KORG 168RC User Manual

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IMPORTANT SAFETY INSTRUCTIONS

WARNING — When using electrical products, basic precautions should be followed, including the following:

1. Read all the instructions before using the product.

2. Do not use this product near water — for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool, or the like.

3. This product should be used only with the cart or stand that is recommended by the manufacturer.

4. This product, either alone or in combination with an amplifier and headphones or speakers, may be

capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level

that is uncomfortable. If you experience any hear

ing loss or ringing in the ears, you should consult an audiologist.

5. The product should be located so that its location or position does not interfere with its proper ventila tion.

6. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat.

7. The product should be connected to a power sup ply of the type described in the operating instruc tions or as marked on the product.

8. The power-supply cord of the product should be unplugged from the outlet when left unused for a long period of time.

9. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.

tO.The product should be serviced by qualified per

sonnel when: A. The power-supply cord or the plug has been

damaged; or

B. Objects have fallen, or liquid has been spilled

into the product; or C. The product has been exposed to rain; or D. The product does not appear to operate nor

mally or exhibits a marked change in perfor

mance; or E. The product has been dropped, or the enclo

sure damaged.

11. Do not attempt to service the product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualified ser vice personnel.

SAVE THESE INSTRUCTIONS

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION; TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLE

PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

GROUNDING INSTRUCTIONS

This product must be grounded (earthed). If it should malfunction or breakdown, grounding provides a path of least resistance for electric current to reduce the risk of electric shock. This product is equipped with a cord having an equipment-grounding conductor and a ground ing plug. The plug must be plugged into an appropriate outlet that is properly installed and grounded in accordance with the local codes and ordinances.

DANGER - Improper connection of the equipment-grounding conductor can result in a risk

of electric shock. Check with a qualified electrician or serviceman if you are in doubt as to

whether the product is properly grounded. Do not modify the plug provided with the product

- if it will not fit the outlet, have a proper outlet installed by a qualified electrician.

The lightning flash with the arrowhead symbol within an

equilateral triangle, is intended to alert the user to the

presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

THE FCC REGULATION WARNING

This equipment has been tested and found to compiy with the iimits for a Ciass B digitai 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 instructions, may cause

harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation,

this equipment does cause harmful interference to radio or teievision reception, which can be determined by turning the equipment off

and on, the user is encouraged to try to correct the interference by one or more of the foilowing measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help.

CANADA

THIS APPARATUS DOES NOT EXCEED THE “CLASS B” LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTERFERENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS.

LE PRESENT APPAREIL NUMERIQUE N’EMET PAS DE BRUITS RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICABLES

AUX APPAREILS NUMERIQUES DE LA “CLASSE B” PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE

RADIOELECTRIQUE EDICTE PAR LE MINISTERE DES COMMUNICATIONS DU CANADA.

CE mark for European Harmonized Standards

CE mark which is attached to our company’s products of AC mains operated apparatus until December 31, 1996 means it conforms to

EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).

And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive (89/336/EEC), CE mark Directive (93/68/EEC) and Low Voltage Directive (73/23/EEC).

Also, CE mark which is attached to our company’s products of Battery operated apparatus means it conforms to EMC Directive (89/336/

EEC) and CE mark Directive (93/68/EEC).

Phantom Power

To prevent hazard or damage, ensure that only microphone cables and microphones designed to IEC-268-15A are connected.

Precautions

■ Location

Using the unit in the following location can result in malfunction.

• In direct sunlight

• Locations of extreme temperature or humidity

• Excessively dusty or dirty locations

• Locations of excessive vibration

■ Power supply

Please connect the AC power cable to an AC outlet of the correct voltage. Do not connect it to an AC outlet of voltage other than for which your unit is intended.

I Interference with other electrical devices

This Unit contains a microcomputer. Radios and televi sions placed nearby may experience reception interfer ence. Operate this unit at a suitable distance from radios and televisions.

I Handling

To avoid breakage, do not apply excessive force to the switches or controls.

I Care

If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liquid cleaners such as benzene or thinner, or cleaning compounds or flammable polishes.

I Keep this manual

After reading this manual, please keep it for later

reference.

About the 168RC’s backup battery

The 168RC contains a backup battery to preserve the contents of memory when the power is turned off. When the LCD

shows “IE01 Battery” it is time to replace the battery. Please contact your dealer or a service center.

About data backup

When shipped from the factory the 168RC contains various programs and EQ and effect setting (168RC MEMORY LIST). If you save new data in these memories the original data will be lost, and cannnot be recovered.

Unintended operations may result in the erasure of the memory contents. Be sure to save important data to an external data filer (storage device). Also, please be aware that the Korg Corporation can accept no responsibility for any dam ages which might result from loss of data.

adat and Alesis are registered trademarks of the Alesis Corporation, adat Digital Interface is a trademark of the Alesis Corporation.

Thank you for purchasing the Korg SoundLink DRS 168RC Recording Console. In order to enjoy many years of trouble-free use, please read this manual carefully

and use the unit correctly.

How this manual is organized

This manual is organized in the following way. Chapter 1. Basics

Read this chapter first. It explains the parts of the 168RC and their function, how mode and signal flow are related, and basic operation.

Chapter 2. Tutorial This chapter explains the procedure for connections, recording, and mixdown on a basic system consisting of an 168RC and one adat (MTR).

Chapter 3. Parameters This chapter explains the parameters of the 168RC for each mode. When you need to know more about the function of a specific parameter, use this chapter like a dictionary.

Chapter 4. Effects This chapter explains the 32 effect types of the 168RC.

Chapter 5. MIDI This chapter explains how MIDI can be used for automation and system expansion, and discusses other MIDI-related topics.

Chapter 6. Reference This contains various connection examples for systems which include the 168RC, specifications, error messages, and block diagrams etc.

Printing conventions in this manual

Keys etc. [ ] Panel keys etc. of the 168RC are printed in square brackets [ ].

Parameters that appear in the LCD " "

Parameters that can be modified are printed in double quotation marks " ."

Caution symbol A

This symbol indicates something to which you should pay special attention. Procedure O, O, O —

These symbols indicate steps O/ ®/ © — of a procedure. (The way in which these symbols are used in "2. Controls and their functions" is an exception to

this.) (p. ■ ■ )

This indicates a page reference in this manual.

* Please be aware that the program names etc. that appear in the explanatory displays of this

manual are only provisional, and may not match the display that you actually see.

Contents

IMPORTANT SAFETY INSTRUCTIONS

About the 168RCs backup battery................................................................................................................. Hi

About data backup....................................................................................................................................... Hi

How this manual is organized........................................................................................................................iV

Printing conventions in this manual................................................................................................................/V

................................................................................................

Chapter 1. Basics................................................................................................ 1

1. Features of the 168RC..................................................................................................................1

2. Controls and their functions .........................................................................................................3

Front panel................................................................................................................................3

Rear panel................................................................................................................................ 7

3. Signal flow and mode.................................................................................................................9

4. Reading the LCD..................................................................................................................... 12

5. Parameter editing.....................................................................................................................13

Using the [c] key.......................................................................................................................15

Chapter 2. Tutorial............................................................................................ 16

1. System connection example with an 168RC and one adat

2. Turning on the power................................................................................................................17

3. Setting the clock source............................................................................................................ 17

4. Check settings before you start..................................................................................................18

5. Select the signals to be monitored..............................................................................................18

6. Input the keyboard signal to channels 9 and 10

7. Monitor the signals input to channels 9 and 10.............................................................................19

8. Send signals to the adat............................................................................................................20

9. Input the signals sent to the adat into channels 1 and 2................................................................21

10. Pairing settings....................................................................................................................... 22

11. EQ adjustments....................................................................................................................... 22

12. Apply an effect to the signal sent to the adat................................................................................23

13. Apply an effect to the signal sent from the master L/R...................................................................24

14. Record to the adat....................................................................................................................24

15. Overdub..................................................................................................................................24

16. Mixdown..................................................................................................................................24

17. Listen to the master.................................................................................................................. 24

18. Saving a program.....................................................................................................................25

19. Recalling a program................................................................................................................. 25

20. Other convenient functions........................................................................................................26

...........................................................................

............................................................

Chapters. Parameters............................................................................................ 27

1. MISCmode............................................................................................................................. 27

2. Ex. BUS lO mode...................................................................................................................... 29

3. MIDI mode................................................................................................................................ 30

4. PGM mode...............................................................................................................................34

5. I/S/P mode................................................................................................................................35

6. EQ mode..................................................................................................................................36

7. BUS mode................................................................................................................................38

8. INPUT mode.............................................................................................................................39

9. AUXSNDmode..........................................................................................................................40

10. EFF SND mode......................................................................................................................40

11. PAN mode................................................................................................................................40

12. EFF1/EFF2 mode...................................................................................................................41

13. BUS MASTER mode.................................................................................................................43

14. SND MASTER mode.................................................................................................................44

15. METERS mode......................................................................................................................... 45

Chapter 4. Effects.................................................................................................. 46

00; Reverb Hall............................................................................................................................... 46

01: Reverb SmoothHoll....................................................................................................................46

02: Reverb Room............................................................................................................................47

03: Reverb BrightRoom................................................................................................................... 47

04: Reverb Wet Plate.......................................................................................................................48

05; Reverb Dry Plate....................................................................................................................... 48

06: Early Reflections........................................................................................................................49

07; L/C/R Delay...............................................................................................................................50

08: Mod.Delay (Modulation Delay).................................................................................................... 51

09; Chorus .....................................................................................................................................52

10: M.tap Chorus-Delay (Multitap Chorus-Delay)................................................................................53

11; Detune.....................................................................................................................................53

12: Bi Phase Mod. (Bi Phase Modulation)..........................................................................................54

13: Ensemble................................................................................................................................. 55

14: Rotary Speaker......................................................................................................................... 56

15: Pitch Shifter...............................................................................................................................57

16: Pitch Shift Mod. (Pitch Shift Modulation)

17: Limiter...................................................................................................................................... 59

18: Multiband Limiter.......................................................................................................................61

19: Wide Enhancer......................................................................................................................... 62

20; Auto Pan ..................................................................................................................................63

21; Graphic EQ...............................................................................................................................64

22; EQ-Early Reflection....................................................................................................................65

23: EQ-Delay..................................................................................................................................66

24; Exciter-Tap Delay.......................................................................................................................67

25: Delay-Chorus............................................................................................................................ 68

26: Flanger-Delay............................................................................................................................69

.......................................................................................

