruction manual,
may cause harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause interference to radio
or television equipment reception, which can be determined by turning the equipment off and on, the
user is encouraged to try to correct the interference by any combination of the following measures:
• Relocate or reorient the receiving antenna
• Increase the separation between the equipment and the receiver
• Plug the equipment into an outlet on a circuit different from that to which the receiver is connected
If necessary, you can consult a dealer or experienced radio/television technician for additional
assistance.
PLEASE NOTE: only equipment certified to comply with Class B (computer input/output devices,
terminals, printers, etc.) should be attached to this equipment, and it must have shielded interface
cables in order to comply with the Class B FCC limits on RF emissions.
WARNING: changes or modifications to this unit not expressly approved by the party
responsible for compliance could void the user's authority to operate the equipment.
Part 1
Getting Started
CHAPTER
7
Quick Start Guide
Thank you for purchasing a Stage-B16! Follow
these easy steps to get started quickly.
1 Download and run the MOTU AVB Installer or
MOTU AVB USB Installer.exe found here:
http://www.motu.com/avb
2 (Optional) For quick access to the Stage-B16
from your iPad or iPhone, download the MOTU
AVB Discovery app from the Apple App Store.
☛ Your iPhone and iPad must be on the same
Wi-Fi network as your computer.
3 Connect the interface to your computer with a
USB cable (included). If you have a Thunderbolt-
equipped Mac running OS X Yosemite (10.10) or
later, you can alternately connect the Stage-B16 to
the Mac’s Ethernet port with a standard CAT-5e or
CAT-6 Ethernet cable (sold separately).
4 Switch on the Stage-B16.
5 Open the MOTU AVB Control web app by doing
one of the following:
■ If you have a Mac, choose the Stage-B16 from the
MOTU AVB Discovery app menu, as shown below.
■ If you have a PC, launch the MOTU AVB WebUI
Setup shortcut found on the Windows desktop or
in Start menu> All Programs> MOTU.
■ From your iPad or iPhone, launch the MOTU
AVB Discovery app, and tap your interface.
■ You should now see the MOTU AVB Control web
app in your browser, as shown on page 12. If not,
visit Appendix A, “Troubleshooting” (page 71).
■ For advanced network options, and device
discovery from any modern browser, see chapter 8,
“Networking” (page 63).
6 Choose a preset from the Quick Setup.
MOTU AVB Discovery app menu
Preset Application
Audio interface Operate as a standard audio interface.
Stand-alone mixer Operate as a stand-alone mixer, where all
inputs are mixed to the main outs and mon-
itor outs.
Interface + mixer A combination of the above two presets.
Live recording with
monitor mixing
Record a live concert or recording session,
with a full monitor mix.
Stage box Routes the Stage-B16’s audio inputs to
another AVB interface using AVB network
streams through the Ethernet cable. Simi-
larly, the Stage-B16’s outputs are connected
to sources on the network via Ethernet.
Stage box with
mixing
Same as above, except that this preset routes
the incoming network audio to the
StageB16’s mixer. The mixer then distrib-
utes separate mixes to Stage-B16’s outputs.
8
Stage-B16 Front Panel
1. MIC INPUTS. Connect up to 16 microphones here. Each
input provides individual preamp gain (63 dB), switch-
able 48V phantom power and an optional -20 dB pad.
You can also connect a line input with the pad engaged.
2. The balanced XLR LINE OUTPUTS provide analog output
for primary (powered) studio monitors or PA speakers,
stage monitors or any other desired destination.
Control volume from the MOTU AVB Control web app.
3. AES/EBU digital outputs provide two independent
stereo pairs of digital output at all standard sample
rates from 44.1 to 96 kHz.
4. Press MUTE ALL to temporarily mute all analog inputs
and outputs, to avoid noise artifacts when hot-
plugging or unplugging cables. Press again to unmute.
If you press and hold the button, it will temporarily
mute while you are pressing.
5. When you press SHOW 48V, the LEDs glow red if their
corresponding mic input has 48V phantom power
enabled. This feature is meant to give you a quick
overview of which channels currently have 48V power.
Press again to exit this mode. If you press and hold the
button, it will temporarily display 48V phantom power
while you are pressing.
6. The LEDs show signal activity for the 16 mic inputs, the
eight analog outputs and the two AES/EBU outputs.
The LEDs are arranged in the same configuration as the
connectors themselves on the front panel.
7. Optional rack bracket and handle. For information, see
Appendix F, “Rack-mount brackets and handles”
page (83).
8. HEADPHONE OUTPUT with volume control. You can also
use this phone volume knob to do a factory reset. For
details, see Appendix A, “Troubleshooting” page (71).
9. POWER and AVB indicator LEDs. The AVB LED has two
states: red (no AVB connected) and green (AVB connec-
tion is established and functional).
10. This AVB ethernet port provides industry standard IEEE
802.1 network connectivity to other network devices.
Examples include:
■ Another Stage-B16 or any other MOTU AVB-equipped
audio interface, such as the 1248, 8M, 16A, 24Ai,
24Ao, 112D, Monitor 8, etc.
■ A standard ethernet hub or Wi-Fi router (for internet
connection and communication with the web app
software).
■ A standard AVB Ethernet switch for high-speed, low-
latency, high-capacity audio connectivity to an AVB
audio network.
■ A recent-generation Mac (any Mac with a Thunder-
bolt port) running OS X Yosemite (10.10) or later. This
allows you to operate the Stage-B16 as an audio
interface over Ethernet.
1 2 654
8
3
910
7
Stage-B16 Rear Panel
1. The Stage-B16 is equipped with an auto-switching
international power supply.
2. Connect the Stage-B16 to a computer here using a
standard USB cable.
3. The Stage-B16 operates as a USB MIDI interface,
allowing MIDI software to communicate with
connected MIDI devices through the USB connec-
tion to the computer. Connect a MIDI device here
using standard MIDI cables. Connect the
Stage-B16’s MIDI OUT port to the MIDI IN port on
the other device. Conversely, connect the
Stage-B16’s MIDI IN port to the MIDI OUT port on
the other device. For further details, see “MIDI
connections” on page 39.
21 3
CHAPTER
11
MOTU AVB Control Web App
OVERVIEW
MOTU AVB Control is a web app that gives you
complete control over the Stage-B16. If you have
several MOTU AVB interfaces networked together,
such as the Stage-B16, 1248 and 8M, you can
control them all. If you are working with a large
network of many MOTU AVB interfaces, you can
access any device on the network.
IT’S NOT ON YOUR HARD DRIVE
The MOTU AVB Control web app is served from
the Stage-B16 hardware itself, therefore it is not an
application on your computer’s hard drive. Instead,
access it by using the MOTU AVB Discovery app for
Mac, the MOTU AVB WebUI Setup for Windows or
through your web browser by typing your MOTU
device’s IP Address into the address bar.
USE YOUR FAVORITE WEB BROWSER
The MOTU AVB Control web app runs in any
modern web browser on any device connected to
the Stage-B16, either directly or wirelessly through
a Wi-Fi network. You can use any device you wish:
a desktop computer, laptop, iPad, tablet, iPhone or
smart phone. If it can run a web browser, it can run
the web app. You can use any browser you prefer:
Chrome, Firefox, Safari, IE 11 etc. The latest
versions are strongly recommended.
CONTROL FROM MULTIPLE DEVICES
You can run the web app on multiple host devices
simultaneously.
RUN THE INSTALLER, GET THE APP
Visit www.motu.com/avb to get the latest MOTU
AVB installer and run it on your computer to install
the MOTU AVB Discovery app (Mac) or MOTU
AVB WebUI Setup (Windows) and other software
elements. Visit the Apple App Store to download
the discovery app onto your iPad or iPhone.
MAKE HARDWARE AND NETWORK
CONNECTIONS
Connect your Stage-B16 to your computer or
laptop with a USB cable. Make sure your iPad,
iPhone, tablet or smartphone is connected to the
same Wi-Fi network as your computer or device.
You can use any network connection explained in
“Setup for web app control” on page 36.
LAUNCHING THE WEB APP
To launch the web app, do any of the following:
■ If you have a Mac, choose the Stage-B16 from the
MOTU AVB Discovery app menu (see below). On
Windows, launch the MOTU AVB WebUI Setup
shortcut found on the Windows desktop or in Start
menu> All Programs> MOTU.
■ From your iPad or iPhone, launch the MOTU
AVB Discovery app.
■ In your favorite web browser, type this URL:
localhost:1280. (This URL requires a USB
connection to the Stage-B16.)
You should now see the MOTU AVB Control web
app in your browser, as shown on page 12. If not
visit Appendix A, “Troubleshooting” page (71).
MOTU AVB CONTROL WEB APP
12
DEVICE TAB
10
6
7
12
13
5
4
3
2
1
8
17
1. If you have two or more MOTU AVB
interfaces, the Device list lets you
choose the one you are currently
controlling with the web app.
2. The Aux Mixing tab lets you view
each Aux bus in the mixer, one at a
time.
3. The Mixing tab gives you access to
the mixing and DSP in the interface.
4. The Routing tab displays a grid
matrix, where you can make direct
connections between inputs and
outputs, your computer, the mixer,
and network audio streams, if
networked interfaces are connected.
5. The Device tab has settings for the
hardware itself, such as analog input
and output trim.
6. Expands and collapses the sidebar.
7. Lets you create, save, recall and
manage presets for the Stage-B16.
These presets capture and recall the
complete state of the device (all
settings in all tabs).
8. Choose the number of audio
channels you want to use over USB,
which depends on the sample rate.
9. Choose the desired sample rate.
10. Click to rename the interface. To
restore the default name, delete the
current name.
11. The Quick Setup button prompts
factory presets used to configure
your interface for a specific applica-
tion. See chapter 5, “Presets”
(page 45).
12. Click this device ID button to identify
the unit you are currently viewing
and controlling with the web app
software. The front panel on the
hardware itself will flash LEDs, and
its name will also flash in the Device
list (1).
13. If an update is available for your
device, and the computer you are
viewing it from is connected to the
internet, you’ll be notified here. Click
More Info to learn what’s new and
start the update process. Firmware
updating requires a network
connection. See Appendix D,
“Updating Firmware” page (79).
14. Choose the clock source from the
Clock Mode menu. Your MOTU device
will resolve its digital clock to this
master source.
15. The Clock Status icon indicates that
the current device (1) is successfully
resolved to its chosen Clock Mode
source (14). If it cannot lock for some
reason, this icon flashes red. Check
your chosen clock source, cables, etc.
16. If you have multiple MOTU AVB
interfaces, one of them may serve as
a master clock source for the
network. Click the Become Clock
Master button to choose the current
interface (1) as the master clock
source.
17. The Input Settings section provides
preamp gain settings for the 16 mic
inputs, plus phase invert, 48V
phantom power and -20 dB pad.
18. The Output Settings section lets you
adjust the trim for the analog
outputs. The Phones output
provides full volume control. Analog
outputs provide calibration control
(-24 to 0 dB).
16
15
11
14
18
9
MOTU AVB CONTROL WEB APP
13
DEVICE TAB (CONTINUED)
19
22
Scroll down to view these additional
Device tab settings.
18. AVB is IEEE’s Audio Video Bridging
Ethernet standard for high-
bandwidth, low-latency audio
streaming over Ethernet. If your
Stage-B16 is connected to a 2nd
MOTU AVB interface through its
network port, or to an AVB switch for
access to an extended AVB network,
you can stream audio channels to
and from other devices on the
network. AVB streams are handled
in banks of eight channels, so if you
enable 2 streams, that’s 16 channels.
See chapter 8, “Networking”
(page 63).
19. If you have the AVB network input
stream enabled (18), connect them
to the output streams of other
devices on the network here. This is
how you route audio from the other
devices to the Stage-B16. The menu
flashes while the connection is
being established. This could take up
to 30 seconds, depending on
network traffic conditions. If the
connection can’t be made for some
reason, the stream name turns italic.
20. In the Input/Output Banks sections,
you can disable any banks that you
are not using. Doing so hides them
from the routing matrix and mixer to
simplify operation. Doing so also
helps conserve DSP resources.
21. The Optical Setup section is grayed
out because the Stage-B16 does not
have any optical ports.
22. Use these buttons to manually check
for and install updates for the
Stage-B16. For complete details, see
Appendix D, “Updating Firmware”
page (79). Updating from a file can
be done offline from your computer,
using an update you’ve obtained
through MOTU’s web site or tech
support department. The Check For
Updates button requires that the
computer (or device) you are using
to view the Stage-B16 is connected
to the internet through a local
network or Wi-Fi. Updating from the
internet is easy and convenient.
23. Use these buttons to reboot the
Stage-B16 or restore factory presets.
24. In the Computer Setup section, you
can specify how many audio
channels you would like to be able to
stream to and from your computer,
up to 64 channels each way, simul-
taneously. Map them as desired in
the Routing tab (page 14).
25. The digital mixer in the Stage-B16
supports up to 48 channels. If you
don’t need that many inputs, you
can lower the number here to
simplify mixer and routing opera-
tion and conserve DSP bandwidth
for effects processing.
25
21
18
23
24
20
MOTU AVB CONTROL WEB APP
14
ROUTING TAB
54 7
11
3
2
12
The Routing Tab lets you route inputs to
outputs. Outputs are listed by row on the
left; inputs are listed in columns across
the top. Simply click in the grid to make
a single connection. Click and drag to
make multiple connections in one
gesture. To route a single input to multi-
ple outputs, make multiple connections
vertically in the same column below the
input. To mix multiple inputs to the
same output, you’ll need to use the
mixer (page 15) and the Mix In bank in
the routing tab (16).
1. In its collapsed form, (shown here),
the sidebar displays icons for each
tab.
2. Click this icon to view the Routing
tab, shown on this page.
3. Click here to show or hide the
sidebar.
4. Create, save, recall and manage
routing presets.
5. Outputs are listed in rows on the left.
6. When you make a connection, the
source (input) signal is listed by
name here in the Source column,
just to the right of the output it is
being routed to.
7. Inputs are listed in columns across
the top of the grid, starting with the
physical inputs on the hardware
itself. In this example, the 16 mic
inputs are being routed to the
computer and to the Stage-B16’s
mixer inputs 1-16. Computer
channels (coming into the
Stage-B16 over USB) are being
routed to the four AES/EBU outs.
8. The From Computer input bank lets
you route audio channels from your
host audio software to any output,
including AVB network streams or
the mixer, where you can mix
computer audio with local inputs.
Use the Device tab to choose how
many computer channels are avail-
able.
9. AVB streams are 8-channel banks
that let you route audio to or from
other devices on the AVB network (if
any are connected) to local
hardware inputs and outputs. Use
the Device tab (page 13) to config-
ure how many AVB streams you wish
to work with. If you aren’t working
with network audio, you can set the
number of streams to zero.
10. These input streams are busses that
originate from the mixer, which
supplies the main mix bus, monitor
mix bus, seven stereo aux busses,
three stereo group busses, a reverb
return bus and postFX channel sends
(for sending processed inputs to the
computer or elsewhere). You can
route these mixer busses to any
outputs you wish (5), including
physical outputs, host software on
your computer, other devices on the
AVB network, or even back in to the
mixer (beware of feedback loops!)
11. Use these triangles to expand or
collapse groups of inputs. For
example, it might be convenient to
collapse banks that you are not
using at the moment.
12. Click a channel label to rename it.
13. Audio activity indicators.
14. Here, the Main Outs from the mixer
are being routed to the Phones on
the Stage-B16 and Analog Outs 1-2.
15. Click the grid to make a connection.
Click a connection to remove it. Click
and drag to make or break multiple
connections in one gesture.
