Legacy Products

How do I calibrate my Rosetta?

The Rosetta, by default, is calibrated for -16 dBFS. To calibrate the Rosetta, press and hold the SoftLimit button until it begins to flash. Send a +4 analog tone into the analog inputs. The metering in calibration mode now reflects -21 dBFS to -11 dBFS. To calibrate to -12 dBFS, turn the A/D calibration trimpots. As the level increases one LED, which equals one dBFS, the over light will turn on indicating you have achieved the next level up in dBFS. Each LED you light up will cause the over light to come on and as you increase the gain the over LED will go off until the next LED is lit up. When you get to the desired level, stop as soon as the over LED lights up.

How do I switch between ADAT and S/PDIF optical?

By default, the Rosetta is set for ADAT optical. If you want to change it to S/PDIF optical, hold down the “Sample Rate (AES FMT)” button. On the Source to Digital Outputs, the ADAT and AES LEDs should be lit. Hit the “Source (SRC)” button to change it to “S/P OPT.” If you want to go back to ADAT, just do the exact same procedure again. Keep in mind that if you reset the Rosetta 200 by holding down the sample rate button when powering the unit on, it will reset the optical format to ADAT.

I can’t get SRC to work properly with an option card installed

It is not possible to use SRC with an option card installed in the Rosetta 200. When an option card is installed, it is not possible to set the Rosetta 200 to a different sample rate than the session sample rate of the DAW. This makes it impossible to send audio out of the DAW at one sample rate and then send it out one of the Rosetta 200’s digital outputs at a different sample rate using SRC.

X-HD Legacy Interfaces with Avid Pro Tools HDX PCIe

With the latest firmware update (v. 3.00), any X-HD equipped Apogee interface (X-Series or Rosetta Series) emulate an Avid HD I/O interface. This provides connectivity to Avid’s Pro Tools HDX PCIe system and compatibility with Pro Tools HD 10 and 11.

 

For more info, please see the X-HD Version 3.00 Release Notes.

How do I set my software’s I/O buffer?

The I/O Buffer setting found in most audio software is one of the most crucial, but often ignored, settings in a Mac-based recording system. When choosing a buffer setting, a compromise between the latency through the application and the amount of computer processor power accessible to the application must be made.Latency– the slight delay between the moment you play a note and hear it in your headphones after conversion and processing.

A lower buffer setting results in lower latency but less available processing power. If the application can’t access enough processor power, processor overruns may occur, resulting in audible clicks and pops or error messages that interrupt playback and recording. A higher buffer setting, on the other hand, results in greater amount of accessible processor power (i.e. less chance of overruns) but increases the latency. Determining the best setting requires some trial-and-error in order to find the best compromise.

Keep in mind that as tracks and plug-ins are added to a software session, processor requirements increase. Thus, the buffer setting that works during the early stages of a session might result in processor overruns during later stages. The best strategy is to set the buffer to a lower setting during recording and accept certain limitations on plug-in usage, and then raise the buffer during mixing to utilize the computer’s full processor power when latency isn’t an issue. With the processing power of today’s Macs, you may find that adjustment of the buffer isn’t necessary, and you can leave it at a setting for low latency and still access a sufficient amount of processing power when adding tracks and plug-ins. If you do encounter clicks, pops or software errors, don’t hesitate to experiment with the buffer setting. Please consult the section on Working with GarageBand, Logic and Mainstage to determine how to se the I/O buffer setting is found in your audio application.