27; Delay-Phaser...........................................................................................................................70

28; Phaser-Tremolo...................................................................................................................... 71

29; Gate-Limiter............................................................................................................................ 72

30; Limiter-Exciter..........................................................................................................................73

31; Overdrive-Amp Sim (Overdrive-Amp Simulator).......................................................................... 74

Chapter 5. MIDI....................................................................................................75

1. what is MIDI?...........................................................................................................................75

2. MIDI connections..................................................................................................................... 75

3. MIDI Channel and Device ID settings......................................................................................... 75

4. Using MIDI for automation.........................................................................................................76

5. Using MIDI for Program Recall procedures................................................................................. 76

6. Using MIDI for system expansion...............................................................................................77

7. 168RC MIDI specifications........................................................................................................79

Chapter 6. Reference............................................................................................82

1. System connection examples....................................................................................................82

A recording system using one adat.............................................................................................82

A recording system which adds one adat and a Trinity (with Dl/F option installed) A recording system using two adat units A recording system using two 168RC units and two adat units

2. Troubleshooting..............................................:.........................................................................86

3. Error messages....................................................................................................................... 87

4. Specifications...........................................................................................................................87

.....................................................................................

......................................................

............................

83 84 85

5. External appearance................................................................................................................ 88

6. Options................................................................................................................................... 88

7. 168RC PARAMETERS LIST WITH ORIGINAL No.....................................................................89

8. Send Parameter...................................................................................................................... 92

9. MIDI Exclusive Data Format......................................................................................................93

10. Level chart.............................................................................................................................103

11. Block diagram........................................................................................................................104

168RC MEMORY LIST...............................................................................................................105

MIDI implementation chart............................................................................................................107

Index...........................................................................................................................................108

VII

Chapter J. Basics

This chapter explains the parts of the 168RC and their function, how mode and signal flow are related and basic operation.

7. Features of the 168RC

The SoundLink DRS 168RC Recording Console is a 16-channel 8-bus fully digital mixing console with two adat optical digital interfaces and eight analog inputs.

High performance functions and specifications

The 168RC uses a MSP (Music Synthesis Processor) LSI and HSAB (High Speed Audio Bus) archi tecture to allow digital processing at a maximum of 24 bit internal precision and 73 MIPS (total MSP). Data of a large number of channels can be processed and controlled simultaneously, and the sound quality has taken a revolutionary step upward.

A mixing console with the flexibility of 24 inputs, 16 channels, and 8 buses

Two pairs of adat optical interface I/O are provided, in addition to analog I/O, analog master out, and S/P DIF format digital master out, making a total (digital and analog) of 26 inputs and 26

outputs. Of these, the 24 inputs other than TAPE IN can be freely assigned to channels 1~16. The 16 assigned channels can then be sent to the 8 buses.

1. Features of the 168RC

Professional-quality channel functions

All channels provide input select, level metering, 3-band parametric EQ (channels 1~I2 only), AUX send 1/2, effect send 1/2, phase, pan, mute, solo, and output bus assign. 30 settings of the parametric EQ can be stored in internal memory.

Two fully digital effect systems with 32 effect types

Two digital effect units are built in, providing 32 types of effect including reverb, chorus, delay, limiter, and overdrive. For each mixing scene, settings can be made independently for effects 1 and 2. 50 effect settings can be stored in internal memory.

Simple and intuitive editing for efficient mixing

For Input Assign, Send (Aux and Eff), and Pan, you can select whether each of these parameters will be displayed for a single channel, or whether the specified parameter will be displayed for all channels.

Input mode

l/S/P (Input/Send/Pan) mode

Input Auxl Aux2 Effl Eff2

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13:DIG-A1 14:DIG-A1 15:0IG-A1 16:DIG-A1

'O "O ^ ^ "O "O ^

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The cycle [c] key function is a convenient way to toggle between any two display pages of the mixer, which streamlines editing.

While viewing these displays, you can simultaneously use the eight knobs located below the LCD to control the corresponding function.

Chapter 1. Basics

Automated mixing

Up to 100 different combinations of settings can be saved in memory as a Program, for immediate recall whenever required. 50 types of effect settings, and 30 types of EQ settings can also be saved. Effects can be copied to scenes, and EQ settings can be copied between channels.

In addition, you can use an external MIDI sequencer to dynamically automate every parameter of the 168RC.

Highly expandable as the center of a variety of systems

Two or more 168RC units can be cascaded via the adat optical interface to increase the number of channels, allowing you to assemble a system as large as you require.

The 168RC is ideal for integration into a system with a variety of equipment such as digital multitrack tape recorders, personal computers, digital synthesizers, hard disk recorders etc., mak ing it the perfect choice for a integrated music production studio that includes both analog and digital equipment.

Optional A/D or D/A converters (880A/D, 880D/A, sold separately) can be connected to the adat optical interface to expand the number of analog inputs and outputs, letting the 168RC be used as a mixer with up to 24 channels of analog input and 16 channels of analog output.

2. Controls and their functions

Front panel

2. Controls and their functions

O [PAD] key (INPUT channels A...D)

These switches attenuate the input signal of INPUT channels A~D. When the pad is on (switch pressed in), the input signal will be attenuated by 20 dB. Normally, you will turn this on for line input, and off for mic input.

o [TRIM] knob (INPUT channels A...0, LINE IN channels E...H)

These adjust the input levels of INPUT channels A~D and LINE IN channels E~H. Use [PAD] and [TRIM] to set an appropriate input level. As a general rule, adjust [PAD] and

[TRIM] so that the Ch Meter (channel meter) is in the -18—12 dB range when the fader Q is at the 0 dB position.

When an overload occurs, an "O" will appear in the upper right of the LCD (p.l2). Please be aware that distortion caused by excessive input gain to the analog circuitry cannot be corrected by the faders.

The PAD and TRIM settings and the phantom power switch settings are not memorized as part of a program.

Chapter 1. Basics

0 [SEL] keys (channels 1...12, 13... 16)

These keys select the channel that will be edited in the LCD. For channels 13-16 press the right [SEL] key. Each time the right [SEL] key is pressed, the channel will change in sequence.

When using the [RECALL]/[SAVE] keys to recall/save programs, these keys also function as a numeric keypad to input the program number ('«■ p.25).

In addition, when there is a discrepancy between the locations of the faders and the actual volume settings due to a Recall operation or due to the fact that the power has just been turned on, you can hold down this key and move the fader to adjust its location to match the actual volume setting without affecting the volume as you do so.

O [MUTE] keys (channels 1...12, master)

These keys mute (silence) the corresponding channel. When muting is on (lit), the channel is muted. Muting for channels 13-16 is performed in I/S/P mode in the LCD display («s’ p.35).

0 [SOLO] keys (channels 1...12)

These keys select the channel that will output audio to the monitor and headphones. Solo for channels 13-16 is performed in I/S/P mode in the LCD display (“S" p.35). Since the [SOLO] keys also function as the [SEL] keys, (in I/S/P mode etc.) the parameters of the soloed channel (lit) will automatically be displayed.

0 Fader indicators (channels 1...12, master fader)

Both LEDs will light at the 0 dB position. When the current fader location does not match the actual volume (such as immediately after a Recall operation or when the power is turned on), an LED will light. If the fader location is higher than the actual volume, the upper LED will light. If lower, the lower LED will light. When the fader and setting match, the LEDs will go dark.

Also, when channel pairing is being used, operating an even-numbered channel fader will cause the lower and upper LEDs to light while the fader is being moved, reminding you that the opera tion is invalid.

Channel faders (channels 1...12, 13... 16)

These adjust the volume of each channel 1-12. They control the gain from Off to +12 dB. When channel pairing is on, only the odd-numbered faders will function, and the even-numbered faders will be disabled.

When the locations of the faders and the actual volume settings do not match, due to a Recall operation or immediately after the power has been turned on, the upper or lower fader indicator LED will light. Moving the fader will not change the volume until the LED goes dark. When the fader location reaches the actual volume setting, the LED will go dark, and thereafter the volume will change according to the fader position. However if you hold down the [SEL] key as you move the fader, this "hooking" operation will not occur. This is convenient when you wish to determine the internal settings.

The volume of channels 13-16 is adjusted in I/S/P mode (“S’ p.35).

0 Master fader

Unlike the channel faders, this fader controls the gain from Off to 0 dB. For other details, refer to the explanation for the Channel Faders.

0 [MISC] key

This key accesses MISC mode, in which you can set channel/group bus pairing, and select the master clock that will synchronize digital processing with external devices, etc.

0 [EX.BUS 10] key

This key accesses Ex.BUS lO mode, in which you can connect the analog or digital audio signals that are input and output by the 168RC directly to the internal buses without passing through the channels. You can also select the audio signals that will be output to adat OPTICAL OUT B.

0 [MIDI] key

This key accesses MIDI mode, in which you can make settings for mixer automation, program change reception and transmission, and MIDI-related settings when connecting two or more 168RC units.

0 [PGM] key

This key accesses PGM mode, in which fader positions and settings such as send and pan can be saved and managed as programs.