16. The Mix In group lets you route audio
to the 48-channel mixer.
17. This AVB output stream lets you
route any audio to other devices on
the AVB network.
18. The To Computer output bank routes
any input to host audio software
running on your computer. Use the
Device tab to choose how many
computer channels are available.
19. Use these triangles to expand or
collapse groups of outputs.
20. These are the physical outputs on
the interface itself.
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MOTU AVB CONTROL WEB APP
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MIXING TAB
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The Mixing tab gives you full access to
the 48-channel mixer in the Stage-B16,
which provides a main mix bus, monitor
bus, three group busses, seven aux
busses, and a dedicated reverb bus. Use
the Device tab to configure how many
inputs you wish to work with (up to 48).
Use the Routing tab (page 14) to route
channels to the mixer inputs. Channels
can come from any source, such as the
physical inputs on the interface,
channels coming from the computer, or
channels coming from the AVB network.
1. Shows and hides the Mixer Setup
sidebar (3), which lets you show and
hide channels, channel strip
settings, effects, and the Legend (6).
2. The Mixing tab selects the mixer.
3. Use the Mixer Setup sidebar to show
and hide elements in the mixer.
4. Shows and hides all elements in the
section with one click.
5. Create, save, recall and manage
mixer presets.
6. This column is the Legend. It
provides labels and controls for
channel strip sections. The menu at
the top lets you create, name, save
and manage entire mixer presets.
7. Mixer input channels.
8. This input channel has its Gate and
Compressor enabled. Disabled
effects are grayed out.
9. This is Group bus 1-2. You can send
inputs to this group with their Group
send fader (25). Groups are sent to
the Main Mix with its Main send
fader (25) or aux busses (19).
10. Group buses, the main mix bus, and
the reverb return bus are equipped
with the Leveler, a vintage compres-
sor modeled after the Teletronix
LA-2A leveling amplifier.
11. The reverb channel strip provides
the reverb processor. Use the reverb
send on inputs or groups to route
them to the reverb bus, which can
then be mixed in with the main mix
or aux busses. Disable the reverb
processor to use it as an extra group.
12. The Monitor Bus can mirror the
output of any other bus, or it can act
as a separate Solo bus. See page 18.
13. The Main Mix bus is the master fader
for the entire mixer. You can add EQ
and Leveler compression.
14. Adjust Aux bus output levels here, or
in the Aux Mixing tab (page 16).
15. Click a name to change it, except for
the Main Mix, Monitor, and Reverb
busses, which cannot be changed.
16. Stereo toggle to switch channels
pairs between mono or stereo. Use
the other menus to manage channel
strip presets and to choose audio
sources and destinations for mixer
inputs and bus outputs.
17. Gate processing for inputs.
18. The Dynamics section provides a
conventional compressor for inputs
and the Leveler for output busses.
19. Reverb and aux sends.
20. Solo and mute. On the Monitor bus,
the SC button clears all solos.
21. Channel faders.
22. Choose the source for the Monitor
bus from this menu. It can mirror
any output bus or the Solo Bus.
23. When Follow Solo is enabled, the
Monitor bus temporarily switches to
the solo bus when any channel is
soloed.
24. Main Mix sends.
25. Group sends.
26. ‘S’ lets you solo the group. ‘PRE’
toggles the sends between pre- and
post-fader routing, i.e. before or
after the channel fader. ‘PAN’
enables panning for the send on
mono inputs, independent of main
bus panning.
27. Show and hide output busses here.
28. Show/hide all busses with one click.
29. Same as (26) above for Aux busses
and reverb. The ‘PAN’ button is only
available when the bus is stereo.
30. Show and hide inputs here.
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MOTU AVB CONTROL WEB APP
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AUX MIXING TAB
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The Aux Mixing tab provides quick
access to the Stage-B16’s mix busses
(aux busses, groups and reverb bus),
viewed one at a time. Choose a bus in
the Aux Mix Target section and then use
the faders to directly mix the send levels
from all mixer inputs, groups, and the
reverb bus.
1. Shows and hides the Mixer Setup
sidebar (3), which lets you show and
hide channels.
2. The Aux Mixing tab (shown on this
page) gives you access to the Aux
busses and groups in the mixer.
3. Use the Aux Mix Target sidebar to
control which aux bus or group you
are currently viewing. You can also
show/hide inputs and group sends.
4. Click the aux bus or group you wish
to view in the window. In this
example, Aux bus 1-2 is being
displayed.
5. These are mixer inputs (aux sends
from each mixer channel). To include
an input in the aux bus mix, simply
bring up its fader. If pan is enabled
for the aux bus (11, or item #26 on
page 15), you’ll see a pan knob
below the fader, as shown here.
6. These are sends from group busses.
7. This is the send from the reverb bus.
8. This is the master fader for the
current aux bus being viewed (4).
9. Indicates if the input or group is
stereo or mono. This indicator is for
display purposes only. To toggle
between mono and stereo opera-
tion, use the toggle switch in the
Mixing tab (item #16 on page 15).
10. Solo and mute for the aux bus
master fader.
11. Enables enables panning for stereo
busses, independent of main bus
panning.
12. When Prefader is enabled, all send
levels to the aux bus are indepen-
dent of the main fader for each
channel. In other words, changing
an individual channel’s main fader in
the Mixing tab won’t affect its send
level to the bus.
13. Click the View Personal Mix button
to open a new web page that
displays only that specific aux mix or
group.
14. Show and hide mix groups and the
reverb bus here.
15. Use the Groups button here to show
or hide all groups with one click.
16. Show and hide mixer inputs
(channel sends) here.
17. Show and hide all mixer inputs with
one click here.
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MOTU AVB CONTROL WEB APP
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MIXER INPUT CHANNEL STRIPS
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To access a mixer input channel strip, go
to the Mixing tab (page 15), reveal the
side bar (item #3 on page 15), and then
show the input channel you want in the
Mixer Inputs section (30).
To show and hide sections of the channel
strip, such as EQ or the compressor, use
the Controls section of the side bar (item
#3 in the Mixing tab on page 15).
1. Click the input channel name to
change it. Delete the current name to
restore the default name.
2. Provides hardware settings for
inputs, if any, such as preamp gain. If
there are no hardware settings for the
assigned input, this icon is grayed
out.
3. Choose the source for the input
channel. You can also make this
setting directly on the Routing grid
(page 14).
4. Create, name, save and recall channel
strip presets.
5. Toggles the input between mono and
a stereo pair.
6. High Pass Filter with cutoff frequency.
7. Each effect in the channel strip (High
Pass Filter, Gate, EQ, etc.) has an on/
off button (on the left) and a preset
menu on the right, for managing
presets that apply only to that
processing module. For example, you
can create your own EQ presets for the
EQ modules.
8. The Gate processor provides standard
attack, threshold and release
controls.
9. The Gate indicator turns red when the
gate is engaged.
10. The EQ section provides four bands of
parametric EQ, each with standard
Gain, Frequency, and Bandwidth
settings.
11. The High and Low EQ bands provide a
Shelf filter button for standard high
and low shelf filtering.
12. The Compressor provides standard
controls for Threshold, Ratio, Attack,
Release and Gain. Normally, the
compressor operates in Peak mode,
where signal peaks determine the
input level. Engage the RMS button to
uses RMS values (a computational
method for determining overall
loudness) to measure the input level.
13. Input level and gain reduction meters
for the compressor.
14. Aux and reverb sends, with panning,
if enabled.
15. Solo/Mute. Mute affects all sends as
well as the main channel. Pre-fader
sends are not affected by Mute.
16. Move the fader to adjust level.
Double-click to return to zero (unity
gain) or -∞.
17. Click the dB scale numbers to make
the fader jump exactly to that level.
Click and drag horizontally to jump
consecutive faders to the same level.
18. Click to type in an exact dB level.
19. Channel pan. For mono inputs,
double-click to center.
20. Main Mix Slider is used to feed signal
to the Main Mix. Slider is set to 0 dB
by default, so all channel strips are
pre-routed to the Main Mix bus. If a
channel is being sent to a Group
(which will eventually be fed to the
Main Mix), drag the slider to -∞ so it
is not sent to Main Mix directly.
21. Group sends, with panning, if
enabled.
22. ‘S’ lets you solo the group. ‘PRE’
toggles the sends between pre- and
post-fader routing, i.e. before or after
the channel fader. Groups are always
stereo, as indicated by the dots. ‘PAN’
enables panning for stereo bus sends,
independent of main bus panning.
The ‘PAN’ button is only available
when the bus is stereo.
23. Clears all solos.
24. ‘S’ lets you solo the aux bus. ‘PRE’
toggles the sends between pre- and
post-fader routing, i.e. before or after
the channel fader. The dots let you
toggle the aux bus between mono
and stereo. ‘PAN’ enables panning for
stereo bus sends, independent of
main bus panning. The ‘PAN’ button is
only available when the bus is stereo.
25. This side bar, with the section labels
in it, can be shown or hidden using
the Legend switch in the Controls
section of the side bar (item #3 in the
Mixing tab on page 15).
26. Shows how much DSP power is being
used by the mixer hardware. To free
up DSP bandwidth, try reducing the
number of mixer ins, disabling
channel effects, reverb, etc. See “DSP
Usage” on page 62 for more info.
MOTU AVB CONTROL WEB APP
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MAIN MIX AND MONITOR CHANNEL STRIPS
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To access the Main Mix and Monitor bus
channel strips, go to the Mixing tab
(page 15) and scroll the display to the
right, beyond the inputs and groups.
To show and hide sections of the channel
strip, such as EQ or the Leveler, use the
Controls section of the side bar (item #3 in
the Mixing tab on page 15).
1. By default, the Monitor bus serves as
a solo bus. However, it can be set to
mirror the main mix bus, or any other
aux bus, group, or the reverb bus, in
addition to monitoring solo. Make
this choice in the source menu (12).
Use the Routing grid (page 14) to
specify the output for the Monitor
bus.
2. The Main Mix bus is the primary
stereo mix.
3. Provides hardware settings for any
assigned outputs that have them. For
example, if the Main Mix bus is
assigned to the Main Outs on the
Stage-B16, you’ll see trim settings for
the outputs. This item is grayed out if
there are no hardware settings for
output.
4. Use this output assignment widget to
choose the destination — or multi-
ple destinations — for the bus. You
can also make this setting directly on
the Routing grid (page 14).
5. Use the preset menus to create save,
recall, and otherwise manage
channel strip presets for the Monitor
bus and Main Mix bus.
6. Indicates that the bus is stereo.
7. The four-band parametric EQ for the
Main Mix bus operates the same as
described for input channels (items
10 and 11 on page 17), including
High and Low Shelf filter options.
8. The Leveler provides specialized gain
reduction modeled after the legend-
ary Teletronix LA-2A Leveling Ampli-
fier. For complete details, see
“Leveler” on page 60.
9. Mutes for the Main Mix bus and
Monitor bus.
10. Master faders for the Main Mix bus
and Monitor bus. Use the same
techniques described for input
channel faders (items 16, 17 and 18
on page 17).
11. When Follow Solo is enabled, the
Monitor bus switches to the solo bus
when any channel is soloed. NOTE: if
an aux bus is soloed, then the Monitor
bus carries only the soloed aux bus
(any current channel solos are
excluded).
12. Choose the source for the Monitor bus
from this menu. It can mirror the
main mix, any aux bus, group, the
reverb bus, or it can serve only as a
Solo bus.
13. The SC button clears all solos.
14. This mid-band EQ is currently
disabled (and therefore grayed out).
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MOTU AVB CONTROL WEB APP
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AUX BUS CHANNEL STRIPS
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Aux busses can be used to create sub-mixes.
An aux bus can be assigned to any output in
the Routing grid (page 14).
To access an Aux bus channel strip, go to the
Mixing tab (page 15), reveal the side bar (item
#3 on page 15), and then show the aux busses
you want in the Mixer Outputs section (27).
To show and hide the four-band EQ section of
the channel strip, use the Controls section of
the side bar (item #3 in the Mixing tab on
page 15).
1. A stereo aux bus.
2. A mono aux bus.
3. Click this dot to toggle an aux bus between
mono and stereo.
4. The four-band parametric EQ module for
Aux busses operates the same as described
for input channels (items 10 and 11 on
page 17), including High and Low Shelf
filter options.
5. Aux bus solo and mute.
6. Aux bus master fader.
7. Click to type specific value manually.
8. Click the dB scale numbers to make the
fader jump exactly to that level. Click and
drag horizontally to jump consecutive
faders to the same level.
9. A disabled EQ band.
10. Use these menus (hardware settings,
output assignment, and presets) in a
similar fashion as described for the Main
Out bus (items 3-5 on page 18).
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MOTU AVB CONTROL WEB APP
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GROUP AND REVERB CHANNEL STRIPS
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Group busses can be used to create a mix sub-
group, which is a set of inputs you wish to
control together as a group. Groups differ from
aux busses in that they have aux sends, a reverb
send, as well as a main mix send. In addition,
group busses are equipped with the Leveler.
The Reverb bus is a special group bus that
provides a reverb processor. If you disable the
reverb, the reverb bus functions as a (fourth)
regular group bus.
To access the Group and Reverb bus channel
strips, go to the Mixing tab (page 15), reveal the
side bar (item #3 on page 15), and then show
the desired Group busses or Reverb bus in the
Mixer Outputs section (27).
To show and hide the four-band EQ section of
the channel strip, use the Controls section of the
side bar (item #3 in the Mixing tab on page 15).
1. A Group bus channel strip. Click the name to
rename it. Delete the current name to return
to its default.
2. The Reverb bus. If you disable the Reverb
processor, it can be used as a fourth Group
bus. The Reverb channel strip is twice as
wide as other mixer channel strips to
accommodate the Reverb processor
controls.
3. Group busses and the Reverb bus are always
stereo.
4. The four-band parametric EQ module for
Group busses and the Reverb bus operates
the same as described for input channels
(items 10 and 11 on page 17), including
High and Low Shelf filter options.
5. The Reverb processor. For complete infor-
mation, see “Reverb” on page 61.
6. Main Mix sends.
7. Master faders for the Group and Reverb
busses.
8. Mute and Solo.
9. Use these menus (hardware settings, output
assignment, and presets) in a similar
fashion as described for the Main Out bus
(items 3-5 on page 18).
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CHAPTER
21
1 About the Stage-B16
Stage-B16 is an 16 x 12 stage box and USB/AVB
audio interface with console-style 48-channel
mixing, DSP effects, wireless control , AVB audio
networking and very high quality A/D/A
conversion at sample rates up to 192 kHz.
Powerful DSP delivers large console style mixing
with 48 channels, 12 stereo busses, and 32-bit
floating point effects processing, including
modeled analog EQ, vintage compression and
classic reverb. Matrix routing lets you quickly
patch ins to outs, or split inputs to multiple
destinations.
The Stage-B16 can operate as a conventional stage
box with AVB networking, as an audio interface for
a studio workstation (DAW), as a standalone mixer
or as an auxiliary monitor mixing system in the
studio or on stage. The following sections provide a
brief overview of its main features and character-
istics.
Comprehensive analog I/O
The Stage-B16 provides a sixteen inputs and twelve
outputs.
Network I/O
Stage-B16 is also capable of handling four
8-channel banks of network audio input and four
8-channel banks of network output for an
additional 32 channels of network I/O.
Other MOTU AVB interfaces
The Stage-B16 is part of a larger family of audio
interfaces that offer complementary I/O configura-
tions. For details, visit motu.com.