2. Controls and their functions

0 [l/S/Pl (Input/Send/Pan) key

This key accesses I/S/P mode, in which you can select audio input sources, and set phase, pan,

and send level etc. The volume (channel faders), solo, and muting for channels 13-16 are set in this mode. An input level meter is displayed.

0 [EQ] key

This key accesses EQ mode, in which you can make 3-band parametric EQ settings and turn EQ on/off for channels 1-12. 30 EQ settings can be named, stored and recalled into any mix.

0 [BUS] key

This key accesses BUS mode, in which you can make settings to assign channel signals to master L/R and the group buses.

0 [INPUT] key

This key accesses INPUT mode, in which you can select the audio input sources for each analog and digital channel, and invert the phase of the input signals.

0 [AUX SND] key

This key accesses AUX SND mode, in which you can set the level of the Aux 1 and 2 sends for channels 1-16. Settings for all channels are displayed at once, and 8 channels can be adjusted simultaneously. In I/S/P mode, these settings can be made for individual channels.

0 [EFF SND] key

This key accesses EFF SND mode, in which you can set the level of the Eff 1 and 2 sends for channels 1-16. Settings for all channels are displayed at once, and 8 channels can be adjusted simultaneously. In I/S/P mode, these settings can be made for individual channels.

0 [PAN] key

This key accesses PAN mode, in which you can set the panning for channels 1-16. Settings for all channels are displayed at once, and 8 channels can be adjusted simultaneously. In I/S/P mode, these settings can be made for individual channels.

0 [EFF 1] key, [EFF 2] key

These keys access EFF 1,2 mode, in which you can make settings for the internal effects. You can modify the settings of the internal effects processors, turn the effects on/off, and specify the desti nation of the effect outputs. A total of 50 effects can be stored.

0 [BUS MASTER] key

This key accesses BUS MASTER mode, in which you can adjust the volume of the group buses, and turn on/off the signal sent to the master bus.

0 [SND MASTER] key

This key accesses SND MASTER mode, in which you can select the signal that will output for monitoring, and adjust the level of each bus.

0 [METERS] key

This key accesses METERS mode, in which the channel meters and bus meters are displayed. The master L/R level is indicated by the master level meter 0.

0 [RECALL] key

This key recalls a program. Programs can also be recalled in PGM mode.

0 [SAVE] key

This key saves a program. Programs can also be saved in PGM mode.

0 LCD

This displays parameter values and other information.

0 Knobs [1]...[8]

Use these knobs to select parameters in the LCD or to modify their value («s’ p.l4).

Use these keys to select a line in the display (the line of highlighted values etc. in the LCD) f'®’ p.l3).

0 [+] key, [-] key

Use these keys to modify the value of a parameter in the LCD f'®' p.l4).

0 [c] (Cycle) key

Pressing this key will take you back to the previously selected mode. Pressing it once again will return you to the original display f“® p.l5).

Chapter 1. Basics

® Master level meter

This indicates the level of the signals being output from the MASTER OUT jacks.

® [TAPE IN/MONITOR] key

This key selects whether the signal output to the monitor and headphones will be the analog tape in, or the internal monitor bus.

® [MONITOR] knob

Use this knob to adjust the level of the monitor output signal.

® [PHONES] knob

Use this knob to adjust the level of the headphone output signal.

@ Headphone jock

A pair of headphones can be connected here.

® [LCD contrast] knob

Use this knob to adjust the brightness of the LCD display.

Rear panel

O [PHANTOM power] switch

This switch supplies power to condenser mics etc. which are connected to INPUT A and B (XLR jacks). +48 V power is supplied when the switch is on.

ill^ When phantom power is on, never connect an unbalanced mic or instrument to INPUT A or

B. Doing so may damage your equipment.

2. Controls and their functions

e INPUT jacks (A, B)

These are balanced XLR jacks, mainly used for connecting balanced-output devices such as mics. When the pad is off, the input impedance is 3 k-ohms, nominal input is -60—10 dBu, and maxi mum input is +6 dBu. When the pad is on, the input impedance is 10 k-ohms, nominal input is 40~ +10 dBu, and maximum input is +26 dBu.

® INPUT jacks (C, D)

These are balanced TRS phone jacks. Standard unbalanced phone plugs can also be connected. Since they can provide higher gain than the LINE IN jacks (E...H), they can be used to input signals of a variety of levels, such as from low output-level devices like guitars. When the pad is off, the input impedance is 2 k-ohms, nominal input is -60—10 dBu, and maximum input is +6 dBu. When the pad is on, the input impedance is 20 k-ohms, nominal input is -40~ +10 dBu, and maximum input is +26 dBu.

QND COLD HOT

O INSERT jacks (A...D)

These jacks allow external effects etc. to be inserted into the input signals of INPUT A~D. In order to connect an external effect, you must use a Y-cable. The ring input impedance is 20 k-ohms, nominal input is +4 dBu, and maximum input is +14 dBu. The tip loading is 10 k-ohms, nominal output is +4 dBu, and maximum output is +16 dBu.

TIP RING SLEEVE

this plug connects to one of the mixer's Channel Insert jacks.

SEND to processor

RETURN from processor

Chapter 1. Basics

0 LINE IN jacks (E...H)

These are balanced TRS phone jacks. Standard unbalanced phone plugs can also be connected. The input impedance is 20 k-ohms, nominal input is -34 dBu~+6 dBu/hnd maximum output is +22 dBu.

0 AUX SEND jacks

These are unbalanced phone jacks which output the signals of AUX SEND 1 and 2. Normally they will be connected to external effect devices. Load is 10 k-ohms, nominal output is +4 dBu, and maximum output is +22 dBu.

o MASTER OUT jacks (L, R)

These are unbalanced phone jacks which output the analog master L/R signals. Normally they

will be connected to a master recorder. Load is 10 k-ohms, nominal output is +4 dBu, and maxi mum output is +22 dBu.

0 MON.OUT jacks (L, R)

These are unbalanced phone jacks which are analog outputs for the signal selected in SND MAS TER mode. Normally they will be connected to a monitor system or cue box. Load is 10 k-ohms,

nominal output is +4 dBu, and maximum output is +22 dBu.

0 TAPE IN jacks (L, R)

These are unbalanced RCA phono jacks, providing analog stereo input. Normally they will be connected to a cassette deck or to the analog output of a DAT. Input impedance is 10 k-ohms, nominal input is -10 dBu, and maximum input is +30 dBu.

0 MIDI connectors (IN, OUT, THRU)

External MIDI devices can be connected to these connectors. This allows Program Change mes sages to select programs, and mixing automation to be performed.

0 MASTER OUT jack (S/P DIF)

This digitally outputs the same signal as the analog MASTER OUT jack. Normally it will be con nected to the digital input of a master recorder such as a DAT.

0 ADAT OPTICAL IN jacks, (A1-8:G1-8 assignable, B1-8 assignable)

These are ADAT Optical format digital input jacks. The two ADAT Optical inputs can be used simultaneously.

0 ADAT OPTICAL OUT jacks (A1-8:G1-8, B1-8 assignable)

These are ADAT Optical format digital output jacks. Al-8 outputs the 8 group busses and Bl-8 are assignable outputs (p.29).

0 WORD CLOCK jacks (IN, OUT)

These jacks input and output a word clock signal for synchronizing digital processing with digit ally-connected external devices. These jacks are 48 kHz, TTL level.

0 [POWER] switch

This switch turns the power on/off. The power is on when the switch is pressed in.

0 AC power supply connector

Connect the included power supply cable here. First connect the power supply cable to the 168RC, and then plug the other end into an AC outlet.

3. Signal flow and mode

The following diagram is a simple depiction of the 168RC's internal signal flow.

3. Signal flow and mode

MON L

MON R

Analog inputs <panel controls>

The 168RC has 10 channels of analog input. The eight channels INPUT A~D and LINE IN E~H are input to the mixer, and the TAPE IN L/R can be sent via a select switch directly to the monitor/ headphone output in an analog state.

INPUT A~D are for either mic or line inputs, and LINE IN E~H are only for line inputs. INPUT A and B are XLR connectors which allow phantom power to be supplied.

INPUTS A~D provide PAD and TRIM (A and B provide phantom power) and LINE IN E~H provide TRIM to adjust the level before the signal enters the digital domain.

Digital input <panel controls, MISC mode>

The 168RC has 16 channels of digital input. Both the adat OPTICAL IN A and B inputs can be used simultaneously. If the two outputs are being sent from different devices, the sampling frequency must be precisely matched. Refer to the T. System connection examples' («s’ p.82) included at the end of this manual.

Chapter 1. Basics

Input patching <INPUT mode, l/S/P mode, Ex.BUS lO mode>

The analog and digital audio signals which are input to the 168RC pass through a programmable patch bay before they are connected to the mixer channels. These connections can be made in INPUT mode and in I/S/P mode. It is also possible to connect the signals directly to the buses, and this is done in Ex.BUS lO mode. In addition, the phase of the input signals can be inverted in INPUT mode and in I/S/P mode.

EQ <EQ mode>

Equalizing of channels 1~12 is performed here. The EQ is located before the faders of channels 1~12. EQ settings are adjusted in EQ mode, which also provides "EQ In" switches to turn EQ on/ off, and "Pad" switches to lower the input level to the EQ. (p.36)

Channel faders <panel controls, I/S/P mode, (ch.13~16)>

These adjust the volume of each channel. Channels 1~12 are adjusted by the channel faders, and channels 13~16 are controlled in I/S/P mode, (p.35)

Mute <panel controls, I/S/P mode (ch. 13«* 16)>

This temporarily sets the fader value to minus infinity. Channels 1~12 are controlled by the corre

sponding [MUTE] button on the panel, and channels 13-16 are controlled in I/S/P mode, (p.35)

Solo <panel controls, I/S/P mode (ch.l3~16), SND MASTER mode, MISC mode>

This sends the channel signals to the monitor and headphone outputs. Channels 1-12 are control led by the corresponding [SOLO] button on the panel, and channels 13-16 are controlled in l/S/P mode, (p.35)

Solo-related settings are also found in the following three locations.