Universal connectivity
The Stage-B16 can connect to a computer with
high-speed USB 2.0, which is compatible with USB
3.0). It is USB audio class-compliant, which means
that it is iPad compatible (with a camera
connection kit) and does not require driver
installation for USB connection to a computer.
Alternately, the Stage-B16 can be connected to the
Ethernet port on a recent-generation Mac (any
Mac with Thunderbolt on it) running Mac OS X
Yosemite (10.10) or later for audio interface
operation through AVB Ethernet.
On-board DSP with mixing and effects
Stage-B16 is equipped with a powerful DSP engine
that drives both an extensive routing matrix and a
48-input digital mixer with 12 stereo busses and
effects. The mixer offers familiar operation
modeled after large format mixing consoles.
32-bit floating point processing
All of the mixing and effects processing in the DSP
engine is handled with 32-bit floating point
calculations, to maintain and deliver virtually
unlimited headroom and the utmost in sound
quality.
Modeled vintage effects processing
Effects include “classic” reverb, compression
modeled after the legendary Teletronix LA-2A
compressor, and 4-band EQ modeled after British
analog console EQs.
Connection Input Output
Mic inputs with individual preamps on XLR 16 -
Balanced analog on XLR - 8
AES/EBU digital - 4
Total 16 12
ABOUT THE STAGE-B16
22
AVB system expansion and audio networking
AV B stands for the IEEE 802.1 Audio Video
Bridging Ethernet standard for high-bandwidth,
low-latency audio streaming over Ethernet. The
AVB Ethernet network port on the Stage-B16 lets
you add a second AVB-equipped MOTU interface
using any standard CAT-5e Ethernet cable. You can
network up to five MOTU interfaces together using
a MOTU AVB Switch™ (sold separately), and then
run them as a stand-alone network or as an
extended bank of I/Os for your computer-based
production system (or both). You can even connect
multiple computers, each with full access to all
devices on the network (including the other
computers).
With additional standard AVB switches (from
MOTU or other brands) and standard Ethernet
cabling, you can build an extensive AVB audio
network. The entire network operates with near-
zero network latency, even over very long cable
runs. MOTU’s AVB implementation allows you to
stream hundreds of audio channels among devices
and computers on the network with guaranteed
Quality of Service (QoS), prioritizing audio
streams over less important traffic.
Matrix routing and multing
The Stage-B16 provides completely flexible matrix-
style audio routing and multing. You can route any
analog or digital input, computer channel, or
network stream to any other output, computer, or
network device. You can also mult any single input
to unlimited multiple output destinations.
Web app control
You can control the Stage-B16’s on-board DSP,
mixing, device settings, clock/sync settings and
network audio routing from the MOTU AVB
Control web app software running in your favorite
browser on a laptop, tablet or smart phone
connected to the Stage-B16 directly, or through
your local Wi-Fi network. Multiple devices can be
used simultaneously to access any audio interface
settings on the network.
Stand-alone mixing with wireless control
If you connect the Stage-B16 to an Apple Airport or
other Wi-Fi router with a standard Ethernet cable,
you can control its powerful mixing and DSP
effects from your smart phone or tablet, without a
computer — great for live sound mixing from your
iPad, tablet, or other wireless device.
MIDI I/O
The Stage-B16’s standard MIDI IN and MIDI OUT
jacks supply 16 channels of MIDI I/O to and from
the computer through its USB connection.
Signal activity LEDs
Highly visible front-panel LEDs indicate all signal
activity at a glance.
Headphone output
The Stage-B16 front panel provides an
independent headphone jack with separate volume
control. You can program the phones to mirror
another set of outputs or act as its own
independent output.
Precision Digital Trim™
Mic inputs are equipped with digitally controlled
analog preamps, adjustable in 1 dB increments.
Analog outputs offer 32-bit trim in the DAC, also
adjustable in 1 dB increments. You can save your
trim configurations as a preset for instant recall.
Rack mount or desktop operation
The Stage-B16 is housed in a sturdy, metal-alloy
two-rack space enclosure. Rack mounting brackets
and carrying handles are included.
AudioDesk
AudioDesk is a full-featured audio workstation
software package for Mac and Windows that is
available as a free download for you as a Stage-B16
owner. Visit motu.com/avb to obtain your copy.
ABOUT THE STAGE-B16
23
AudioDesk provides multi-channel waveform
editing, automated virtual mixing, graphic editing
of ramp automation, real-time effects plug-ins with
crossfades, support for many third-party audio
plug-ins, sample-accurate editing and placement
of audio, and more.
ABOUT THE STAGE-B16
24
CHAPTER
25
2 Packing List and
System Requirements
PACKING LIST
the Stage-B16 ships with the items listed below. If
any of these items are not present in the box when
you first open it, please immediately contact your
dealer or MOTU.
■ One Stage-B16 unit
■ One USB cable
■ One power cord
■ One rack mounting kit with brackets, optional
handles and screws
■ One manual
■ Product registration card
SYSTEM REQUIREMENTS
■ A 1 GHz Intel-based Mac or Pentium-based PC
(or compatible). Faster CPUs are recommended
for best performance.
■ 2 GB RAM; 4 GB or more recommended.
■ OS X 10.8 or later; Windows 7 or later; for
operation as an AVB Ethernet audio interface, Mac
OS X 10.10 or later is required, running on a
recent-generation Mac (any Mac with a
Thunderbolt port on it).
■ Available high-speed USB 2.0 (or 3.0) port.
■ A large hard drive (preferably at least 500 GB).
PLEASE REGISTER TODAY!
Please register the Stage-B16 today. There are two
ways to register.
■ Visit www.motu.com/register
OR
■ Fill out and mail the included product
registration card
As a registered user, you will be eligible to receive
technical support and announcements about
product enhancements as soon as they become
available. Only registered users receive these
special update notices, so please register today.
Thank you for taking the time to register your new
MOTU products!
PACKING LIST AND SYSTEM REQUIREMENTS
26
CHAPTER
27
3 Software Installation
OVERVIEW
USB 2.0 class-compliant operation. . . . . . . . . . . . . . . . . . . 27
Operation as an AVB Ethernet audio interface . . . . . . . 27
Software installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Audio drivers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
MOTU AVB Discovery app for Mac . . . . . . . . . . . . . . . . . . . 28
MOTU AVB WebUI Setup for Windows . . . . . . . . . . . . . . . 28
MOTU AVB USB Control Panel . . . . . . . . . . . . . . . . . . . . . . . 28
MIDI I/O on Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
MIDI I/O setup on the Mac . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
AudioDesk workstation software . . . . . . . . . . . . . . . . . . . . 30
Working with host audio software . . . . . . . . . . . . . . . . . . . 30
USB 2.0 CLASS-COMPLIANT OPERATION
The Stage-B16 is a USB 2.0 audio class-compliant
device. This means that you can connect it to your
Mac with a USB cable and use it without installing
any software drivers. The computer recognizes the
Stage-B16 as a USB audio device and makes its
inputs and outputs available to your host audio
software. Basic settings, such as the hardware’s
sample rate, are made in either your host software
(Mac) or your system settings (Windows).
☛ In this scenario, the Stage-B16 provides basic
audio input and output, and no software driver
installation is necessary.
As explained earlier in this guide, the MOTU AVB
Control web app provides full access to all settings
in the device, including the extensive on-board
routing, mixing, and effects processing features.
Since the web app is served from the audio
interface hardware itself, it does not require any
software installation on your computer; all it
requires is a network connection between your
computer and the Stage-B16 with a standard
Ethernet cable, Ethernet hub, or shared Wi-Fi
network. For details about accessing the web app
through the network port, see “MOTU AVB
Control Web App” on page 11.
OPERATION AS AN AVB ETHERNET AUDIO
INTERFACE
To use Stage-B16 as an audio interface over AVB
Ethernet, all you need is a recent Mac (any Mac that
has a Thunderbolt port on it) with Mac OS X
Yosemite (10.10) or later installed. Connect the
network port on the Stage-B16 to the Ethernet port
on the Mac using a standard, high-grade (CAT-5e
or CAT-6) network cable up to 100 meters in
length. You can then use Stage-B16 as a standard,
low-latency multi-channel audio interface with any
Core Audio compatible host software running on
the Mac.
☛ In this scenario, the Stage-B16 provides basic
audio input and output, and no software driver
installation is necessary.
For details about accessing device settings in the
web app through a network port connection, see
“MOTU AVB Control Web App” on page 11.
SOFTWARE INSTALLATION
Software installation is required for any of the
following scenarios:
■ You are using a PC running Windows 7 or later.
■ You will use Stage-B16 as a USB audio interface,
and you want to access the web app without the
network port.
■ You will be using multiple MOTU interfaces.
SOFTWARE INSTALLATION
28
If none of the above scenarios apply to you, then
you can skip software installation if you wish, and
proceed to details about accessing the web app
through the network port, see “MOTU AVB
Control Web App” on page 11.
Download and run the MOTU AVB Audio
Installer
To download the latest MOTU AVB audio installer
for Mac or Windows, visit www.motu.com/avb.
Follow the directions that the installer gives you.
☛ We recommend that you run the software
installer before you connect the Stage-B16 to your
computer and power it on. This ensures that all
driver components are properly installed in your
system.
AUDIO DRIVERS
On the Mac, no USB audio driver is installed
because the Stage-B16 is USB audio class
compliant, and USB audio operation is handled by
Mac OS X. On Windows, the installer provides
USB ASIO and Wave drivers.
MOTU AVB USB ASIO Driver
On Windows, to enable the Stage-B16 in your
ASIO host software, choose the MOTU AVB USB
ASIO driver.
Figure 3-1: Choosing the MOTU AVB ASIO driver in Cubase.
MOTU AVB DISCOVERY APP FOR MAC
On the Mac, the MOTU AVB Discovery app is
installed in your Mac’s applications folder; a
shortcut is installed for it, too (as shown on page
page 11). It locates all MOTU AVB interfaces
connected to the Mac, either directly through USB
or on your network, and displays them in a list.
Choose an interface to access its settings through
the web app (“MOTU AVB Control Web App” on
page 11).
MOTU AVB WEBUI SETUP FOR WINDOWS
On Windows, the installer provides a MOTU AVB
WebUI Setup shortcut found on the Windows
desktop or in Start menu> All Programs> MOTU.
Use this shortcut to access the MOTU AVB Control
web app directly in your favorite web browser.
MOTU AVB USB CONTROL PANEL
On Windows, the MOTU AVB USB Control Panel
(Start menu> All Programs> MOTU) provides
three tabs: Status, Buffer Settings and Info. The
Buffer Settings tab provides several basic settings
for the AVB USB driver.
Figure 3-2: The MOTU AVB USB Audio Control Panel Buffer Settings
tab.
USB Streaming Mode
USB Streaming Mode (Figure 3-2) determines how
frequently the USB driver transfers audio. Smaller
settings reduce latency. This setting determines the
latency for standard Windows audio applications
(such as Media Player). For further information
about latency, see “Reducing monitoring latency”
on page 53.
ASIO Buffer Size
ASIO Buffer Size (Figure 3-2) determine how much
delay you hear when monitoring live inputs
through your audio software: larger buffers
SOFTWARE INSTALLATION
29
produce more delay; smaller buffers produce less.
For complete information about this setting, see
“Working with Host Audio Software” on page 49.
MIDI I/O ON WINDOWS
On Windows, the MOTU AVB installer provides a
USB MIDI driver for the Stage-B16. This driver
allows you to access the Stage-B16’s MIDI input
and output ports through its USB connection to
the computer. The ports are published in Windows
and are available to all MIDI software.
MIDI I/O SETUP ON THE MAC
Core MIDI is the “under-the-hood” component of
Mac OS X that handles MIDI services for MIDI
hardware and software. Core MIDI provides many
universal MIDI system management features,
including MIDI communication between your
Stage-B16 interface and all Core MIDI compatible
software.
Audio MIDI Setup is a utility included with
Mac OS X that allows you to configure your
Stage-B16 interface for use with all Core MIDI
compatible applications. Audio MIDI Setup
provides:
■ A “virtual” studio on your Mac that graphically
represents your MIDI hardware setup and that is
shared by all Core MIDI-compatible programs
■ A simple, intuitive list of your MIDI devices
whenever you need it in any Core MIDI-
compatible program
Launching Audio MIDI Setup
1 Make sure your Stage-B16 interface is
connected (a USB connection is required) and
turned on.
2 Launch the Audio MIDI Setup utility.
This can usually be found in /Applications/
Utilities. If it has been moved, just search for Audio
MIDI Setup.
3 Confirm that the MIDI interface is present in the
MIDI Devices tab (or window) in Audio MIDI
Setup. If the interface does not appear, or if it is
grayed out, check your cable connections and click
Rescan MIDI.
Connecting MIDI devices to the Stage-B16
Once your Stage-B16 interface appears in Audio
MIDI Setup, you are ready to add devices, indicate
how they are connected, and identify properties
they may have for particular purposes. This
information is shared with all Core MIDI
compatible applications.
To add a device in Audio MIDI Setup:
1 Click Add Device.
2 Drag on its input and output arrows to draw
connections to the Stage-B16 that match its
physical connection.
Figure 3-3: Connecting devices to the Stage-B16. In this example, a
controller keyboard is connected to the Stage-B16’s MIDI IN, and a
sound module is connected to the Stage-B16 MIDI OUT.
3 Double-click the device to make settings, such
as input and output channels, that further describe
the device.
SOFTWARE INSTALLATION
30
Figure 3-4: Device settings.
4 Repeat the above steps for each MIDI device
connected to the interface.
5 When you are finished, quit Audio MIDI Setup.
Your configuration is automatically saved as the
default configuration, and it is shared with all Core
MIDI-compatible software.
AUDIODESK WORKSTATION SOFTWARE
AudioDesk is an advanced workstation software
package for Mac and Windows that lets you record,
edit, mix, process, bounce and master multi-track
digital audio recording projects. Advanced features
include real-time effects processing, recording,
and much more.
See the AudioDesk User Guide, available on your
computer hard drive as a PDF document.
Figure 3-5: AudioDesk.
WORKING WITH HOST AUDIO SOFTWARE
For further information about using the Stage-B16
with host audio software, see “Working with Host
Audio Software” on page 49.
CHAPTER
31
4 Hardware Installation
OVERVIEW
USB audio interface setup . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
AVB Ethernet audio interface setup. . . . . . . . . . . . . . . . . . 32
Setup for two interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Setup for three to five interfaces . . . . . . . . . . . . . . . . . . . . . 33
Setup for a multi-switch network . . . . . . . . . . . . . . . . . . . . 34
Setup for multiple interfaces. . . . . . . . . . . . . . . . . . . . . . . . . 35
Setup for web app control . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
A typical Stage-B16 setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Audio connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
MIDI connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Syncing an AVB network. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Syncing multiple AVB audio interfaces connected to a Mac . . . . 41
USB AUDIO INTERFACE SETUP
Use this setup if you want to use the Stage-B16 as a
USB audio interface.
■ Use a standard USB cable.
■ Connect to any USB port (USB2.0 or 3.0).
■ See “USB 2.0 class-compliant operation” on
page 27.
■ No driver installation is necessary.
HARDWARE INSTALLATION
32
AVB ETHERNET AUDIO INTERFACE SETUP
Use this setup if you want to use the Stage-B16 as
an AVB Ethernet audio interface for a recent-
generation Mac (i.e. any Mac with a Thunderbolt
port on it). Mac OS X Yosemite (10.10) or later is
also required for AVB audio I/O.
■ Use a standard CAT-5e or CAT-6 cable.
■ Connect to the computer’s Ethernet port.
■ See “Operation as an AVB Ethernet audio
interface” on page 27.
■ No driver installation is necessary.
■ Enable at least one AVB stream (item #18 on
page 13).
■ Launch the Mac’s Audio MIDI Setup utility to
enable the Stage-B16 and set the clock source and
sample rate.
■ The number of AVB audio channels that OS X
can handle depends on the speed of your Mac.
■ If applicable, see “Syncing multiple AVB audio
interfaces connected to a Mac” on page 41.
About CAT-5e cables
Use shielded CAT-5e or
CAT-6 cables, which are a
higher grade version of a
standard Ethernet cable.
They are available wherever
network cables are sold.
SETUP FOR TWO INTERFACES
Use this setup if you want to connect two MOTU
interfaces to your computer.
■ The connection to the computer can be either
USB or Thunderbolt, if you have a Thunderbolt-
equipped MOTU AVB interface such as the 1248,
8M, 16A or 112D.
■ Use a standard Thunderbolt cable. Place it at the
end of the Thunderbolt chain.
■ Use any standard CAT-5e Ethernet network
cable to connect the two interfaces together using
their NETWORK ports.
■ As an alternative, see “Setup for multiple
interfaces” on page 35.
OR
Thunderbolt is available on other
MOTU AVB-equipped interfaces, such
as the 1248, 8M, 16A and 112D.
HARDWARE INSTALLATION
33
SETUP FOR THREE TO FIVE INTERFACES
Use this setup if you want to connect three to five
MOTU interfaces to your computer using a MOTU
AVB Switch™ (sold separately).
■ The connection to the computer can be USB or
Thunderbolt (if you have a Thunderbolt-equipped
MOTU AVB interface). Use Thunderbolt, if
possible, to support a large number of audio
streams to and from the networked interfaces. A
single Thunderbolt connection supports 128
channels in and out, simultaneously. If you need
more channels, and your computer has another
available Thunderbolt or USB port, you can make a
second connection, with full access to the network
from both ports.
■ Use standard CAT-5e Ethernet network cables to
connect the interfaces to the MOTU AVB Switch
using their NETWORK ports.
■ Use the five AVB NETWORK ports on the switch
(not the Ethernet port).
■ Network cable lengths can be long: 100 meters
with standard copper wire cables; much longer
with fiber-optic network cables.
■ See “About CAT-5e cables” on page 32.
■ As an alternative, see “Setup for multiple
interfaces” on page 35.
■ To add more computers to the network, connect
them to any interface, as shown. All computers and
interfaces have full access to each other.
■ See chapter 8, “Networking” (page 63).
Additional computers are optional.
All computers and interfaces have full
access to each other on the network.
OR
Thunderbolt is available on
other MOTU AVB-equipped
interfaces like the 1248,
8M, 16A and 112D.
HARDWARE INSTALLATION
34
SETUP FOR A MULTI-SWITCH NETWORK
Use this setup if you want to connect more than five
MOTU interfaces to an extended network that
employs multiple AVB switches. AVB Ethernet is an
industry standard, so you can use MOTU AVB
Switches or 3rd-party AVB switches.
■ You can daisy-chain switches in serial fashion,
but don’t create loops. For example, switches A, B,
and C below are chained properly, but don’t
connect C back to A. Alternately, you could
connect both Switches B and C to Switch A.
■ For further information, see chapter 8,
“Networking” (page 63).
Additional switches,
interfaces, and
computers.
Switch A
Switch B
Switch C
If you have Thunderbolt-equipped MOTU AVB interfaces on the network (such as the 1248,
8M, 16A or 112D), in addition to your Stage-B16, use them for computer connections. The
computer then has access to 128 channels of input and output to the network.
OR
OR
OR
HARDWARE INSTALLATION
35
SETUP FOR MULTIPLE INTERFACES
It is possible to connect multiple MOTU interfaces
directly to your host computer through multiple
USB (and Thunderbolt) ports. Alternately, you can
connect multiple interfaces, operating as AVB
Ethernet audio interfaces, using an AVB switch
connected directly to the Mac. However, there are
several disadvantages to using any of these direct
connection schemes:
■ The audio interfaces will not be clocked to one
another and may be susceptible to drift, unless you
use external word clock connections (if available).
You are better off using the AVB network
connections shown on pages 32-34. In this setup,
the interfaces are very tightly synchronized with
each other (measured in pico seconds) through
their network connections.
■ You will not be able to route audio directly from
one audio interface to another. You are better off
using the AVB network connections shown on
pages 32-34, which allows you to route audio
streams (hundreds at a time) directly among
interfaces with near-zero latency.
Connecting multiple interfaces using
Thunderbolt
If you have other MOTU AVB interfaces with
Thunderbolt connectivity (1248, 8M, 16A or
112D) and your host computer has two or more
Thunderbolt ports, you can connect one interface
to each port, either directly or at the end of a
Thunderbolt daisy chain (on either port or both
ports).
Connecting multiple interfaces using
Thunderbolt and USB
Another way to operate multiple interfaces on the
same host computer is to connect the first interface
to a Thunderbolt port and the second to a USB 2.0
(or 3.0) port.
Multiple interfaces and USB
When connected through USB, the Stage-B16
operates as a USB 2.0 device, even when connected
to a USB 3.0 port. USB 2.0 provides enough bus
speed for several USB 2.0 devices, but due to the
Stage-B16’s high-performance requirements for
real-time operation and low latency timing, we
recommend the following:
■ Do not connect more than two units to your
computer’s USB 2.0 or 3.0 port(s).
■ When two units are connected with USB 2.0,
don’t connect other USB 2.0 or 3. 0 devices, such as
external hard drives.
■ For best results, establish clock synchronization
with other interfaces connected to the same
computer. You can use AVB to achieve clock
synchronization.
Multiple AVB Ethernet audio interfaces
When operating Stage-B16 as an AVB Ethernet
audio interface (“AVB Ethernet audio interface
setup” on page 32), multiple AVB audio interfaces
can be connected using a MOTU AVB Switch (or
any 3rd-party AVB switch), and the Mac can see all
of them through their AVB connection. For
example, you could connect an Avid S3 console to
the Mac, and then connect a MOTU Stage-B16 to
the S3’s extra network port (which is a built-in
switch). The Mac can see both Stage-B16 and S3
for audio I/O. However, OS X takes over each
device for exclusive use, so they can only stream
audio to and from the Mac, not each other. The
same is true for all AVB devices connected to the
Mac. See “Syncing multiple AVB audio interfaces
connected to a Mac” on page 41.
Mixing and matching audio interfaces
You can mix and match MOTU audio interfaces.
For example, you could connect a 1248 through
Thunderbolt and another MOTU audio interface,
such as the Stage-B16, through USB 2.0.
HARDWARE INSTALLATION
36
SETUP FOR WEB APP CONTROL
The MOTU AVB Control web app gives you access
to all settings, routing, mixing, and effects
processing in the Stage-B16, and each interface on
the AVB network, if applicable. For more info, see
“MOTU AVB Control Web App” on page 11.
The web app is a web application served by the
hardware. All you need to run it is a web browser
running on a device that has a connection to your
audio interface through USB or a shared network.
Figure 4-1: The web app is served from the hardware, and accessed
through any web browser on any device connected to the interface.
Web app control can be set up independently
of audio connections
The connections in this section, especially the
network scenarios, can be set up independently of
USB or AVB networking connections you make for
audio routing (as shown in the setup diagrams
earlier in this chapter). In addition, connections
for web app control can be made over standard
Ethernet and do not require AVB Ethernet
connections. Think of web app control as being
separate from audio. Doing so opens up a lot of
possibilities for control of the Stage-B16,
independent of the connections you make for
audio.
Mixing and matching web app control
scenarios
The web app connection scenarios shown in the
following sections are not exclusive from one
another. You can set up as many web app
connections as you wish and control your MOTU
device from many web app hosts simultaneously.
Launching the web app
Once you’ve made any of the connections shown in
the following sections, launch the web app as
explained in “Make hardware and network
connections” on page 11.
Web app control over USB
If the Stage-B16 is connected through USB to a
computer with internet access (as shown on
page 31), you can access the web app from the
computer, or any other device on the network. In
this case, make sure you’ve run the software
installer (page 27), which installs drivers that allow
your computer to properly communicate with the
device.
Web app control through standard Ethernet
The Stage-B16 can also be controlled by the web
app running on any device that has a standard
Ethernet connection to the interface, either directly
with a network cable, through an Ethernet hub, or
through Wi-Fi on your local network. The sections
on the opposite page show you how to set up each
of these connection scenarios.
Web app
Web app in
your browser
HARDWARE INSTALLATION
37
Ethernet cable
A simple Ethernet cable connection can be used for
web app control, even without a USB or
Thunderbolt connection to your computer. For
example, if you are using your MOTU device as a
mixer or audio router, you could control the
on-board routing, mixing and effects from the web
app through a standard Ethernet connection.
Figure 4-2: Web app control through a simple Ethernet cable.
Ethernet hub or network (LAN)
In this scenario, both your laptop and your MOTU
device are connected to a standard Ethernet hub or
home/office network (LAN). You can run the web
app on multiple computers simultaneously.
Figure 4-3: Web app control through a standard Ethernet hub or
network (LAN).
Wi-Fi
When using standard Wi-Fi as shown, you can
control the Stage-B16 from multiple Wi-Fi devices
simultaneously.
Figure 4-4: Web app control through Wi-Fi.
Ethernet network + Wi-Fi
You can, of course, combine the setups shown in
Figure 4-3 and Figure 4-4, with Wi-Fi connected to
the Ethernet hub or network.
MOTU AVB Switch
The MOTU AVB Switch provides five AVB
Ethernet ports, plus one standard Ethernet port.
Use the AVB ports for MOTU audio interfaces, and
use the Ethernet port for Wi-Fi, Ethernet, etc.
Figure 4-5: Using the Ethernet port on the MOTU AVB Switch.
Network port
Network port
Standard Ethernet cable
Network port
Network port
Standard Ethernet
hub or network (LAN)
Ethernet cables
Network port
Airport
or any other Wi-Fi router
Ethernet cable
Wi-Fi devices
Laptop (optional) Tablet Smart
phone
Wi-Fi router or
Ethernet hub/network
MOTU AVB interfaces
(Sold separately)
HARDWARE INSTALLATION
38
A TYPICAL STAGE-B16 SETUP
Separate mixes can be created using the
Stage-B16’s powerful 48-channel, 12-bus mixer
and everything can be controlled from a connected
laptop, plus multiple wireless devices on the shared
Wi-Fi network. Multiple 8-channel stems of audio
can be routed among the front-of-house position,
the monitor mixer and the playback system.
Figure 4-6: A typical Stage-B16 setup.
FOH mixing console
Primary
monitors/PA
Secondary
monitors/PA
Digital
recorder
64-channel MADI
MOTU 112D
digital interface
MOTU AVB
Switch
Tablets and
smartphones
Airport or other
wireless router
Additional AVB Ether-
net connections to
monitor mixer and
playback system.
Stage
monitors
USB
Laptop
(USB
on rear
panel)
DAW
and/or
Virtual instruments
MIDI Keyboard
(MIDI ports on rear panel)
HARDWARE INSTALLATION
39
AUDIO CONNECTIONS
Here are a few things to keep in mind as you are
making audio connections to your Stage-B16
interface.
Mic inputs with preamps
Connect a microphone using a standard mic cable.
☛ If you connect a +4 dBu (line level) signal to
the mic inputs, be sure to use the -20dB Pad.
Phantom power
If you are connecting a condenser microphone or
another device that requires phantom power,
engage the mic input’s corresponding phantom
power button in the web app (item 17 on page 12).
Preamp gain
The Stage-B16’s preamp provides 63 dB of gain.
Use the web app to adjust gain as needed for each
input. Preamp gain is digitally controlled, so you
can make fine-tuned adjustments in 1dB
increments. See “Device tab” on page 12.
-20 dB pad
Each mic input (XLR jack) is equipped with a
-20 dB pad switch, to accommodate input signals
that could overdrive the input.
Analog outputs with trim
All XLR analog outputs can be trimmed using the
controls found in the Device tab of the web app
(item 18 on page 12) with a range of 24 dB. This
allows them to support a variety of reference level
standards.
MIDI CONNECTIONS
The Stage-B16 provides MIDI I/O to the computer
over USB. Connect your MIDI device’s MIDI IN
jack to the Stage-B16’s MIDI OUT jack
(Connection A below). Conversely, connect the
MIDI device’s MIDI OUT jack to the Stage-B16’s
MIDI IN jack (Connection B).
Figure 4-7: Connecting a MIDI device to the Stage-B16.
One-way MIDI connections
MIDI devices that do not receive MIDI data, such
as a dedicated keyboard controller, guitar
controller, or drum pad, only need Connection B
shown in Figure 4-7. Similarly, devices that never
send data, such as a sound module, only need
Connection A. Make both connections for any
device that needs to both send and receive MIDI
data.
Connecting additional gear with MIDI THRUs
If you need to connect several pieces of MIDI gear,
run a MIDI cable from the MIDI THRU of a device
already connected to the Stage-B16 to the MIDI IN
on the additional device as shown below in
Figure 4-8. The two devices then share the
Stage-B16’s MIDI OUT port. This means that they
share the same set of 16 MIDI channels, too, so try
to do this with devices that receive on only one
MIDI channel (such as effects modules), which
makes it easier to avoid MIDI channel conflicts.
Stage-B16
rear panel
MIDI Device
MIDI
cables
MIDI
IN
MIDI
OUT
MIDI
OUT
MIDI
IN
Connection A
Connection B
HARDWARE INSTALLATION
40
Figure 4-8: Connecting additional devices with MIDI THRU ports.
SYNCING AN AVB NETWORK
The AVB protocol provides sophisticated and
accurate timing, synchronization, and clocking
features for AVB device networks of any size as
shown on pages 33-34, including:
■ Low latency
■ Network-wide time base
■ Better-than-sample-accurate phase lock across
all connected devices
■ Timing accuracy down to the nanosecond
Choosing a master clock
The web app provides an easy way to choose one
device as the master clock for your whole MOTU
AVB network.
1 Go to the Devices tab (page 12).
2 In the device list (item #1 on page 12), choose
the MOTU interface you wish to use as the clock
master.
3 Click the Become Clock Master button below the
Clock Mode menu.
Now, all other MOTU AVB devices on the network
are resolved to this device.
Figure 4-9: Choosing a clock master.
Alternately, you can go to the clock mode menu for
each individual device separately and choose the
master clock device by hand. For example, you may
be in a situation where at least one MOTU device
on the network must remain resolved to its own
clock (or another clock source). Just know that in
this case, audio cannot be streamed between
MOTU AVB devices that don’t share the same
master clock.
Resolving the master clock device to an
external clock source
The MOTU device you’ve specified as the AVB
network clock master can itself be resolved to an
external time base such as word clock (if available)
or optical. Just choose the desired clock source
from its Clock Mode menu (in the Device tab).
Doing so effectively resolves the entire AVB
network to the external clock source.
MIDI IN
MIDI
cable
MIDI Device
MIDI
IN
MIDI
THRU
MIDI
OUT
Additional device
Stage-B16
rear panel
HARDWARE INSTALLATION
41
SYNCING MULTIPLE AVB AUDIO
INTERFACES CONNECTED TO A MAC
There are several options for clocking multiple
AVB audio devices connected to the Mac:
■ You can resolve them to an external clock source
(like word clock, if available).
■ You can create an aggregate device, as usual. The
aggregate device setup panel has a check box called
Drift Correction, which sample-rate converts
devices that are not synchronized.