1. The MISC mode setting "Exclusive/Mix" lets you specify whether solo can be used only for one channel at a time, or for multiple channels simultaneously, (p.28)

2. The SND MASTER mode setting "INDV/MON-h" lets you specify whether the solo signal will be mixed with the monitor bus signal and output, or whether only the solo signal will be output (p.44). If they are mixed, attenuation of -12 dB will be applied to the monitor bus signal.

3. The SND MASTER mode setting "Pre/Post" lets you specify whether the solo signal of a channel will be taken from before the fader (niono) or after the fader (stereo), (p.44)

Pan <I/S/P mode, PAN mode>

This adjusts the stereo position of the channel. These settings are made in either I/S/P mode or PAN mode. The stereo panned signal can be sent to master L/R, a group bus, or the solo bus.

Send to master L/R <BUS mode>

The BUS mode "Master" switch determines whether the stereo panned signal of the channel will

be sent to master L/R or not.

Send to group bus <BUS mode>

The "G1"-"G8" switches determine whether the signal of the channel will be sent to each group

bus or not. If the "ST-Group" switch of this mode is turned on, the stereo signal after the pan will

be sent to the group bus. If it is turned off, the mono signal will be sent to the group bus. A channel

can be sent to two group buses. To send in stereo, select one of the combinations "G1 /2", "G3/4", "G5/6" or "G7/8".

Group bus volume. Send to master <BUS MA.STER mode>

This adjusts the volume and pan of the signals that were assigned to a bus. You can also select

whether the signal will be sent to master L/R.

Send to internal effects, AUX <I/S/P mode, AUX SND mode, EFF SND mode>

In I/S/P mode these settings determine the level that is sent to the effect bus and to the AUX bus. You can also specify whether each signal will be taken from before the fader or after the fader. If you wish to view or adjust the settings of all channels simultaneously, select AUX SND mode or EFF SND mode.

Solo bus, internal effect bus, and AUX bus volume <SND MASTER mode>

These settings determine level and muting of the solo bus, the internal effects bus, and the aux bus

(muting is not available for the solo bus).

Monitor bus source select <SND MASTER mode>

The send to the monitor bus is adjusted in SND MASTER mode. MASTER (stereo), AUXl, AUX2, EFFl, EFF2 and group bus (mono/stereo selectable) can be selected. Group bus monitoring is

normally (with Grp.Link off) mono, but by turning Grp.Link on, you may monitor one of the

combinations "Gl/2", "G3/4", "G5/6" or "G7/8" in stereo. When solo is on, monitoring of the

solo bus will take priority.

3. Signal flow and mode

Master fader <panel controls>

This adjusts the master L/R level.

Meters <METERS mode, panel controls>

Ch Meter in METERS mode indicates the level of the signal after the fader and muting. Bus Meter in METER mode indicates the level of the signal of each bus after the volume and muting. The levels are expressed as the remaining margin until the internal digital signal would peak (begin to

distort).

The master L/R signals are indicated by the master level meter located on the front panel. The

meter calibration indicates the output level from the analog outputs.

Analog output

MASTER OUT (L/R) jacks, MON OUT (L/R) jacks, headphone (L/R) jack, and AUX SEND (1,2)

jacks are provided. The two EFF SEND (1, 2) systems are dedicated to the internal digital effect

processors. For each channel, AUX SEND and EFF SEND can be switched between pre/post, and turned on/off.

Digital output <Ex.BUS 10 mode>

This section provides adat OPTICAL OUT A (1-8), B (1-8), and S/P DIF MASTER OUT jacks, adat OPTICAL OUT A (1-8) always outputs group buses 1~8. adat OPTICAL OUT B (1-8) provides patching capability. These settings are made in Ex.BUS 10 mode. When cascading two or more 168RC units, connect the buses using the B connectors. S/P DIF MASTER OUT outputs the same signal as the MASTER OUT (L/R).

168RC Virtual Console Surface

ABC D°E°°F G H 1 2 3 4"°5 4 7 8 1 2 3 T'°5° 6 7 8 Input Motrix

Ch 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Group Bus 12345678 LR1212LR

il/S/P]or[INPLrri lEx-BUSIOl Solo AUX Eff Master

Group AAoster [BUS MASTER]

1 2 3 4 5 6 7 8

^panO o o o o o o o

oooooooo

Send Master

[SND A4ASTER]

SOLO MODE

AUX1 AUX2 Effi Eff2

O O O O

ON CD CD CD CD

Exclusive

CD iMisci

MON-» I I ISNO MASTERl

TAPE/MONITOR MOtmSRlEVa

a -T- o

Master AUX1 AUX2 Effi Eff2

□ □□ CJCD

□ □ □

Gl G2 G3

□ □

--------

Vdue -

o o-

---------

Vc*J» •

o o-

G4 G5

..... I—I I I Moster

--------

..... □ Master

[Eff2l

Stereo Group

□ □ □

G6 G7 G8

BtWSS ---------Out -

□

motes Lfva

ItejTl

r~p

Master L/R

[ ] :Mode Name

Moster L/R

AUX 1/2

Moi^r L/R

Group Bus

® 4

Bus Assignable

Iea. bus roi

OUIPUT

This diagram shows how the 168RC would be laid out if it were an analog mixer. [ corresponding mode name.

] indicates the

Chapter 1. Basics

4. Reading the LCD

Program number/name

This is the name and number of the current program. When saving or recalling, it will be high lighted until the number is input.

Program update mark

Immediately after a program has been recalled, a will be displayed here. When a knob or fader is moved to modify the contents of the program, this display will change to an "sf-".

Channel number

This is the channel number. Press the [SEL] keys (or the [SOLO] keys) to select a channel.

Page name

This is the name of the current page.

Overload indicator

When an analog input A~H signal exceeds the maximum level, a "O" will be displayed here. Adjust [PAD] or [TRIM]. Distortion which occurs in the analog section cannot be corrected by fader operations.

MIDI receive indicator

When MIDI messages are received, an "M" will be displayed here.

Solo indicators

The four dots below "SOLO" are the solo indicators for channels 13~16. From the left, they repre sent channels 13,14,15 and 16, and solo is on when the dot is displayed.

If during cascade connection (p.77), a command to monitor the solo bus is received via MIDI, "SOLO" will change to "SOLO-A".

. MIDI receive

Program number

Program update mark

Program name

P.00+Preset PGM

1 A£ A 0 AH

AE A& A7 A$ ^ ES Bi; A F G H

Channel number

Page name Overload indicator

Meter

■ -

- -2>t-

- - as-

indicator Ch. 13-16

solo indicators

Peak

U Hold

J.12345678 ^B9I0 11

Recall/save

program number

III liiijki 11 mj-

Al A£ AS A4 as AS A7 AS B1 B£ BS B4 A F G

- 12-;

-24-

-as-

Cascade master solo active receive

Peak

Hold

1 2 3 4 5 6 7 S 9 10 11 12 13 14 15 le

5. Parameter editing

This section explains how you can modify parameter values.

O Select a mode

The 168RC has sixteen modes: MISC, Ex.BUS lO, MIDI, PGM, I/S/P, EQ, BUS, INPUT, AUX SND, EFF SND, PAN, EFFl, EFF2, BUS MASTER, SND MASTER, and METER.

Press a mode key to select the mode in which you wish to edit, and an LED will light to indicate the selected mode.

MISC PGM INPUT EFFl BUS MASTER

5. Parameter editing

Ex.BUS 10 RECALL

I/S/P

AUX SND EFF 2 SND MASTER

Q Select a channel

In I/S/P, EQ, and BUS modes, select the desired channel by pressing a [SEL] key (or a [SOLO] key).

The upper line of the LCD will show the current channel number. For channels 13-16, the chan nels will be selected successively each time you press the [SEL] key.

In INPUT, AUX SND, EFF SND and PAN modes, either press a [SEL] key (or [SOLO] key), or rotate one of the eight knobs to select a channel.

In other modes, it will not be necessary to select a channel.

0 Select a line

The area in which the numerical values etc. are highlighted is the currently selected line. Modes may contain two or more lines, and may extend to multiple pages. Arrows ( ^ , ^ , <^ ) dis played at the left of the selected line indicate that further lines exist in the indicated direction.

To move between lines, use the [ /\ ] key and [ \/ ] key. In INPUT, AUX SND, EFF SND, and PAN modes, pressing the [SEL] key will jump to the line for that channel.

P‘.‘00+prei

Input

-an

__________

IjJinSI

.. PGM Chi >In/Send/Pan

EB „

Auxl Aux2 Effl Eff2

O O O O

HSB Hsa №£■

Arrow Character display Switch icon

Channel number

mssm

^ Ql SI tifa

Post Post Pre Post

Knob icon

ICHT

Line

Chapter 1. Basics

O Modify parameter values

In the group of knobs located below the LCD, rotate or press the knob which corresponds to the desired parameter in the selected line to modify its value. After a parameter has been se lected, you can also use the [+] and [-] keys to modify its value. However this operation will depend on the type of parameter.

In INPUT, AUX SND, EFF SND and PAN modes, you can also select parameters by pressing the

[SEL] key of the channel that you wish to edit.

Madifying fhe value of a knob icon

Rotate the knob located below the LCD that corresponds to the desired parameter. However if you move to a different line or recall a program, the position of the knob will no longer

correspond to the position of the knob icon in the LCD, and rotating the knob will not change the value. In this case, use one of the following two methods.

© Press the knob, and then rotate it. When you press the knob, the current position of the knob will be assigned as the value. Then as desired, rotate the knob or press the [+] and [-] keys to modify the value.