HARDWARE INSTALLATION
42
Part 2
Using the
Stage-B16
CHAPTER
45
5 Presets
OVERVIEW
Because of its advanced, extensive feature set, the
Stage-B16 can be used for many different
purposes. This chapter discusses common use
cases and their corresponding device presets, to
help you use the hardware for your needs.
Preset menu
The preset menu (item #7 on page 12) contains a
number of presets specifically designed for
common use cases. By loading the corresponding
preset, the Stage-B16’s routing tab and mixer will
be reconfigured accordingly. You can visit the
routing and Mixing tabs to inspect settings and
adjust them as needed.
Audio interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Stand-alone mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Interface + mixer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Live recording with monitor mixing . . . . . . . . . . . . . . . . . 47
Stage Box ‘Ethernet snake’. . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Stage Box with mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Create your own presets
You can create presets to suit your specific needs.
The Stage-B16 is highly capable and configurable,
allowing it to perform many tasks simultaneously.
Video tutorials
To view several excellent video tutorials for the
presets described in this chapter, visit:
www.motu.com/avb
AUDIO INTERFACE
Choose the Audio Interface preset to use the
Stage-B16 as a standard USB audio interface.
Hardware inputs and outputs are accessible from
your computer, and the mixer and audio
networking features are disabled.
Figure 5-1: Using the Stage-B16 as an audio interface.
audio connections to audio gear
PRESETS
46
STAND-ALONE MIXER
Choose the Stand-alone mixer preset to use
Stage-B16 as a mixer. Doing so routes all physical
inputs to the mixer, with the mixer’s main mix bus
and monitor bus going to the Main Out and Line
Out pairs. In addition, all inputs are fed to each Aux
bus pair (1-2, 3-4, etc.), which are in turn routed to
the line out pairs. This means that each aux bus can
serve as its own independent monitor mix, with
access to any/all inputs.
To control the mixer (with the AVB Control web
app), you have several options. You can connect a
computer to the Stage-B16 using USB, Ethernet, or
Wi-Fi, as explained in “Setup for web app control”
on page 36. Figure 5-2 below shows the Wi-Fi
scenario. Note that you can control the mix from
multiple Wi-Fi devices.
Figure 5-2: Using the Stage-B16 as a stand-alone mixer. This example
demonstrates how you can control the mixer from several Wi-Fi
devices.
INTERFACE + MIXER
Choose the Interface + mixer preset to use the
Stage-B16 as both an audio interface and mixer,
simultaneously. Doing so routes all physical inputs
and outputs to and from the computer, connected
through USB or AVB Ethernet. In addition, the
following audio sources are routed to the mixer,
which mixes them to the Main Mix bus, plus three
stereo aux busses for independent monitor mixes:
■ The Stage-B16’s sixteen analog inputs
■ USB channels from the host computer
The Monitor bus is set up as a solo bus.
In this scenario, you can control the mixer from the
MOTU AVB Control web app running on the
computer. You can also run the web app from
wireless devices on the same Wi-Fi network as the
laptop.
Figure 5-3: Using the Stage-B16 as an audio interface and mixer,
simultaneously.
Airport
or any other Wi-Fi router
Ethernet
cable
Wi-Fi devices
Laptop (optional) Tablet Smart
phone
Local inputs plus network inputs
Main
Mix
Aux
Mix
Group
Mix 1
Group
Mix 2
Laptop
Audio inputs from stage, studio, etc.
Main
Mix
Aux
Mix 1
Aux
Mix 2
PRESETS
47
LIVE RECORDING WITH MONITOR MIXING
Choose the Live recording with monitor mixing
preset when you are tracking in the studio. The
setup is pretty much the same as for the “Interface
+ mixer” preset shown in Figure 5-3 on page 46.
All physical inputs on the interface are routed to
both the computer (for recording) and the Main
Mix and Monitor busses in the mixer (for near-
zero latency monitoring). USB channels from the
computer are included in the Stage-B16’s mix. As
with the other presets, aux busses are routed to the
Stage-B16’s line outs, for independent monitor
mixes.
STAGE BOX
Use the Stage box preset (Figure 5-4) when you
want to connect the inputs and outputs on the
Stage-B16 to other devices over AVB Ethernet
cabling. This preset routes all inputs and outputs
on the Stage-B16 interface to 8-channel AVB
network streams, which become available to all
other devices on the same AVB network. You can
connect to the Stage-B16’s network streams in the
AVB Stream Connections section of the Device tab
of the main MOTU AVB interface (item #19 on
page 13).
Figure 5-4: An example of using the Stage box preset: Stage-B16
inputs are being routed to a FOH console via a 16A interface, while
FOH stereo monitor mixes are being sent to the Stage-B16 outputs to
musicians on stage.
FOH monitor
mixes to
musicians
Stage area
FOH mix position
Ethernet cable
Laptop (optional)
Stage-B16
Front of house (FOH) mixing console
16A
Mic inputs
from stage
Stage-B16 inputs Monitor mixes
PRESETS
48
STAGE BOX WITH MIXING
Similar to the Stage box preset, the Stage Box With
Mixing preset routes audio to and from other
devices over Ethernet cabling. However, instead of
routing incoming network audio directly to the
Stage-B16’s outputs, this preset routes the
incoming network audio to the Stage-B16’s mixer.
The mixer then distributes separate mixes to the
Stage-B16’s outputs. For example, you could send
FOH audio channels to the Stage-B16, which mixes
them on board and supplies independent monitor
mixes to musicians on stage, as demonstrated
below.
Figure 5-5: An example of using the Stage Box With Mixing preset:
Stage-B16 inputs are being routed to a FOH console via a 16A inter-
face, while FOH outputs are being sent to the Stage-B16 mixer, which
produces independent monitor mixes to musicians on stage through
the Stage-B16 outputs. Each musician can control their own
Stage-B16 monitor mix through their Wi-Fi device.
Stage-B16
,monitor mixes
to musicians
Stage area
FOH mix position
Ethernet cable
Laptop (optional)
Stage-B16
Front of house (FOH) mixing console
16A
Each musician controls their own Stage-B16 monitor mix over Wi-Fi
Mic inputs from
stage or studio
Stage-B16 inputs FOH outputs
CHAPTER
49
6 Working with Host Audio Software
OVERVIEW
The Stage-B16 provides multi-channel audio input
and output for Core Audio compatible audio
applications on the Mac and ASIO or Wave
compatible applications on Windows, including
MOTU’s Digital Performer and AudioDesk,
Apple’s Logic Pro and GarageBand, and other
third-party software applications such as Ableton
Live, Avid Pro Tools, Cockos Reaper, Propellerhead
Reason and Record, Steinberg Cubase and
Nuendo, Cakewalk SONAR, PreSonus Studio One,
Bitwig, and others.
AudioDesk is available as a free download for
Stage-B16 owners at motu.com/avb. For complete
information about all of AudioDesk’s powerful
workstation features, refer to the AudioDesk User
Guide.pdf included in the AudioDesk application.
Digital Performer, MOTU’s state-of-the-art digital
audio workstation software, is available separately;
for details about upgrading from AudioDesk to
Digital Performer, talk to your authorized MOTU
dealer or visit motu.com.
Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Run the web app. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Choosing the MOTU AVB Audio driver . . . . . . . . . . . . . . . 52
Reducing monitoring latency. . . . . . . . . . . . . . . . . . . . . . . . 53
Working with on-board mixing and effects . . . . . . . . . . 55
PREPARATION
Install your host audio software first if you haven’t
already done so, and complete these chapters
before proceeding:
■ chapter 3, “Software Installation” (page 27)
■ chapter 4, “Hardware Installation” (page 31)
RUN THE WEB APP
Before you run your host audio software, launch
the web app to configure your MOTU hardware.
The web app lets you configure important settings
in your audio interface, enable the desired inputs
and outputs, and set up audio streams to and from
the computer.
Sample rate
Choose the desired sample rate for the Stage-B16
and your host audio software. Newly recorded
audio will have this sample rate.
Clock Mode
This setting is important because it determines the
master digital audio clock for your system.
If you do not have any digital audio connections to
your MOTU device (you are using the analog
inputs and outputs only), and you will not be
resolving your host software to another external
clock source, choose Internal.
Enabling and disabling input/output banks
In the web app Device tab (page 13), enable all
input and output banks on your MOTU device that
you wish to make available to your host audio
software. Disable banks you are not using to
simplify operation.
WORKING WITH HOST AUDIO SOFTWARE
50
Specifying the number of computer channels
In the web app Device tab (page 13), in the
Computer Setup section, specify the number of
computer channels for streaming audio to and
from your host audio software. You might want
enough channels to cover the following:
■ Physical inputs you want to record on your
computer.
■ The physical outputs you want to send audio
playback to.
■ Any audio streams going to and from the
on-board mixer in your MOTU device.
■ Any audio streams going to and from the AVB
network, if you have multiple networked MOTU
AVB devices.
If you aren’t sure how many channels you’ll need,
visit the Routing tab, as explained below.
Making inputs and outputs available to your
host software
In the web app, use the Routing tab (page 14) to
map inputs and outputs to computer channels, as
demonstrated in Figure 6-1 and Figure 6-2.
Configuration presets
The presets menu (item #7 in the Devices tab on
page 12) provides many useful presets for various
host routing scenarios. These presets are a
convenient shortcut for the routing grid setups
discussed in the next few sections.
Figure 6-1: An example of routing computer channels (from host audio software) to the analog outputs on a Stage-B16.
Computer channels 1-2 are being split to two pairs of outputs: Phones L-R and Analog 1-2.
WORKING WITH HOST AUDIO SOFTWARE
51
Naming computer input and output channels
Click on any computer input or output name in the
routing grid (Figure 6-1) to change its name.
Streaming computer audio to and from the
on-board mixer
In Figure 6-1, you’ll see mixer inputs across the top
of the grid (Main, Monitor, Aux, etc.) These are
output busses from the Stage-B16’s on-board
mixer. To route one of these mix busses to your
host computer software, click the grid at the
intersection of the mix column and desired
computer channel row. Now, the mix bus output
will be routed to the computer via the channel you
selected.
Conversely, you can stream audio from the
computer into the mixer. Channels coming from
the computer are represented across the top of the
routing grid as inputs. To route a computer channel
to the mixer, click the grid at the intersection of the
computer channel column and the desired mix
input row. Now, that computer channel will be
routed to the mixer input.
Figure 6-2: An example of routing physical inputs on the Stage-B16 to computer channels (for host audio software).
WORKING WITH HOST AUDIO SOFTWARE
52
Working with AVB network streams
Audio channels going to networked AVB interfaces
can be streamed to and from your host audio
software through the Stage-B16 connected directly
to the computer. For information about how to set
this up, see “Mapping computer channels to
network streams” on page 67.
Mirroring computer channels to multiple
outputs
Figure 6-1 shows an example of mirroring one
stereo audio stream from host audio software to
several outputs. In the example, computer
channels 1-2 are being sent to Phones L-R and
Main L-R. To route a source to multiple
destinations, click multiple boxes in its column,
(see computer channels 1-2 in Figure 6-1).
Combining multiple sources to one output
To merge (mix) any channels in the grid (computer
streams or otherwise), route them to mixer inputs
and then use the on-board mixer (“Mixing tab” on
page 15).
Routing grid tutorials
For further information about using the routing
grid, including many useful tips and techniques,
visit:
www.motu.com/techsupport/technotes/avbrouting
and
www.motu.com/avb
CHOOSING THE MOTU AVB AUDIO DRIVER
Once you’ve made the preparations described so
far in this chapter, you’re ready to run your audio
software and enable the MOTU AVB audio driver,
which allows your host software to use the
Stage-B16 as an audio interface.
For Mac OS X audio software
For audio software running under Mac OS X, go to
the menu item or preference where you choose the
audio device (Core Audio driver) you wish to use,
and then select the Stage-B16 by name.
For Windows audio software
For audio software running under Windows, go to
the menu item or preference where you choose the
ASIO driver you wish to use, and then choose
MOTU AVB USB ASIO. If your host audio software
doesn’t support ASIO, choose the MOTU AVB USB
AUDIO Wave d ri ve r in ste ad.
Figure 6-3: Choosing the MOTU AVB ASIO driver in Cubase.
Where to go in popular audio hosts
Here is the location for this setting in various
popular audio software host applications:
Other audio software
Consult your software’s manual for further
information.
Host software Location for choosing the Stage-B16
Digital Performer
and AudioDesk
Setup menu > Configure Audio System >
Configure Hardware Driver
Pro Tools 9 or later Setup menu > Playback Engine or Current
Engine
Logic Pro Preferences > Audio tab > Devices tab >
Core Audio tab
Garage Band Garage Band menu > Preferences > Audio/
MIDI > Audio Output/Input menus
Cubase and
Nuendo
Device Setup > Devices list > VST Audio
System menu
Live Preferences > Audio tab
Reason Preferences > Audio preferences
Reaper Preferences > Audio prefs > Devices
WORKING WITH HOST AUDIO SOFTWARE
53
REDUCING MONITORING LATENCY
Monitoring latency is a slight delay caused by
running an input signal through your host audio
software and back out. For example, you might
hear it when you drive a live guitar input signal
through an amp modeling plug-in running in your
audio sequencer.
This delay is caused by the amount of time it takes
for audio to make the entire round trip through
your computer, from when it first enters an input
on the Stage-B16, passes through the interface
hardware into the computer, through your host
audio software, and then back out to an output.
Monitoring through the Stage-B16
If you don’t need to process a live input with
plug-ins, the easiest way to avoid monitoring
latency is to disable your DAW’s live monitoring
feature and instead use the digital mixer in the
Stage-B16 to route the input directly to your
outputs. For details, see “Mixing tab” on page 15.
The mixer in the Stage-B16 even provides zero
latency effects processing (EQ, compression and
reverb), which can be applied to the signal.
Direct hardware playthrough / Direct ASIO
monitoring
When managing your live monitor mix through
the Stage-B16 mixer, remember to disable your
DAW’s live monitoring features, so that you won’t
hear record-enabled tracks in your DAW. Also note
that the Stage-B16 does not support Direct
Hardware Playthrough in Digital Performer, or the
Direct ASIO Monitoring feature (or similar) offered
and other DAWs, which lets you control no-latency
hardware monitoring from within the host
application. Instead, you can use the MOTU AVB
Control web app mixer (“Mixing tab” on page 15)
to make these live monitoring connections
manually.
If you don’t require any effects processing on the
input signal (no reverb or compression, for
example), all this takes is one click in the routing
grid to route the input being recorded to the output
you are using for monitoring.
If you are recording a mono input that you’d like to
monitor in stereo, or if you need to apply effects to
the monitored signal, you can simply route the
input to the mixer in the Stage-B16. This is done by
opening the Mix In group in the Outputs column
along the left side of the grid, and clicking the tile at
the intersection of the input’s column and the
desired mixer input’s row. Once routed to the
mixer, use the input channel, reverb bus, and
monitor bus in the mixer to apply effects as desired,
and perhaps include other channels to the mix, and
then assign the monitor bus output in the routing
grid to the output you are using for monitoring.
In either case (routing directly in the grid or
routing through the mixer), be sure to maintain the
input’s connection to the computer as well, so the
input signal can be recorded in your host software.
In other words, you’ll want to make sure there are
two tiles enabled in the input’s column in the grid:
one tile for the connection to the computer and
another tile for your monitoring output (or a mixer
input, if you are using the mixer to apply effects). If
you need to route the input signal to other
destinations, too, you can certainly do so (you can
route the input to multiple destinations).
Monitoring through your host audio software
If you do need to process a live input with host
software plug-ins, or if you are playing virtual
instruments live through your MOTU audio
hardware, you can significantly reduce latency by
adjusting the audio buffer setting in your host
audio software, as explained in the next section.
☛ It is important to note that monitoring delay
has no effect on the recording, or playback, of
audio data from disk. The actual recording and
WORKING WITH HOST AUDIO SOFTWARE
54
playback is extremely precise, it is only the
monitoring of your live input signal which may be
delayed.
Adjusting your host software audio buffer
Buffers are small bundles of audio data. The
Stage-B16 “speaks” to your computer in buffers,
rather than one sample at a time. The size of these
buffers determine how much delay you hear when
monitoring live inputs through your audio
software: larger buffers produce more delay;
smaller buffers produce less.
Adjusting buffer size on Mac OS X
Under Mac OS X, audio I/O buffer size is handled
by the host audio application (not by the
Stage-B16’s Core Audio driver). Most audio
software applications provide an adjustable audio
buffer setting that lets you control the amount of
delay you’ll hear when monitoring live inputs or
processing them with software plug-ins. Here are a
few examples.
Figure 6-4: In Digital Performer and AudioDesk, choose Setup menu>
Configure Audio System> Configure Hardware Driver to open the
dialog shown above and access the Buffer Size setting. Refer to your
Digital Performer or AudioDesk manual for information about the
Host Buffer Multiplier setting.
Figure 6-5: In Cubase or Nuendo, choose Devices menu > Device
Setup. Select your interface (Stage-B16), then click the Control Panel
button to access the window above and the Buffer Size setting.
Figure 6-6: In Logic Pro, go to the Audio Driver preferences to access
the Buffer Size option shown above.
Adjusting buffer size on Windows
To adjust buffer size on Windows, visit the MOTU
AVB USB Control Panel. See “MOTU AVB USB
Control Panel” on page 28.
Lower latency versus higher CPU overhead
Buffer size has a large impact on the following:
■ Monitoring latency
■ The load on your computer’s CPU
WORKING WITH HOST AUDIO SOFTWARE
55
■ Responsiveness of transport controls and effect
knobs in AudioDesk, Digital Performer or other
audio software.
■ Real-time virtual instrument latency.
The buffer setting presents you with a trade-off
between the processing power of your computer
and the delay of live audio as it is being patched
through your software. If you reduce the size, you
reduce monitoring latency, but significantly
increase the overall processing load on your
computer, leaving less CPU bandwidth for things
like real-time effects processing. On the other
hand, if you increase the buffer size, you reduce the
load on your computer, freeing up bandwidth for
effects, mixing and other real-time operations.
Figure 6-7: When adjusting the buffer size to reduce monitoring
latency, watch the ‘processor’ meter in Digital Performer or
AudioDesk’s Performance Monitor. If you hear distortion, or if the
Performance meter is peaking, try raising the buffer size.
If you are at a point in your recording project where
you are not currently working with live, patched-
thru material (e.g. you’re not recording vocals), or
if you have a way of externally processing inputs,
choose a higher buffer size. Depending on your
computer’s CPU speed, you might find that settings
in the middle work best (256 to 1024).
Transport responsiveness
Buffer size also impacts how quickly your audio
software will respond when you begin playback,
although not by amounts that are very noticeable.
Lowering the buffer size will make your software
respond faster; raising the buffer size will make it a
little bit slower.
Effects processing and automated mixing
Reducing latency with the buffer size setting has
another benefit: it lets you route live inputs through
the real-time effects processing and mix
automation of your audio software.
WORKING WITH ON-BOARD MIXING AND
EFFECTS
the Stage-B16 provides powerful mixing, EQ,
compression and reverb, which can operate hand-
in-hand with your host’s mixing environment. For
example, the Stage-B16 can serve as a monitor
mixer, routing channels to musicians, or it can
serve as an integrated extension of your host’s
mixing environment. You can even save a
particular mixing configuration as a preset for
future recall. For details, see “Mixing tab” on
page 15.
WORKING WITH HOST AUDIO SOFTWARE
56
CHAPTER
57
7 Mixer Effects
OVERVIEW
This chapter provides further information about
the effects processors available in the DSP mixer in
the Stage-B16. For basic mixer operation, see:
Mixing tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Aux Mixing tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Mixer input channel strips . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Main Mix and Monitor channel strips . . . . . . . . . . . . . . . . 18
Aux bus channel strips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Group and Reverb channel strips . . . . . . . . . . . . . . . . . . . . 20
Powerful DSP-driven mixing and effects
The mixer is driven by a powerful DSP that delivers
32-bit floating point precision and plenty of
processing bandwidth for no-latency effects,
including parametric EQ, dynamics, and reverb.
Effects can be applied when operating as an audio
interface or as a stand-alone mixer without a
computer. Input signals to the computer can be
recorded wet and/or dry, or recorded dry while a
real-time wet monitor mix is sent to musicians.
Effects include:
High Pass Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
A conventional high pass filter
Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
A standard gate with threshold/attack/release
controls
Four-band parametric EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Multi-band parametric EQ modeled after British
analog consoles
Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
A standard compressor with threshold/ratio/
attack/release/gain controls
Leveler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
The Leveler™, an accurate model of the legendary
LA-2A optical compressor, which provides
vintage, musical automatic gain control
Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Classic reverb with tail lengths up to 60 seconds
Advantages over host-based mixing and
processing
The hardware mixer in the Stage-B16 provides
several major advantages over mixing and
processing in your host audio software:
■ No buffer latency. The DSP-mixer provides the
same near-zero latency throughput performance as
a conventional digital mixer. Effects processing
doesn’t impact your computer’s CPU.
■ DSP mixing and routing can be maintained
independently of individual software applications
or projects.
■ DSP-driven mixing can function without the
computer, allowing the Stage-B16 to operate as a
portable, stand-alone mixer with effects.
☛ Effects are disabled when operating at 4x
sample rates (176.4 or 192 kHz).
HIGH PASS FILTER
All input channel strips provide a 12 dB per octave
high pass filter. High Pass filters are often used to
remove unwanted mic rumble, for example.
Figure 7-1: The High Pass Filter.
MIXER EFFECTS
58
GATE
All input channel strips provide a Gate module.
Figure 7-2: The Gate module.
The gate silences the signal when the input signal’s
level drops below the Threshold.
The rate at which the gate responds, (opens to let
signal through) is determined by the Attack
parameter. With a short Attack time, the gate will
open as soon as the signal crosses the Threshold;
with longer Attack times, the gate will gradually
open, much like a fade-in.
When the input level falls back below the
Threshold, the time it takes for the gate to close
(how quickly the signal is attenuated), is
determined by the Release parameter. Short
Release times will close the gate quickly, abruptly
attenuating your signal, versus longer release times,
which will gradually attenuate your signal, like a
natural fade-out.
FOUR-BAND PARAMETRIC EQ
All mixer channel strips, (except for the Monitor
bus), provide modeled, four-band parametric EQ.
Vintage EQ
Inspired by legendary British large console EQs,
the EQ section (Figure 7-3) models the sound of the
most sought-after classic equalizers. Four bands of
center frequency parametric EQ filtering are
provided, each with a bandwidth control. The
High and Low bands include a shelf filtering
option. With 32-bit floating point precision, the
vintage EQ has been carefully crafted and
meticulously engineered to produce musical
results in a wide variety of applications.
Enabling EQ
Each band has an enable/disable button
(Figure 7-3), allowing you to enable as few or as
many bands as needed for the channel strip.
Figure 7-3: The Four-band parametric EQ module.
EQ filter controls
The EQ filters have three controls:
Double-click a knob to return to its default
position.
EQ filter characteristics
EQ is one of the most widely used processing tools
and can be applied to many different situations,
from minor corrective tasks to creative tone
sculpting. The four-band EQ has been designed to
Control unit range
Gain dB -20.00 to +20.00
Frequency Hertz 20 to 20,000
Bandwidth Octaves 0.01 to 3.00
Disabled band
Enable/disable
MIXER EFFECTS
59
be flexible enough to cover a broad range of
applications. By adjusting Gain and Bandwidth
together, you can emulate the smooth and musical
character of classic analog EQ circuits, in which the
Gain/Bandwidth dependency was dictated by the
actual circuit design and electrical components
used.
Low and high shelf filters
The Low and High bands offer a shelf option that is
similar to those found in most conventional
parametric EQs.
COMPRESSOR
All mixer input channel strips provide a
compressor module.
Figure 7-4: The Compressor module.
The Compressor (Figure 7-4) lowers the level of the
input when amplitude of the signal is above the
Threshold. The amount of attenuation is
determined by the Ratio and the input level. For
example, if the input is 6 dB above the Threshold
and the Ratio is 3:1, the compressor will attenuate
the signal to 2 dB above the Threshold. When the
input level goes above the threshold, the
attenuation is added gradually to reduce distortion.
The rate at which the attenuation is added is
determined by the Attack parameter. Likewise,
when the input level falls below the Threshold, the
attenuation is removed gradually. The rate at which
the attenuation is removed is determined by the
Release parameter. Long Release times may cause
the audio to drop out briefly when a soft passage
follows a loud passage. Short Release times may
cause the attenuation to “pump”, a term used to
describe the sound of the compressor when the
average input level quickly fluctuates above and
below the Threshold. These types of issues can be
addressed by adjusting the compressor’s
parameters, or applying the Leveler instead. Gain
adjusts the overall output level of the compressor,
post processing. The Level meter (Figure 7-4)
shows the level of the input signal entering the
compressor. It shows either the Peak envelope or
the RMS level, if enabled.
Gain reduction meter
The Gain reduction meter (Figure 7-4) displays the
current amount of attenuation applied by the
compressor, before the makeup gain stage.
RMS mode
By default, the compressor operates in Peak mode,
which uses signal peaks to determine the input
level. In RMS mode, the compressor measures the
input signal’s loudness, using the root-mean-
square computational method. When RMS is
disabled, RMS mode will let brief peaks through
because the detector sidechain is only looking at
the average signal level. By contrast, peak mode
will catch those brief peaks. Peak mode is generally
used for drums, percussion and other source
material with strong transients, while RMS mode is
mostly used for everything else.
The level meter shows either the peak level or the
RMS level, depending on the mode.
MIXER EFFECTS
60
LEVELER
The Leveler™ (Figure 7-5) provides an accurate
model of the legendary Teletronix™ LA-2A®
optical compressor, known for its unique and
highly sought-after Automatic Gain Control
(AGC) characteristics.
Figure 7-5: The Leveler module.
The Leveler is available on the Main Mix bus and
all Group busses, including the Reverb bus.
A model of an optical compressor
An optical leveling amplifier works by shining a
light on a photoresistor. The intensity of the light
source is proportional to the audio signal, and the
resistance of the photoresistor is in turn inversely
proportional to the intensity of the light. Photore-
sistors respond quite quickly to increases in light
intensity, yet return to their dark resistance very
slowly. Thus, incorporation of the photoresistor
into an attenuator followed by an amplifier which
provides make-up gain produces a signal which
maintains a constant overall loudness.
Automatic gain control using light
The AGC circuit of the LA-2A uses a vintage opto-
coupler known by its model number T4. The T4
contains an electroluminescent-panel (ELP) and
photoresistor mounted so that the emission of the
panel modulates the resistance. An ELP consists of
a thin layer of phosphorescent material
sandwiched between two insulated electrodes to
form a capacitor. Making one of the electrodes
transparent allows the light to escape. These
devices are essentially glow-in-the-dark paint on a
piece of foil covered by metalized glass or plastic,
and are the same devices used in low-power night
lights. Unfortunately, these devices need high
voltages to operate, and are best driven by tube
circuits which can supply voltage swings of several
hundred volts.
Response characteristics
Once the light has faded away, the photoresistor
then decays back to its dark state. The shape of the
decay curve varies depending on how bright the
light was, and how long the light lasted. A general
rule of thumb is that the louder the program, the
slower the release. Typically, the release can take up
to and over one minute. One thing to keep in mind
when using these types of devices is that the typical
concepts of compression ratio, attack, release, and
threshold do not apply. The light intensity is
determined by the highly non-linear interactions
of the input signal, AGC circuit, and ELP, and thus
exhibit a strong program dependence that is
impossible to describe without the mind-numbing
mathematics of statistical mechanics. The actual
results, however, can be almost mystical: even
when you feed the same material (a loop perhaps)
through the Leveler twice, you’ll often see a new
response the second time through a loop, complete
with unique attack times, release times and
compression ratios. Furthermore, two different
input signals with the same RMS levels may be
leveled in a drastically different manner.
It is precisely this self-adjusting behavior that
makes optical compressors the tool of choice for
smoothing out vocals, bass guitar and full-
program mixes without destroying perceived
dynamics.
MIXER EFFECTS
61
Enabling or disabling the Leveler
The Leveler models the LA-2A so closely, it also
models the time it takes for an actual LA-2A to
“warm up” after it is turned on. Therefore, when
you enable the Leveler, give it a moment to “settle”
before you begin processing signals with it.
Gain Reduction
Gain Reduction (Figure 7-5) sets the strength of the
signal sent to the AGC model.
Makeup Gain
Makeup gain (Figure 7-5) amplifies the output
signal to make up for gain reduction.
Limit button
The Limit button (Figure 7-5) models the original
LA-2A Limit/Compress mode switch. The effect is
very subtle, with the Limit option behaving only
slightly more like a limiter than a compressor. The
switch increases the level of the input to the AGC
model and runs the attenuator at a slightly lower
level. The Leveler then responds more strongly to
transients, but otherwise still behaves like a leveling
amplifier.
REVERB
Use the enable/disable button (Figure 7-6) to turn
the reverb processor on or off. Since reverb uses
considerable DSP resources, it is best to leave it off
when you are not using it.
Figure 7-6: The Reverb processor.
Routing inputs and groups to the reverb
processor
The reverb processor is a single, independent unit
that provides stereo reverb. You can route any input
channel or Group bus to the Reverb processor with
the Reverb send on its channel strip. All incoming
signals to the reverb processor are merged and
processed together. The resulting stereo output
from the reverb can then be merged into the Main
Mix bus with the Main send on the Reverb channel
strip (item #6 on page 20).
Reverb Time
Reverb time (Figure 7-6) determines the length of
decay, or tail, of the reverb. The knob’s range is
from 100 milliseconds to 60 seconds.
Predelay
Predelay is the amount of time before the acoustic
energy from the source returns to the listener, after
reflecting off the surfaces of the listening space.
The very first reflections helps you perceive
information about the listening space, (size,
distance, surface type, etc.). In large rooms, it takes
a while (on the order of milliseconds) before the
first reflections return to the listener. Predelay is
useful for adding clarity, as it delays these
reflections, before the onset of full reverberation.
For example, with pre-delay added to vocals, the
reflections won’t start until after the initial sound of
a word has been sung.
Spread
Spread controls stereo imaging. A position of 12
o’clock produces essentially a mono image.
Turning the control all the way to the left
completely swaps the stereo image.
High and Mid frequency bands
The High and Mid frequency bands let you
independently control the reverb time for separate
frequency bands, relative to the low frequency
reverb time. The High setting represents the
bottom frequency of the High band; the Mid
MIXER EFFECTS
62
setting represents the bottom frequency of the Mid
band. The Ratio determines the length for each
band specified in a percentage of the low frequency
reverb time.
DSP USAGE
The DSP Usage meter (item #26 on page 17) shows
how much of the available DSP processing power is
currently being used by the mixer for the mix and
for effects processing. If there aren’t enough DSP
resources for all effects to be enabled on a channel,
effects are disabled for that channel and all
subsequent channels.
☛ Unlike other effects, HPF and EQ on a stereo
channel requires approximately twice the DSP
resources as on a mono channel.