Example: Setting Pan to "L50" when it was at "CNT" When the knob was in the position shown in the illustration, rotating the knob full left and then

pressing it will set the value to L50.

p.OO*

‘O "O ^ “'O

JBgni HSM IBifii HSM

9Q IIQ 12Q

CNT CNT CNT CNT

© Rotate the knob to match the setting, and continue rotating it. If you rotate the knob without pressing it, the value will not change until the knob reaches the position of the knob icon in the LCD. After the position of the knob matches the position of the knob icon, the value will change continuously. After the positions have been matched, you can also modify the value by using the [+] and [-] keys.

Example: Setting Pan to "R50" when it was at "CNT" If the knob was rotated fully left, rotate it to the right. The value will not change tmtil the knob

reaches the center (CNT) position. As you continue rotating the knob, the value will continue to change until it reaches R50.

'O XD X!)

jimsfsm

HM IBM HM

9Q HQ 12Q

CNT CNT CNT CNT

5. Parameter editing

Modifying the setting of a switch icon qj

This icon represents an on/off switch. The setting will alternate on or off each time the knob is

pressed.

P.00+Pt

Input ®

DIG-A3

-12

-2M

-Mi

Auxl Aux2

O O

100 50

Q Q

Modifying 0 character-only value

Rotating the knob will change the setting to the value corresponding to the knob position. Press ing the knob will not change the value, but will select the parameter so that it can be modified by the [+] and [-] keys.

A There are some parameters whose operation does not fit into the operating procedures ex

plained in O Modify parameter values. In these cases, the value is modified by pressing or rotating the knob, or by pressing other switches.

Using the [c] key

By pressing the [c] key, you can jump to the previously-selected mode. Press the [c] key once again to return to the original mode.

Example: After moving from EQ mode to METERS mode, pressing the [c] key will take you to EQ mode. Pressing the [c] key once again will take you to METERS mode.

If a key of the same mode was pressed twice or more in succession, pressing the [c] key will not change the mode.

Chapter 2. Tutorial

This chapter explains the procedure for connections, recording, and mixdown on a basic system consisting of an 168RC and one Alesis adat (MTR).

7. System connection example with an 168RC and one adat

The tutorial in this chapter will assume that your system is connected similarly to the system shown in the following diagram. Modify the instructions of this tutorial as necessary for your system. Examples of other systems are given in "System connection examples" at the end of this manual, so you may refer to these examples as well.

Monitor speaker

MIDI keyboard

Power amp

O' ' ' O □

II II

IF11|l 111

Headphones

PHONES

/d. n n |-| □ □ □ CL-

yUNE ING, H

□__n n n

« L I

R I I R I I 2 1 lllNE(NillNEINlllN£ InIlIUE InIiNSERT INPUT IiNSERT INPUTQ

_ _

a—

TAPE IN

adat

II -fl—

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= HiiinnnnaflMsmmmmiH

□ r-l-igagr-j-i g gc

pElR— IN MASTER

I il i] 0® ®© © ©«

81 60-61

A(l-0)

adat & adat

optical' ' OPTICAL'

OUTA(1-8) INA(1-8)

DIGITAL

INPUT

DIGITAL

OUTPUT

S/PDIF THRU OUT

LINE OUT

Master OUTV (S/P DIF)

•

I REC IN

_ _

_ _ _ _ _

MIDI

Master recorder

(DAT)

.§ M^o o

O Use an optical cable to connect the 168RC's 'adat OPTICAL OUT-A' to the adat's 'Digital IN

PUT.'

O Use an optical cable to connect the 168RC's 'adat OPTICAL IN-A' to the adat's 'Digital OUT

PUT.' O Connect the 'OUTPUT' of your keyboard to the 168RC's 'LINE IN G, H.' O Connect the 168RC's 'MASTER OUT (S/P DIF)' to the 'REC IN' of your master recorder (DAT). @ Connect the 'LINE OUT' of your master recorder (DAT) to the 168RC's 'TAPE IN.'

o Connect the 168RC's 'MON.OUT' jacks to a power amp -i- monitor speakers, or connect a pair

of headphones to the 168RC's 'Phones' jack.

2. Turning on the power

Turn on the power of each connected device.

A Please be careful of the order in which you turn on/off the power of each device. If you

perform this procedure incorrectly, your speakers or amp may be damaged. Before turning the power on, set the volume of all devices to the minimum position, and then turn on the power switches beginning with the devices that output the signals. When turning the power off, reverse the power-on sequence.

O Turn the volume of all external devices (keyboard, amp, etc.) down to the minimum position.

Q Turn on the power of the keyboard, the adat, and the master recorder (DAT).

0 Turn on the power of the 168RC.

After the opening message is displayed, one of the mode displays will appear. The 168RC will show the mode display that was last-selected when the power was turned off.

O Turn on the monitor amp power.

Press the adat's [DIGITAL INPUT] switch. This will connect the 168RC's group bus to the

adat's input.

3. Setting the clock source

Set the clock source of the adat to match the 168RC. O If you have an adat XT, set CLOCK SELECT to DIG 48K.

If you have an adat, the operation in step

Press the 168RC's [MISC] key (the LED will light) to access MISC mode. Press the [ /S ] or

[ \/ ] key to select CLK Source in the System page, and select "INTERNAL" either by rotating

knob [3] or [4], or by pressing the [+] or [-] key.

will make it operate using the I68RC's clock.

ROM Uersion!l.0

Chapter 2. Tutorial

4. Check settings before you start

So that sound will not be accidentally output frona channels or buses during operations, and to avoid sudden noises, make the following settings on the 168RC.

O Rotate the [MONITOR] knob and [PHONES] knob fully left.

Q Set the channel faders 1~12 and the master fader to the -infinity dB position.

In I/S/P mode, set the level of channels 13-16 to 0. Press the [I/S/P] key (the LED will light) to access I/S/P mode. Press the [SEE] key for channels 13-16 so that a channel 13-16 appears in the LCD display. Press the [ ^ ] key to move the line to the LEVEL values. Rotate knob [8] to the left to set the value to 0. Press the 13-16 [SEL] key to change channels, and set each channel to a level of 0.

Input

Press the [MUTE] key for channel faders 1-12 and the master fader (the LEDs will light) to

mute them. Mute channels 13-16 in I/S/P mode. Press the [ V ] key to move the line to

"mute" (or "MUTE"). Press knob [8] to select "MUTE" and mute the channel. Press the 13-16

[SEL] key to change channels, and successively mute each channel.

O Set all [TRIM] knobs A-H to the "MIN" position.

Make settings so that no signals are sent to the internal buses. Press the [Ex.BUS I/O] key (the

LED will light) to access Ex.BUS 1/O mode. Use the [ ^ ] or [ \/ ] key to access the Input Sel. page, and use knobs [l]-[8] to turn all parameters "OFF."

|j,ML:iiaa

El¡OFF Gl¡OFF

G5¡0FF

Auxl Aux2 Effl Eff2

O O O O

dh dh Q

Post Post Pre

мR¡llaa E2¡0FF

G2¡0FF G6¡0FF

Post solo MUTE

SL¡llI¡a

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GЗ¡0FT G7¡0FT

Pan LEUL

O 0‘

CHT I 0

Q SI

SR¡| A2¡0FF G4¡0FF G8¡0FF

5. Select the signals to be monitored

Send the master L/R signal to the monitor. O Select master L/R as the signal to be sent to the monitor. Press the [SND MASTER] key (the

LED will light) to access SND MASTER mode. Press the [ A. ] key or [ v ] key to select the

Monitor page, and press knob [1] to turn Mstr "ON."

F.00+Fr-eset FGM Chi-

Mstr

[Il

! I

Set the [TAPE IN/MONITOR] switch to MONITOR.

Adjust the [MONITOR] knob and the [PHONES] knob to an appropriate position (approxi

mately 9 o'clock).

O Set the master fader to the 24 dB position.

Auxl Aux2 Effl Eff2

Q 5) 5) O

maa Biaa BHa nffl

GIO G2B G3Q G4Q) G5Q) GÉB G70 G80

OFF OFF OFF OFF OFF OFF OFF OFF

Grp.Link

Bia a

7. Monitor the signals input to channels 9 and 10

6. Input the keyboard signal to channels 9 and 10

Make settings so that the signal from the keyboard connected to LINE IN G and H is input to channels 9 and 10, and the direct sound is output in stereo to the monitor.

O Set channel faders 9 and 10 to the 0 dB position. (At the 0 dB position, the upper and lower

fader indicators will light.)

O Input the LINE IN G signal to channel 9, and the LINE IN H signal to channel 10. Press the [1/

S/P] key (the LED will light) to access 1/S/P mode. Press the channel 9 [SEL] key, then press the [ /\ ] key or [ \/ ] key to select the Input line, and rotate knob [1] to select "ANA-G". Then press the channel 10 [SEL] key and set Input to "ANA-H".

In I/S/P mode, set the channel 9 and 10 Aux (Aux Send) 1 and 2 Levels to "0".

O In I/S/P mode, set the channel 9 and 10 Eff (Effect Send) 1 and 2 Levels to "0".

In I/S/P mode, set the channel 9 Pan to "L50" and the channel 10 Pan to "R50".

In EQ mode, set the channel 9 and 10 EQ In to "OEE".

7. Monitor the signals input to channels 9 and 10

Make settings to monitor the keyboard signals that are input to channels 9 and 10.

O Send the channel 9 and 10 signals to the master L/R. In the BUS mode Bus Assign page, turn

Master "ON" and all others "OFF" for channels 9 and 10.

Master ea

m:i

GIQ G25) G3Q G40 G55I

OFF OFF OFF OFF OFF

Switch off (LED dark) the [MUTE] keys for channels 9 and 10 and the master. Raise the master fader to the 0 dB position. While watching the MASTER level meter, use the [TRIM] knob to adjust the volume of the

connected keyboard. Adjust the [MONITOR] knob and [PHONES] knob to a comfortable listening volume.