CHAPTER
63
8 Networking
OVERVIEW
The Audio Video Bridging (AVB) network port on
the Stage-B16 opens up a world of possibilities for
creating expanded, customized audio network
systems.
About AVB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
MOTU’s AVB implementation . . . . . . . . . . . . . . . . . . . . . . . . 64
Networking examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
A quick guide to networking . . . . . . . . . . . . . . . . . . . . . . . . 66
Setting up a MOTU AVB interface for networking. . . . 67
Mapping audio to network streams . . . . . . . . . . . . . . . . . 67
Mapping computer channels to network streams . . . 67
Bridging to Ethernet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
The MOTU AVB Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
ABOUT AVB
Audio Video Bridging (AVB) is an extension of the
Ethernet standard developed by the IEEE (802.1
standards committee) specifically to add high-
performance audio and video networking. AVB
brings together the worlds of networking
technology and high-end audio. Here is a brief
summary of some of the immediate benefits of
AVB for you, as a MOTU AVB interface user:
■ An open industry standard — AVB has been
developed by the IEEE as an international standard
specification. It is not proprietary or controlled by
one company.
■ High channel counts — AVB provides hundreds
of network channels.
■ Extremely low latency — AVB guarantees low-
latency, real-time performance.
■ Guaranteed Quality of Service (QoS) — AVB’s
Stream Reservation Protocol provides Guaranteed
Quality of Service for each and every audio stream.
If the network cannot continuously maintain every
bit of every sample in the audio stream, it will not
allow you to make the network connection in the
first place. AVB streams are prioritized over other
network traffic to ensure high performance.
■ Network-wide clocking and sync — AVB
devices all clock together over your network for
better-than-sample-accurate phase lock across all
connected devices. Timing accuracy is down to the
nanosecond.
■ True plug-and-play operation — AVB has been
designed from the ground up to provide automatic
device discovery, enumeration, and connection
management. Just plug the Stage-B16 into a
standard AVB switch and go. If you wish to make
stream connections and have the ability to select
media clock, you must use the web app, or some
other AVB controller. You don’t need an IT
professional to configure the network. AVB is a
self-managing network protocol.
■ Bridging to standard Ethernet — AVB
cooperates with standard Ethernet networks, for
connecting traditional Ethernet devices like
wireless routers, switches, or any other non-AVB-
aware device.
■ Support for existing network infrastructure —
Replace your existing switches with standard AVB-
compatible switches, and your CAT-5e or CAT-6
wired infrastructure now supports AVB.
■ Long cable runs — a single AVB network
connection can run up to 100 meters with a
standard copper wire CAT-5e or CAT-6 cable.
Fiber-optic cable runs can be much longer. With
multiple switches, you can create a network that
covers very large distances, if necessary. You can
use up to seven “hops” (switch-to-switch
connections).
NETWORKING
64
■ AVB is already shipping on current Macs —
Apple supports AVB on all current shipping Macs,
and the Stage-B16 can operate as a standard AVB
audio interface when connected to your Mac’s
AVB-equipped Ethernet port.
MOTU’S AVB IMPLEMENTATION
MOTU engineering has faithfully implemented the
IEEE 802.1 AVB standard for the MOTU AVB
products. This means that MOTU devices are fully
interoperable with any 3rd party AVB-compatible
device. In addition, MOTU has fine-tuned AVB
operation among MOTU AVB devices for
optimum performance, within the AVB specifi-
cation. Here is a brief summary of advantages you
will enjoy when using MOTU AVB devices
together in a network:
■ 256 channels of host I/O — MOTU AVB
interfaces equipped with Thunderbolt (the 1248,
8M, 16A and 112D) support 256 simultaneous
channels of audio I/O (128 in, 128 out) to and from
the entire network.
■ Support for multiple computer hosts — All
computers and all network devices run in sync
with each other, resolved to the network’s master
clock.
■ Gigabit Ethernet — The MOTU AVB Switch
delivers 1 Gbit Ethernet performance, which
provides substantially higher bandwidth than
100 Mbit Ethernet. This allows you to have many
more devices on the AVB network.
■ Over 500 channels of network audio — MOTU’s
AVB network can stream over 500 channels of
audio throughout the network. Depending on the
model, some MOTU AVB devices can broadcast
sixteen 8-channel network streams and simulta-
neously listen to sixteen 8-channel network
streams.
■ Exceptionally low network latency — Standard
AVB network latency is 2 ms. MOTU AVB network
latency is an astonishing 0.6 ms, even over seven
“hops” (switches) and hundreds of meters of cable.
By comparison, other commercially available,
proprietary audio network protocols have variable
(unpredictable) network latency in the range of
2-5 ms.
■ Star configuration — MOTU AVB supports a
star network configuration, which is much more
flexible than daisy-chain scenarios, which depends
on all devices in the chain.
■ Web interface — MOTU AVB devices can be
controlled from the MOTU AVB Control web app,
which runs within any web browser on any
networked laptop, tablet, or smart phone.
Although the web app shares the network with
AVB, AVB audio streams are never compromised
because AVB streams over the network traffic.
■ Bridging to standard Ethernet — the MOTU
AVB Switch provides an extra standard Ethernet
port for bridging to your local Ethernet network,
Wi-Fi, etc. for command and control, internet
access, and other standard network traffic. All
ports allow connection to standard (non-AVB)
network devices, however, the “Ethernet” port is
suggested because it does not support AVB.
NETWORKING EXAMPLES
Networking comes into play as soon as you hook
up a second MOTU interface to your first one, as
explained in “Setup for two interfaces” on page 32,
to add more I/O to your studio. Here are just a few
examples of what is possible.
Personal studio expansion
Let’s say you have an UltraLite AVB next to your
computer. You could add a Stage-B16 and position
it across the room, close to your musicians. All the
mic cabling is kept near the performers, and you
have one simple, clean network cable running back
NETWORKING
65
to your computer system. Despite the distance, the
two interfaces operate as a seamless system,
controlled from your computer or iPad.
Studio installation
A studio installation of three to five interfaces can
be handled with a single MOTU AVB Switch. See
“Setup for three to five interfaces” on page 33.
Networking is ideal for studio installation because
you can position interfaces at strategic locations.
Running cables becomes much simpler and more
cost effective. Not only does a setup like this give
you access to all I/O from your computer, even
multiple computers, you can also route audio from
any input to any output across devices with near
zero latency. You can also route audio from one
computer to another with very low latency. As a
simple example, you could deploy several
interfaces in a studio as follows:
Large studio facility
In a larger studio facility, you could build audio
network neighborhoods similar to the studio
installation described earlier in multiple rooms,
even multiple floors, with multiple computers and
Wi-Fi control from anywhere in the facility. All
computers and devices can see each other and you
can stream audio anywhere on the network with
near-zero latency, as if any two devices were
connected directly to each other.
Concert systems
Concert systems must be flexible so they can adapt
to each new venue while on tour. Because of its
modular nature, AVB networking allows you to
design systems that are scalable and easy to adapt
to each venue. You can easily bring devices on and
offline, rerouting audio stems as needed.
Because MOTU AVB networking employs a star
configuration, instead of daisy-chaining, you can
set up backup computer playback systems on a
shared network. For example, in a concert setting,
if one computer system goes down, the backup
system can be brought on line instantly through the
same network infrastructure.
Traditionally, live performance setups often have
separate domains for front of house mixing,
monitor mixing, computer backline, and other
systems. With MOTU AVB networking, these
systems can be unified on the same network,
opening up many possibilities for shared resources
and mixing/routing responsibilities, especially
from multiple sources (laptops, iPads, tablets, etc.)
MOTU AVB networking handles audio in
convenient 8-channel stems, making large-scale
network management more manageable. MOTU
AVB’s very low latency makes it particularly
suitable for line arrays and sound reinforcement.
Large-scale venues
With long cable runs and industry standard
networking infrastructure, MOTU AVB systems
are well-suited for large-scale commercial
installations such as arenas, stadiums, theme
parks, clubs, casinos, houses of worship, broadcast
facilities, schools, universities, and so on. Audio
streams can travel long distances with sub-
millisecond latency through as many as seven
switches. Audio can be distributed from a
centralized location to anywhere in the venue.
Interface Location Purpose
16A Control room Multi-channel output in control
room for main monitors, second-
ary monitors, surround, etc.
1248 Iso booth Local mic and instrument
I/O in the iso booth.
Stage-B16 Studio room Local mic inputs and monitoring
outputs for musicians.
Stage-B16 Studio room More mic inputs, or additional
mic inputs for drum kit
24Ai Machine room Analog inputs for hardware
synths, outboard returns, etc.
NETWORKING
66
A QUICK GUIDE TO NETWORKING
MOTU AVB networking has been designed to be
powerful, yet straightforward to set up and use.
Here are a few things that are useful to know.
Networking basics
■ Before proceeding below, review the networking
connection diagrams on pages 32-34.
■ To make network connections, use shielded
CAT-5e or CAT-6 cables (a higher grade cable).
■ Network cable lengths can be long: 100 meters
with standard copper wire cables; much longer
with fiber-optic network cables.
Working with AVB switches
■ Networks of three or more interfaces require an
AVB-compatible switch. You can use any standard
AVB switch on the market. MOTU offers the five-
port MOTU AVB Switch™ (sold separately).
☛ A non-AVB compatible switch will not work.
■ Connect MOTU AVB interfaces to any AVB
Switch using their NETWORK ports.
■ On the MOTU AVB Switch, connect MOTU
interfaces to the five AVB NETWORK ports (not
the Ethernet port). Connect the Ethernet port to a
Wi-Fi router, your Local Area Network (LAN) or
your computer (for running web app only).
■ Expand the network by adding more switches.
Make a single connection from one switch to the
other. On MOTU AVB Switches, use their AVB
NETWORK ports, NOT the Ethernet port.
■ You can daisy-chain switches in serial fashion,
but don’t create loops. For example, in the network
below, do not make any additional connections
between any two switches.
■ AVB audio can’t pass through more than seven
switches. However, you can daisy-chain more than
seven switches and route audio freely among them.
You just won’t be able to create point-to-point
connects that span more than seven switches.
Working with computers on a network
■ Computers are not required for network
operation, as you can control the network from
iPads, tablets and smart phones.
■ To add computers to the network, connect them
to any interface using Thunderbolt (which offers
the highest possible channel counts). If
Thunderbolt is not available, use USB.
■ A computer can be connected to the network
through its Ethernet port, but only for the purposes
of running the web app on the computer for
command and control over the network. (In this
scenario, you won’t be able to stream audio to/from
the network from the computer.)
■ All computers and interfaces on the network
have full access to each other.
■ MOTU employs a 1 Gbit AVB implementation in
the MOTU AVB Switch. The switch allows routing
of many audio channels on the network.
Wi-Fi router, Ethernet
hub/network, or
computer
MOTU AVB interfaces or
other AVB switches
(Sold separately)
A
B
C
D
E
F
G
NETWORKING
67
SETTING UP A MOTU AVB INTERFACE FOR
NETWORKING
Depending on the model, MOTU AVB interfaces
have the ability to broadcast up to sixteen
8-channel streams to the rest of the network.
Conversely, it can “listen” to as many as sixteen
8-channel streams from anywhere else in the
network. The specific number of streams
supported depends on the model.
For each device on the network, set it up for
network operation as follows:
1 In the MOTU AVB Control web app, choose the
device (item #1 on page 12).
2 Go to the Device tab (item #5 on page 12), go to
the AV B S t r e a m S e t u p section (item #18 on
page 13), and type in the number of 8-channel
input and output streams you want for that device.
3 Go to the AV B S t r e a m C o n n e c t i o n s section (item
#19 on page 13), and choose the network stream
you want the device to listen to for each bank.
4 Use the Routing tab to map specific I/O
channels within each MOTU AVB interface to its
network input and output streams, as explained in
the next section.
MAPPING AUDIO TO NETWORK STREAMS
Once you’ve configured a device’s AVB streams, as
explained above, use the Routing tab (page 14) to
map audio channels to network input and output
streams.
Input streams (coming from the rest of the
network) are listed across the top of the routing
grid. Expand the stream and click on the grid to
map incoming network channels to local
destinations, including physical outputs on the
device, computer channels (to a connected
computer), or mixer channels.
Output streams being broadcast to the rest of the
network are listed in rows along the left side of the
grid. Expand each stream bank and map
individual network output channels to local
sources, such as physical inputs on the interface,
channels coming from the computer, or channels
coming from the device’s mixer.
MAPPING COMPUTER CHANNELS TO
NETWORK STREAMS
If a host computer is connected to an interface
(through USB), mapping network input and
output streams is accomplished as described in the
previous two sections. Simply enable AVB streams
as desired, and map them to computer channels in
the Routing grid.
If, while mapping, you run out of computer
channels, enable more in the Computer Setup
section of the Device tab (item #24 on page 13). If
the computer is connected with Thunderbolt (to a
MOTU interface that supports it), you can enable a
maximum of 128 channels in and out. If the
computer is connected with USB, performance will
vary, depending on the sample rate and other
factors.
BRIDGING TO ETHERNET
The Ethernet port on the MOTU AVB Switch
allows you to connect standard network devices,
such as:
■ A Wi-Fi router
■ An Ethernet hub or switch connected to a local
home, studio, or office network
■ Any other standard networking device
THE MOTU AVB SWITCH
The heart of a MOTU AVB network is the MOTU
AVB Switch (sold separately). For a brief overview
of the switch and its features, visit:
www.motu.com/products/avb/avb-switch.
NETWORKING
68
Part 3
Appendices
APPENDIX
71
A Troubleshooting
Some or all of my MOTU interface inputs and
outputs are not available in my host audio
software.
Make sure that the inputs and outputs are enabled
in the Device tab (“Device tab” on page 12) and
routed to and from the computer in the Routing
tab (“Routing tab” on page 14). For details, see
“Making inputs and outputs available to your host
software” on page 50.
I have absolutely no audio input or output
happening to or from my interface. Why?
Make sure that the unit has a stable sample rate (the
sample rate will flash if the clock hasn’t settled yet).
Tr y s ett ing the unit’s cl o ck s ou rce to Internal if you
can’t sync to any external clock sources. Check that
audio is working with Internal sync, and if so, then
work on establishing a stable external clock.
I can't hear computer audio output through my
MOTU AVB interface.
In the Sound panel of System Preferences, the
Stage-B16 should be selected as the output device.
Almost all applications will use just the first two
output channels, so make sure that From Computer
1 and From Computer 2 are routed to the physical
outputs that you are listening to in the Routing tab
(e.g. Phones 1-2 or Analog 1-2).
How do I monitor live inputs?
Please refer to the documentation for the audio
application that you are using. If your application
does not support input monitoring, you will need
to use the mixer in the Stage-B16. Please see
“Monitoring through the Stage-B16” on page 53.
How do I control monitoring latency?
See “Reducing monitoring latency” on page 53.
The Routing tab (page 14) doesn’t display some of
the inputs or outputs on my interface.
What is the sample rate? Some digital I/O formats
are not available at 4x sample rates (176.4 or 192
kHz). Also, the Routing tab only displays input and
output banks that are enabled in the Device tab
(page 12), so be sure any banks you wish to work
with are enabled there. However, to conserve DSP
resources and help consolidate screen-space in the
other tabs, it is efficient practice to disable unused
input or output banks (AES/EBU banks, for
example, when only working with analog banks, or
all output banks when only working with Phones).
I'm getting a “Could not enable this effect because
DSP is overloaded” error. What should I do?
Disable other effects or reduce the number of mixer
inputs to conserve DSP resources. If there are audio
input and output banks on your interface that you
are not using, disable them in the Device tab
(page 12).