ST-Group Qi

G6Q) G70 G8Q)

OFF OFF OFF

EBa

Chapter 2. Tutorial

8. Send signals to the adat

Send the signals from channels 9 and 10 to the adat which is connected to adat OPTICAL OLIT A. O Send the signals of channels 9 and 10 to tracks 1 and 2 of the adat. In the BUS mode Bus Assign

page, turn "G" (group bus) 1 "ON" for channel 9, and turn "G" (group bus) 2 "ON" for chan nel 10. Turn other Bus Assign settings "OFF." (Also set Master "OFF" so that the signal which will be returned from the adat for monitoring will not be duplicated.)

Master Ql

OFF

ST-Group Q

OFF

Gl SI G2Q1 G3Q G40 G50 GGBl G7Q G80

tum

In BUS MASTER mode, access the Grp.Level page and adjust G1 and G2 levels. In the Groups Mstr page, turn the settings "OFF" so that signals are not sent to Master Out.

w i a

_ _

la a a

iiff G2|t 031 041 ^105 100 107 mm

D D i ill i i i

OOOOOOOO

Gl G2 G3 G4 G5 G6 G? G8

OOOOOOOO

CHT CNT CNT CHT CNT CNT CHT CHT

Q Q Q Q Q Q Bl

0 Put the adat in monitoring mode. O Watch the adat meters to confirm that signals are being sent to tracks 1 and 2.

9. Input the signals sent to the adat into channels 1 and 2

Input the return of the signals sent to the adat into channels 1 and 2, and send the stereo output directly to the monitor. This is so you can "monitor" the signals from tape.

O In I/S/P mode, set the Input of channel 1 to "DIG-Al," and the Input of channel 2 to "DIG-

A2."

+.. PGM Ch 1 >Ifi.''Serid.''p.=in SOL Cl

Auxl Aux2 Effl Eff2

Pan

o o o o

U ■ U I U ■ k.1

o o o

Post Post Post Post

O In I/S/P mode, set the channel 1 and 2 Aux (Aux Send) 1 and 2 Levels to "0". O In I/S/P mode, set the channel 1 and 2 Eff (Effect Send) 1 and 2 Levels to "0".

O In I/S/P mode, set the channel 1 Pan to "L50", and the channel 2 Pan to "R50"

0 In EQ mode, turn the EQ In "OFF" for channels 1 and 2.

In the Bus Assign page of BUS mode, turn Master "ON" and all others "OFF" for channels 1 and 2.

Master

DEI

ST-Group Ql

BH3

GIO G20 G3Q) G40 G5Q) G60 G70 GSO

OFF OFF OFF OFF OFF OFF OFF OFF

O Switch the [MUTE] key off (LED dark) for channels 1 and 2. O Raise the channel faders 1 and 2 to the 0 dB position.

Chapter 2. Tutorial

10. Pairing settings

Pairing is a function which allows fader, mute, and EQ settings to be performed together for an odd/even pair of adjacent channels. This setting is effective when using stereo input and output. Here we will pair channels 9 and 10.

O In the Pairing page of MISC mode, turn channels 9/10 "ON".

U2 3/4 5/6 7/8 9/10

Q O O

7 7. EQ adjustments

Use the built-in 3-band semi-parametric equalizer to equalize channels 9 and 10.

O In EQ mode, set LG, MG, and HG to "0" for channels 9 and 10. When you select a channel for

which pairing is turned on, channels 9/10 will be displayed together, and both can be adjusted simultaneously.

In EQ mode, turn EQ In "ON" for channel 9 or 10.

In EQ mode, make EQ adjustments for channels 9 and 10.

DdJa

Gl/2

DQda

G3/4 G5/6

O O

OFF OFF

t PGM Ch9.-IU >C -i EQ

O O

MF W MQ

■ a

[il!l

11/12 13/14 15/16

Q Q Doaa

waa

Maa

G7/8

<3i Q

OFF OFF

9 o

Hz da

Q1EK]|

12. Apply an effect to the signal sent to the adat

Use the internal effect 1 to apply chorus to the signals that are input to channels 9 and 10 and sent to the adat.

O In the Eff 1 I/O page of EFFl mode, turn Effl "ON".

O Send the effect output to adat tracks 1 and 2. In the Eff 1 I/O page of EFFl mode, turn Gl/2

"ON". Turn the other settings "OFF".

In the Eff 1 Edit page of EFFl mode, set TYPE to "09" Chorus, and press "ENTR" (knob [8]).

iP.00+Preset PGM Chi >Effl Edit sc

>Reuerb Hall

Ly'Cy'R

Delay

Mod. Delay

HSIBHB

M.tap Chours-Delay Detune

___________

O In I/S/P mode, adjust the Eff 1 Level for channels 9 and 10.

Input on iAuxl Aux2 Effl Eff2iPan

O O O OiO

hha-g

In Mstr.Level of SND MASTER mode, turn Eff 1 "ON" and adjust the level.

Solo L R i Auxl Aux2

Q I Ql Q Ql Qi

Post Post Post Post

Effl Eff2

ono:

50 U 50

O O

90911

la Ql

Chapter 2. Tutorial

13. Apply an effect to the signal sent from the master L/R

Use the internal effect 2 to apply reverb to the signal which is input to channels 1 and 2 from the adat, and send it to master L/R.

O In the Eff 2 I/O page of EFF2 mode, turn Eff 2 "ON".

@ Send the effect output to adat tracks 1 and 2. In the Eff 21/0 mode page of EFF2 mode, turn

Mstr "ON." Turn all others "OFF".

set PGM Ch y >EN'2 I/O

Gl/2 63/4 G5/6 G7/8

5) B) O

Eia nffl Ba BH

O In the Eff 2 Edit page of EFF2 mode, set TYPE to "00" Reverb Hall, and press "ENTR" (knob

[8]).

o In I/S/P mode, adjust the Eff 2 Level for channels 1 and 2.

0 In Mstr.Level of SND MASTER mode, turn the Eff 2 switch "ON", and adjust the level.

14. Record to the adat

Preparations for recording to the adat have now been completed. Once again, check that the adat meters indicate an appropriate level. Then put adat tracks 1 and 2 in Track Rec mode, and record your performance.

15. Overdub

The process of recording additional tracks while monitoring previously recorded tracks is called "overdubbing." Add additional input sources, and overdub them to other tracks. The signals from 168RC group buses 1~8 will pass through the adat OPTICAL OUT A (1-8) and be sent to tracks 1~8 of the adat.

16. Mixdown

When all recording has been completed, make adjustments for each channel. Apply EQ, limiting,

and reverb etc., and mixdown to your master recorder (DAT).

17. Listen to the master

Set the [TAPE IN/MONITOR] switch to the "TAPE IN" position, and playback the master re corder (DAT).

18. Saving a program

The settings of all paranaeters except for the analog section, MIDI mode, and the CLK Source setting of MISC mode can be saved (stored) as one of up to 99 programs "01"~"99". Program "00" is read-only. These programs can be recalled whenever desired.

There are two ways in which a program can be saved and (as explained in the section below) recalled. One method is to use PGM mode. In this case, a program list will appear, allowing you to see the program that is selected (“S" p.34). The other method is to use the [SAVE] key and [RE CALL] key. In this case, you can recall or save from any mode other than PROGRAM mode or MIDI mode, making the operation quicker. Here we will explain how to save using the [SAVE] key.

О Press the [SAVE] key. The program number will go blank.

-pt PGM Chi >In/S

Auxl Aux2 Effl Eff2

О О О О

Q о Q

Post Post Pre

19. Recalling a program

Pan

Use the [SEL] keys to input the save destination number. The channel 1 [SEL] key will input 1, the channel 2 [SEL] key will input 2,... and the channel 10 [SEL] key will input 0. You must input a two-digit number.

If the program is locked, the display will indicate "¡Protected," and saving will not be possible. Either turn off locking in PGM mode, or save the program to a different number.

Press the [SAVE] key. The program number will be finalized, and the program update mark will change to a indicating that the program has been saved. To cancel without saving, press the [PGM] key. With this procedure, it is not possible to modify the name of the program.

7 9. Recalling a program

Here we will explain how to use the [RECALL] key to recall a program. Refer to "18. Saving a program."

O Press the [RECALL] key. The program number will turn blank.

0 Use the [SEL] keys to input the number of the program that you wish to recall. The channel 1

[SEL] key will input 1, the channel 2 [SEL] key will input 2,... and the channel 10 [SEL] key will

input 0. You must input a two-digit number.

O Press the [RECALL] key. The program number will be finalized, and the program name will

change. To cancel without recalling, press the [PGM] key.

Chapter 2. Tutorial

20. Other convenient functions

The 168RC has a variety of convenient functions. For the operating procedures, refer to the page references given.

Starting scene settings over from scratch (p.25)

As you continue mixing, you may become unable to make settings as you wish, or you may de

cide to start again from scratch. In such cases, either recall the program memory that is closest to

the desired mixing settings, or recall the initial setting "00" and continue operations.

Writing and reading EQ memories (p.37)

30 different EQ settings can be written into memor;y EQ memory settings that were written can be read (recalled) into any desired channel 1~12.

Writing and reading effect memories (p.42)

50 different effect settings can be written into menaory. Effect memory settings that were written can be read into effect 1 or 2.

Rename (p.34)

You can assign a different name to each program memory, EQ memory, and effect memory.

Mixer automation (p.76)

A MIDI sequencer can be used to control faders and settings such as pan and EQ in realtime.

Data dump (p.33)

If the number of internal memories for programs and for EQ and effect settings is insufficient, you can use the Data Dump function to transmit this data to another MIDI device for storage, and retrieve it later when necessary.

Chapters. Parameters

This chapter explains the parameters of the 168RC for each mode.

7. MISC mode

Pairing

1. Mise mode

15/16

Daaa

G7/8

1/2

3/4 5/6 7/8

rmi

Q O

GdS

Gl/2 G3/4

OH ON

1/2... 15/16 "OFF, ON"

Here you can turn channel pairing on/off. When this is "ON," adjusting one of the channels will cause the identical adjustment to be made for the paired odd/even channel. This function applies to fader, mute, and EQ settings.

For channel fader operations, only the odd-numbered channel faders will be effective. If you oper ate an even-numbered channel fader, both of the channel indicators will light, indicating that operating this fader will have no effect. For incoming MIDI messages as well, fader, mute, and EQ of even-numbered channels will be ignored.

Even when pairing is turned "OFF," the values that were set while pairing was in effect will re main. This can be used as an easy way to copy odd-numbered channel settings to even-numbered channels.

G1/2...G7/8 "OFF, ON"

These settings turn pairing on/off for the group buses. When "ON," the knob icons that indicate the level of group buses in BUS MASTER mode will be joined by a line for adjacent buses. In this case, operation will be valid only for odd-numbered knobs, and the even-numbered knobs will be linked to the odd-numbered knobs.

9/10 11/1213/M

O Q

QS Doaa Ddid

G5/6

Q Q

OFF OFF

[il!l

System

CLK Source "INT, DIG-IN-A, DIG-IN-B, WCLK-IN"

Select the master clock that will determine the sampling frequency. INT ; Use the internal clock of the 168RC. DIG-IN-A : Use the clock that is input to the adat OPTICAL IN A. The device connected to the

DIG-IN-B : Use the clock that is input to the adat OPTICAL IN B. The device connected to the

WCLK-IN : Use the clock from the WORD CLOCK jack. Connect a 48 kHz TTL level clock to the

For examples of actual connections, refer to the "System connection examples" at the end of this manual.

t PGN Chi /System

DIG-IH-RiCLK Source!

Solo Mode ¡Exclusive

Battery : OK

adat OPTICAL IN A will be the clock master.

adat OPTICAL IN B will be the clock master.

WCLK-IN.

ROM Uersionil.B

Chapters. Parameters

A For the digital processing to be synchronized with the connected device, the CLK Source

settings and connections must be made correctly. In particular, when the 168RC is set to a setting other than "INTERNAL" (i.e., when the 168RC is the slave device), if the cable is not connected to the external device or if its power is not turned on, malfunctions such as noise

or failure to synchronize at the correct tempo may occur.

Solo Mode "Exclusive, Mix"

Exclusive : Allows the solo switch to be on for only one channel at a time. If you press the solo

switch of another channel, solo will be turned off for the previously-soloed chan nel and the newly selected channel will be soloed.

Mix : Allows multiple channels to be soloed at the same time.

2. Ex. BUS lO mode

Input Sel.

2. Ex. Bus lO mode

El:DIG-Al Gl:DIG-Al G5:DIG-A1

ML..G8 "OFF, DIG-Al ...DIG-A8, DIG-Bl ...DIG-B8, ANA-A...ANA-H"

Select the audio inputs that will be connected to the internal buses. There are 16 buses, as follows.

ML: Master L, MR: Master R, SL: Solo L, SR: Solo R El: Effect 1, E2: Effect 2, Al: Aux 1, A2: Aux 2 Gl: Group 1, G2: Group 2,..., G8: Group 8

The following 24 audio inputs can be selected.

"DIG-A1"~"DIG-A8" of adat OPTICAL IN A "DIG-B1"~"DIG-B8" of adat OPTICAL IN B "ANA-A"~"ANA-H" of INPUT A~D and LINE IN E~H

Bus ^ D-Out

DIG-AlMR:

DIG-Al4,ML:

_____

E2: DIG-Al G2: DIG-Al G6: DIG-Al

DIG-Al

Al: DIG-Al G3: DIG-Al G7: DIG-Al

DIG-Al

SR:[ A2: DIG-Al G4: DIG-Al G8: DIG-Al

DIG-Out-B B1 ...B8 "MSTL, MSTR, Gl ...G8, AUXl, AUX2, EFFl, EFF2, SL-L, SL-R"

Select the signals that will be sent from adat OPTICAL OUTPUT B. Select from the 16 internal buses.

MSTL: Master L, MSTR: Master R, Gl: Group 1, G2: Group 2,..., G8: Group 8, Auxl: Aux 1, Aux2: Aux 2, Effl: Effect 1, Eff2: Effect 2 SL-L: Solo L, SL-R: Solo R

Chapters. Parameters

3. MIDI mode

MIDI Menu

In this menu page you can make MIDI-related settings. Use the [ /\ ]/[ \/ ] keys to select the item that you wish to edit, and press knob [8] "[ENTR]" to access the selected page.

MIDI Setup

t PGM Chi >NIDI MEHLI

Program Mapping Parameters Mapping Send Parameters Send Exclusive

[EHTR]

System Extension "Stand Alone 1,Duplicate Slave"

As appropriate, select the way in which MIDI will be used. Stand Alone 1: MIDI will not be used. Stand Alone 2: Control Changes will be used. Use this setting if you are performing mixer auto

mation using a connected MIDI sequencer etc. Stand Alone 3: NRPN will be used. Use this setting if you are performing mixer automation using

a connected MIDI sequencer. Select this setting if MIDI devices ofher than the sequencer are con nected to your system.

Cascade Master: Select this if multiple 168RC units have their buses connected via an adat optical cable f'®’ p.77, 85). "Cascade Master" is an example of using the monitor and master outputs. On the 168RC which is set to "Cascade Sender," select the desired bus for output (Master, Solo, Effect etc.) in the Ex.BUS lO mode Bus->D-Out page setting. Then connect it's adat OPTICAL OUT B to the adat OPTICAL IN B of the master unit, so that the output from the sender is input by the bus selected in the Ex.BUS lO mode Input Sel. page. With this connection, the contents of the Sender

bus will be mixed with that of the Master.

So that program changes and the Solo function can be operated from either 168RC, connect the respective MIDI OUT and MIDI IN connectors of the master and slave devices to each other.

Cascade Sender: Refer to the explanation for "Cascade Master." Remote Master: Operations on an 168RC set to "Remote Master" will affect only the settings of an

168RC which is set to "Remote Slave" (p.77). Use MIDI cables to connect the MIDI OUT and MIDI IN connectors respectively of the 168RC set to "Remote Slave" and the 168RC set to "Remote Master."

Remote Slave: Refer to the explanation for "Remote Master." Duplicate Master: Use this to copy the memory contents and operations of the master to the slave,

so that the operations of the master and the slave are identical (‘®’ p.77). Connect the Master's MIDI OUT to the Slave's MIDI IN.

Duplicate Slave: Refer to the explanation for "Duplicate Master." Be aware that the memory con tents (programs etc.) of the 168RC set to "Slave" will be overwritten by the memory contents of the "Master."

3. MIDI mode

The following parameters from Tx Base Ch through MIDI Type, which are marked by will be set automatically when you make a selection for this System Extension parameter, but you may

modify the values if your system needs are more complicated. Be aware that the settings of these parameters will be modified when you select a different System Extension setting.

Devicelo "01... 16"

This is an ID number used when exchanging System Exclusive messages. This number is used for both transmission and reception. The device ID numbers must match on both master and slave

devices when using a Remote or Duplicate setting, or on both the transmitting and receiving devices when performing a data dump.

TxBaseCh** "01... 16"

This is the channel on which MIDI messages other than System Exclusive messages are transmit ted.

RxBaseCh** "01... 16"

This is the channel on which MIDI messages other than System Exclusive messages are received.

MIDI Type** "Off, Control Change, NRPN, Exclusive"

Select the type of MIDI message with which the 617 parameters such as fader and pan which allow realtime control will be transmitted and received.

Off: MIDI messages will not be transmitted or received. Control Change: MIDI messages will be transmitted and received using Control Change mes sages. NRPN: MIDI messages will be transmitted and received using NRPN (Non Registered Param eter) messages. Exclusive; MIDI messages will be transmitted and received using System Exclusive messages. System exclusive messages will not be transmitted until you exit the MIDI Setup page.

Program Change Tx Program Change Rx "Off, Program, Program,Eff, Program,Eff,EQ"

Select the way in which Program Change messages will be used. Program Change messages will not be transmitted or received if the MIDI Type is "Off" or "Exclusive."

Off: Program Changes will not be used. Program: They will be used to recall programs. Program,Eff: They will be used to recall programs, and read effect memories. Program,Eff,EQ: They will be used to recall programs, read effect memories, and read EQ memo ries.

Program Change No. "Default, User"

Select the way in which Program Changes will correspond to the program numbers of the 168RC. Default: The program change number will match the program number of the 168RC.

User; The program change numbers specified by Program Mapping will be used.

Parameter Number "Typel, Type2, User"

Specify how 168RC parameters will correspond to control change numbers. Typel: One 168RC will use 7 channels. Control change numbers 0~95 will be used.

Type2: One 168RC will use 8 channels. Control change numbers often used by synthesizers etc. will be avoided (‘®’ p.79).

User: You may freely select from all channels and control change numbers. [EXIT]: Return to the MIDI MENU page.

Program Mapping (Prog. Map)

"Off, Program, Progrom,Eff, Progrom,Eff,EQ"

000

tmi

002

003 004

00 SCENE 01

[mSCENE 02

02 SCENE 03 03 SCENE 04 04 SCENE 05

[P.Nq]

>Pro9.Map

005 006 007 008 009

05 Guitar01 06 Guitar02 0? Guitar04 08 Oocaltrack 09 Chorustrck

[EXIT

Chapters. Parameters

Here you can specify the correspondence between program change numbers and the program

numbers of the 168RC. For each program change number, you can specify the 168RC program to

which it will correspond. This correspondence will be in effect only when the MIDI Setup page

parameter Program Change No. is set to "User."