I accidentally deleted my factory presets. How do I
restore them?
In the Device tab (page 13), click the Restore
Factory Presets button to restore all factory presets.
How do I factory reset my device?
Press and hold in the PHONES knob for five
seconds. After the LEDs flash to indicate that the
unit is ready for a factory reset, turn the PHONES
knob one click left or right to initiate the reset.
Clicks and pops due to hard drive problems...
If you have checked your clock settings and you are
still getting clicks and pops in your audio, you may
have a drive related problem. Set your Clock
Source to Internal and try recording just using the
analog inputs and outputs on the Stage-B16. If you
encounter the same artifacts you may want try
APPENDIX A: TROUBLESHOOTING
72
using another drive in your computer. Clicks and
pops can also occur when the drive is severely
fragmented or there are other drive-related issues.
Connecting or powering gear during operation...
It is not recommended that you connect/
disconnect, or power on/off devices connected to
the Stage-B16 while recording or playing back
audio. Doing so may cause a brief glitch in the
audio.
CUSTOMER SUPPORT
We are happy to provide complimentary customer
support to our registered users. If you haven’t
already done so, please take a moment to register
online at MOTU.com, or fill out and mail the
included registration card. Doing so entitles you to
technical support and notices about new products
and software updates.
TECHNICAL SUPPORT
If you are unable, with your dealer’s help, to solve
problems you encounter with your MOTU device,
you may contact our technical support department
in one of the following ways:
■ Tech support hotline: (617) 576-3066 (Monday
through Friday, 9 a.m. to 6 p.m. EST)
■ Online support: www.motu.com/support
Please provide the following information to help us
solve your problem as quickly as possible:
■ The serial number of your MOTU device. This is
printed on a label placed on the bottom of the rack
unit. You must be able to supply this number to
receive technical support.
■ A brief explanation of the problem, including the
exact sequence of actions which cause it, and the
contents of any error messages which appear on the
screen.
■ The pages in the manual that refer to the features
or operation of your MOTU AVB Device or
AudioDesk with which you are having trouble.
■ The version of your computer’s operating
system.
We’re not able to solve every problem immediately,
but a quick call to us may yield a suggestion for a
problem which you might otherwise spend hours
trying to track down.
If you have features or ideas you would like to see
implemented, we’d like to hear from you. Please
write to the Development Team, MOTU Inc., 1280
Massachusetts Avenue, Cambridge, MA 02138, or
use our online suggestion box at www.motu.com/
suggestions.
APPENDIX
73
B Audio Specifications
Line Out
Connector Type XLR Female Balanced, Pin 2 hot
Output Impedance 100 ohm Per leg
Dynamic Range 123 dB A-weighted
THD+N -110 dB (0.0003%) -1 dBFS, Unweighted, 1 kHz
Frequency Response +0, -0.1 dB, 20 Hz/20 kHz Ref. 1 kHz
Max Level Out +20 dBu
Trim Range 24 dB -4 dBu to +20 dBu in 1 dB steps
MIC In
Connector Type XLR Male Balanced, Pin 2 hot
Impedance Load 3k ohm, 4.5k with Pad
Pad -20 dB, Switchable per channel
Phantom Power +48v, Switchable per channel DIN 45596 / IEC 61938-P48
EIN -128 dBu, 20 – 20 kHz Rs = 150 ohm
Dynamic Range 117 dB A-weighted
THD+N -110 dB (0.0003%) -1 dBFS, Unweighted, 1 kHz
Frequency Response +0, -0.1 dB, 20 Hz/20 kHz Ref. 1 kHz
Max Level In +24 dBu With pad
Trim Range 63 dB 0 to +63 dB in 1dB steps
Phones
Connector Type 1/4” Female, TRS Stereo Tip Left, Ring Right
Dynamic Range 112 dB A-Weighted
THD+N -94 dB Unweighted
Frequency Response +0 -0.15 dB, 22 Hz/20 kHz Ref. 1 kHz
Drive Max. 80 mw 16/32/55 ohms
Trim Range 128 dB 0 to -127 dB (muted) in 1 dB steps
Power Supply
Connector Type IEC 3-conductor receptacle For AC mains connection
Configuration Internal, Universal
Power Input 100 V to 240 V, 50 Hz or 60 Hz
Power Usage 35 watts
APPENDIX B: AUDIO SPECIFICATIONS
74
APPENDIX
75
C Mixer Schematics
MONO INPUT CHANNEL
APPENDIX C: MIXER SCHEMATICS
76
STEREO INPUT CHANNEL
+
APPENDIX C: MIXER SCHEMATICS
77
GROUP BUS
+
APPENDIX C: MIXER SCHEMATICS
78
MONITOR BUS
+
APPENDIX
79
D Updating Firmware
MOTU periodically posts firmware updates for the
Stage-B16. These updates may include bug fixes,
enhancements, and new features.
Updates are posted on MOTU’s servers. If your
computer or Wi-Fi device has access to the
internet, the MOTU AVB Control app notifies you
as soon as an update is made available. Otherwise,
you can check motu.com/avb periodically for the
latest firmware update.
A network cable connection is required
Firmware updating requires a network cable
connection, so before you begin, connect a
standard CAT-5 or CAT-6 network cable from the
network port on the Stage-B16 to one of the
following:
■ Your computer’s network port (or a
Thunderbolt-to-Ethernet adapter)
■ Your home, studio, or office network (with
internet access)
■ An AVB port on a MOTU AVB switch
(connected to your office network through the
Ethernet port)
Updating with internet access
You are now ready to update:
1 Launch the MOTU AVB Control web app on
your computer, iPad, or iPhone, as usual.
☛ If your browser is having trouble connecting
with your interface, see “Establishing network
communication” on page 80.
2 Go to the Device tab.
3 In the New Update Available banner
(Figure D-1), click More Info.
4 After reviewing the list of enhancements, click
OK to start the update.
5 Follow the on-screen instructions.
Updating off-line, without internet access
If the Stage-B16 (and the computer it is connected
to) has no internet access, you can download a
firmware update file from another computer that
does have internet, and then use the file to update
the Stage-B16, as follows:
1 Download the firmware file.
2 Transfer the file to a computer with a network
cable connection to the Stage-B16.
Figure D-1: The firmware update banner appears automatically at the top of the
Device tab when your web host has internet access and MOTU posts an update.
APPENDIX D: UPDATING FIRMWARE
80
3 Launch the MOTU AVB Control web app on the
computer, as usual.
☛ If your browser is having trouble connecting
with your interface, see “Establishing network
communication” below.
4 Go to the Device tab.
5 Scroll down to the bottom and click Update
from File.
6 Locate the file on your hard drive and click OK
to start the update.
7 Follow the on-screen instructions.
Establishing network communication
Make sure the web app is communicating with
your interface using the device’s IP address or .local
address, which ensures that communication is
through the network connection for the firmware
update. To do so, check that the URL in your web
browser reads something like 192.168.3.196 or
http://1248.local/ , not http://localhost:1280 (which
means the connection is through USB). If not,
close your browser window and choose your
interface again from the Discovery App menu. If
the network connection has been established
successfully, the icon for your device in the
Discovery App menu looks like the interface itself
(instead of a laptop icon, which indicates a USB or
Thunderbolt connection). If you are running on
Windows, press the ID button on your interface to
get its IP address, then type that address into your
browser.
Viewing the latest firmware version
information
You can confirm the firmware version at the
bottom of the Device tab (Figure D-2).
Why does the firmware update require a
network cable?
Firmware updating was designed to use ethernet
mostly for convenience. If you have lots of
networked devices, you can upgrade them all from
a distance (even over Wi-Fi) without having to plug
in directly and without having to download or run
an updater application.
This approach was also taken for engineering
reasons, with reliability foremost in mind. When
installing an update, the device reboots into a
stripped-down recovery partition to guarantee
that the update process can always be completed,
even if the power goes out mid-update. Since
updates can also affect the Thunderbolt or USB
chips, they cannot be used during the update.
Figure D-2: The currently installed firmware version is displayed at the bottom of the Device tab.
APPENDIX
81
E OSC Support
Open Sound Control (OSC) is a protocol for
communication among computers and other
multimedia devices that is optimized for modern
networking technology.
MOTU AVB audio interfaces support OSC, which
provides remote control of all device settings and
mixer controls from any OSC-enabled controller.
For further details about remote control through
OSC, along with complete documentation for the
MOTU AVB OSC API, visit:
http://www.motu.com/avb#avb-osc-support
APPENDIX E: OSC SUPPORT
82
APPENDIX
83
F Rack-mount brackets and handles
Your Stage-B16 ships with a pair of brackets for
mounting the unit in a standard 19-inch
equipment rack. Also included are two handles,
which you can optionally attach to the rack
brackets. Both are shown below in Figure F-1.
☛ Do not attach the handles to the Stage-B16
without also attaching the rack brackets. The
handles are not designed to be connected without
the rack brackets.
Your Stage-B16 includes the following
components:
■ Two rack mounting brackets
■ Two han dle s
■ Four 3/4-inch #6-32 thread socket-head screws
■ Four 1/2-inch #6-32 thread socket-head screws
■ Four 1/4-inch #6-32 thread socket-head screws
■ One 7/64th-inch allen wrench
Figure 8-1: When attaching the rack-mounting brackets by
themselves (without the handles), use the shorter, 1/2-inch screws.
Figure 8-2: When attaching both the rack-mounting brackets and
handles, use the longer 3/4-inch screws.
Figure F-1: The Stage-B16 rack mounting bracket and handle.
Handle Rack
mounting
bracket
Socket-head
screw
1/2-inch screws
3/4-inch screws
APPENDIX F: RACK-MOUNT BRACKETS AND HANDLES
84
Figure 8-3: If you choose to remove both the rack-mount brackets
and handles, you can use the supplied 1/4-inch screws to cosmeti-
cally cover the remaining screw holes.
1/4-inch screws
INDEX
85
Index
A
Ableton Live 49, 52
Analog inputs/outputs 39
Apple
Garage Band 52
Logic Pro 52
ASIO Buffer Size 28
ASIO monitoring 53
Attack
Compressor 58, 59
Audio
MIDI Setup utility 29
Audio interface preset 7, 45
AudioDesk 22, 30, 49, 52
Aux Mix Target 16
Aux Mixing tab 16
AVB
audio interface operation 21
Discovery app 7, 28
Ethernet explained 63
Input/Output Banks 13
networking 63-67
overview 63
Stream Connections 13
Stream Setup 13
streams (Routing tab) 14
Switch
setup 33, 37
AVB Control web app 7, 11-20
Aux Mixing tab 16
Device tab 12, 13
Mixing tab 15
Routing tab 14
Avid
Pro Tools 52
B
Become Clock Master 12, 40
C
CAT-5e/6 cables 32
Check for Updates 13
Chrome 11
Class compliance 27
Clock source 12
Cockos Reaper 52
Compressor effect 15, 59
Computer Setup 13
Connecting multiple interfaces 32
Control Panel 28, 54
Control surface support (through OSC) 81
Controller
connecting 39
Core Audio driver 52
Core MIDI
Audio MIDI Setup 29
benefits 29
Cubase 49, 52
clock source 49
sample rate 49
Customer
support 72
D
Device tab 12, 13
Digital Performer 49, 52
Direct hardware playthrough 53
Direct ASIO monitoring 53
Direct hardware playthrough 53
Driver installation 7, 11, 27
Drivers
installing USB drivers 28
DSP
effects 57
meter 62
resources 62
DSP Usage 17, 62
E
Effects 57
EQ 58
enabling 58
filter types 58
frequency 58
gain 58
Q 58
Ethernet
connecting 37
Expansion 32
F
Firefox 11
Firmware updates 12
Follow Solo 15, 18
Four-band EQ 58
Frequency
EQ 58
From Computer 14
G
Gain
EQ 58
reduction 59
reduction (Leveler) 61
Garage Band 49, 52
clock source 49
sample rate 49
Gate effect 15, 58
GR (gain reduction) 59
H
Headphone outputs 9
Headphones
connecting 38
High pass filter 57
I
ID knob/button 12
IEEE 802.1 63
Input banks 13
Input settings 12
Installation
AVB audio interface 32
network 33, 34
QuickStart Guide 7
software 28
Thunderbolt interface 31
two interfaces networked 32
Interface + mixer preset 7, 46
Internet Explorer 11
iPad
QuickStart 7
K
Keyboard controller
connecting 39
L
Latency 53, 54
Leveler 15, 60
Limit button 61
Live 52
Live recording with monitor mixing preset
7, 47
Logic Pro 52
Logic Pro/Express 49
clock source 49
sample rate 49
M
Mac OS X 49
input and output names 51
system requirements 25
Makeup gain 61
Mic/guitar inputs 39
MIDI
connections 39
jacks 10
overview 22
software setup 29
Windows driver installation 29
Mixer
accessing 15
aux bus 19
connecting 38
effects 57
group bus 20
input channel strip 17
main mix channel strip 18
Monitor channel strip 18
overview 15
Reverb bus 20
schematics 75
Setup 13
stand-alone operation 57
Mixing tab 15
MOTU
AudioDesk 52
AVB Control web app 7, 11-20
Aux Mixing tab 16
Device tab 12, 13
Mixing tab 15
Routing tab 14
AVB Discovery app 7, 28
AVB Installer 7, 27
AVB Switch
setup 33, 37
Digital Performer 52
MOTU AVB
Control web app 11
INDEX
86
Discovery app 11
Installer 11
USB ASIO driver 52
WebUI Setup 11
MOTU AVB WebUI Setup 28
N
Networking 63-67
installation 33, 34
Nuendo 49, 52
clock source 49
sample rate 49
O
Optimization 55
OS X audio software
clock source 49
sample rate 49
OSC support 81
Output banks 13
Output settings 12
P
Packing list 25
Pad 39
Patch thru
latency 54
Performance 55
Phantom power 39
Phone outputs 9
PRE switch 15
PreDelay 61
Prefader button 16
Presets 7, 12
Mixer tab 15
overview 45
Routing tab 14
Pro Tools 49, 52
Processing 57
Q
Q 58
Quick Setup window 7
QuickStart Guide 7
R
Ratio
Compressor 59
Reaper 49, 52
Reason 49
Propellerhead Reason 52
Record 49
Registration 25
Release
Compressor 58, 59
Remote control (through OSC) 81
Restore Factory Presets 13
Reverb 61-62
design section 61
enabling/disabling 61
predelay 61
routing to/from 61
time 61, 62
width 62
RMS mode 59
Routing tab 14
S
Safari 11
Sample rate 12
Samplers
connecting 38
SC button 18
Schematics 75
Software
installation 28
Software installer 7, 11, 27
Solo bus 18
Solo Clear button 17
SONAR 49
Sound module
connecting 39
Soundtrack Pro
clock source 49
sample rate 49
Stage box preset 7, 47
Stage box with mixing preset 7, 48
Stage monitors
connecting 38
Stage-B16
expansion 32
front panel 9
rear panel 10
setup example 38
specifications 73
summary of features 21
Stand-alone mixer preset 7, 46
Steinberg
Cubase 52
Nuendo 52
Studio setup (example) 38
Synchronization
Become Clock Master 40
Synths
connecting 38
System requirements
minimum 25
recommended computer 25
T
Technical support 72
Threshold
Compressor 59
To Computer 14
Trim 39
Troubleshooting 71
TRS analog inputs/outputs 39
U
Update From File 13
USB
class compliance 27
installing drivers 28
USB Streaming Mode 28
V
View Personal Mix 16
W
Wave driver 52
Width
reverb 62
Wi-Fi
setup 37
Windows
shortcut 28
system requirements 25