000...099

[P.No]

[EXIT]

The MIDI program change number. The 168RC program number. Rotate knobs [2] to assign the program. Return to the MIDI MENU page.

Parameter Menu (Param. Menu)

Here you can make preparations for entering the Parameter Mapping page.

Type "Typel, Type2, User"

Select the type that will be displayed in the Parameter Mapping page. "Typel" and "Type2" are

fixed mappings which cannot be changed, and "User" allows you to specify the MIDI channel

and control change number for each 168RC parameter number.

The selection you make here has no effect on the actual MIDI messages, which will follow the Parameter Number settings.

Jump to "Foders, Mute,..., INPUT", "No.OO 1 ...No.617"

Specify what will be displayed first in the Parameter Mapping page. This can be selected either by the 168RC function name, or by the parameter number.

(SECT) selects either function name or parameter number. [ENTR] accesses the following Param eter Mapping page. [EXIT] returns to the MIDI MENU page.

Parameter Mapping (Param. Map)

001:Chi

S002:Ch2

003:Ch3 004:Ch4 005:Ch5

Here you can assign a MIDI channel offset and control change number for each function name (001:Fader...617;SOLO MODE) of the 168RC. If two or more 168RC functions are assigned to the same control number of the same MIDI channel, the lowest-numbered function will be controlled.

In order for these settings to take effect, the MIDI Setup page setting Parameter Number must be set to "User." If the Parameter Menu page setting Type is either "Typel" or "Type2," this page will be only for your reference, and it will not be possible to modify the values.

(OFST): Specify the MIDI channel for transmission and reception. This setting is relative to Tx Base Ch and Rx Base Ch: i.e., [Tx Base Ch (Rx Base Ch)] + [this setting] = [channel for actual transmission (reception)]. If the value exceeds 16, it will wrap around to 1.

Example: Rx Base Ch "12" + this setting "ch.6" = 18 -> ch.2 will be used for reception. (CTNo): Specify the MIDI control change number that will be transmitted and received. [EXIT]: Return to the Parameter Menu page.

Fader Ich : Fader Fader Ich : Fader Ich : Fader

#00

Idh E #01

#02 #03 #04

Ich :

(QFSTXCTNqXEXIT]

Send Parameter (Send Param)

3. MIDI mode

FADERSMUTE EFFECT EQ BUS MASTER PAH SHD MASTER

INPUT

SEND]_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Here you can transmit the current settings of the 168RC for the specified category (the highlighted selection) as control change messages («s’ p.92). When MIDI Type is "Control Change" or "NRPN"

the settings will be transmitted as the respective type of MIDI message, and when it is "Off" or

"Exclusive" they will not be transmitted. If the data is transmitted as Control Change messages, it will also follow the Parameter Number settings.

O Use a MIDI cable to connect the MIDI OUT of the transmitting device to the MIDI IN of the

receiving device.

e Set the transmitting and receiving devices to the same MIDI (Tx Base Ch, Rx Base Ch) channel

setting.

0 If this 168RC is the receiving device, set it to the same MIDI Type as the transmitting device. In

addition, if MIDI Type is "Control Change", you must also set the same Parameter Number.

O Use the [ /\ ]/[ \/ ] keys to highlight the type of settings that you wish to transmit.

Press knob [1] ("[Send]"), and the messages will be transmitted. If you press knob [8] ("[EXIT]"),

you will return to the MIDI Menu page.

Send Exclusive

All ^ta Current PGM

All EQ Memory Current EQ

SEND]

OTHERS

BUS

All Param.

[EXIT]

set PGM Chi >Exclusi'-.'e

All EFF Memory Current EFF

Here you can transmit the current settings of the 168RC for the specified category (the highlighted selection) as system exclusive messages. For this operation, the messages that are transmitted will not be affected by the MIDI Setup setting.

By recording these messages on an external sequencer etc. for later re-transmission to the 168RC when necessary, you can backup the internal memory. This function also provides a way in which two or more 168RC units can be set to the same memory contents.

All Data : Transmit all parameters including All PGM Memory, All EQ Memory,

All EFF Memory, Current PGM, and all parameters including MIDI mode and CLK Source of MISC mode.

All PGM Memory

Current PGM

All EQ Memory

Current EQ All EFF Memory Current EFF

O Use a MIDI cable to connect the MIDI OUT of the transmitting device to the MIDI IN of the

receiving device.

Set the transmitting and receiving devices to the same device ID setting.

If this 168RC is the receiving device, set MIDI Type to "Exclusive".

O Use the [ /\ ]/[ V ] keys to highlight the type of settings that you wish to transmit.

Press knob [1] ("[Send]"), and the messages will be transmitted. If you press knob [8] ("[EXIT]"),

you will return to the MIDI Menu page.

: Transmit parameters for programs P.OO—P.99. : Transmit the parameters of the currently selected program. : Transmit parameters for EQ 01—30. ; Transmit the parameters of the currently selected EQ. : Transmit the parameters for effects 01—50. : Transmit the parameters of the currently selected effect.

A While data is being transmitted or received by Send Exclusive, panel operations will be ig

nored.

Chapters. Parameters

4. PGM mode

Program

|$P.03:IS!SSa^H

SPUE] [LQCK][HPME]

Here you can manage programs (P.00~R99).

A Since "ROO" is the initial setting, it is not possible to save it, unlock it, or modify the name.

Save [SAVE]: All current settings except for the analog section (phantom switch, [RAD] keys, [TRIM] knobs, [TARE IN/MONITOR] switch, [MONITOR] knob, [PHONES] knob, [LCD contrast] knob), MIDI mode, and the MISC mode CLK Source setting, will be saved to the highlighted program. The contents that were previously saved in that program will be overwritten and lost.

O Highlight the program to which the data will be saved, either by rotating knob [8] or by using

0 Press knob (1) ("[SAVE]"). The display will ask "Are You Sure? [YES] [NO]". 0 If you wish to save the data, press knob [5] to execute the save operation. If you decide not to

Lock [LOCK]: This will protect the program so that it cannot be overwritten.

O Highlight the program that you wish to protect, either by rotating knob [8] or by using the

Press knob [3] ("[LOCK]"). A "L" symbol will appear at the right of the program name, and it

Name [NAME]: This lets you modify the program name. O Highlight the program that you wish to rename, either by rotating knob [8] or by using the

Press knob [4] ("[NAME]"), and the program name page will appear. For the procedure of

Recall [RECALL]: This recalls the highlighted program. The previous mixer settings will be lost. O Highlight the program that you wish to recall, either by rotating knob [8] or by using the

Press knob [6] ("[RECALL]") to execute the recall operation.

Save and recall operations can be performed even without entering this mode ("S’ p.25).

t PGM Chi >Pro9ram

P.00:Preset PGM P.0l: P.02:

_ _ _ _ _ _ _ _ _ _ _

P.05: P.06: P.07:

P.08:

P.04:Guitar2 l

P.09:

[RECPLLl

the [ /\ ]/[ V 1 keys.

save, press knob [6].

[ /S ]/[ N/ ] keys.

will no longer be possible to save data to that program. If you select "[LOCK]" once again, the

"L" symbol will disappear, and it will once again be possible to save data to that program.

[ /\ ]/[ V ] keys.

modifying the name, refer to the following "Prog.Name" item.

[ /\ ]/[ \/ ] keys.

Prog.Name

P.03: ABCDEF1Э^IJKLM^■ ^ OPQRSTUUWXVZ 0123456739

abode f9h i j k 1 mn op^irsiucwxy:: !" #!i£ ’ +-?3

EXIT] [<] [>] [SHFT] («>

This allows you to modify the name of a program. [EXIT] : Return to the page in which you were previously, without modifying the name.

[<] : Move the name cursor one step to the left. [>] : Move the name cursor one step to the right. [SHIFT] ; Change character rows. («), (») ; Select characters. You can also select characters by pressing or rotating the corre

[SEL.] ; Finalize a character.

[ENTR] : Finalize the name, and return to the page in which you were previously.

sponding knobs.

(»}

[SEL.][EHTR]

5. I/S/P mode

Input/Send/Pan (Chi...Chi2)

Here you can select the input source for each channel, and set phase, pan, and the various send levels. Use the [SEL] keys to select channels.

Input "DIG-Al ...DIG-A8, DIG-Bl ...DIG-B8, ANA-A...ANA-H"

Select the channel input source. You can choose from the following 24 audio inputs.

"DIG-A1...DIG-A8" of adat OPTICAL IN A "DIG-B1...DIG-B8" of adat OPTICAL IN B "ANA-A...ANA-H" of INPUT A~ and LINE IN E~H

5.1/S/P mode

The meter indicates the post-fader level.

Phase SW " o (phase normal), <f> (phase inverted)"

This inverts the phase of the channel input. If an audio device with a connector that inverts the hot and cold connections is input in stereo, the spatial image may be indistinct, or some portions of the sound may be canceled. In such cases, the phase switch can be used to invert the phase. The phase is inverted when the " ^ " symbol is displayed.

Auxl, Aux2, Eff 1, Eff2 "0... 100", "Post, Pre"

These settings set the levels that are sent respectively to the Auxl, Aux2, EFFl and EFF2 buses. You can also specify whether the signal that is sent will be taken from before (Pre) or after (Post)

the fader.

Pan "L50...L01, CNT, ROl ...R50"

Specify the stereo location of the signal that is sent to master L/R or to.the group bus (when a

stereo group is selected).

Input/Send/Pan (Ch13...Ch16)

Auxl Aux2 Effl Eff2

o o o o

Pan LEUL

o a

Post Post Pre Post solo mute

If a chaimel 13-16 is selected, the following parameters will be added to the contents of "Input/ Send/Pan (Chl...Chl2)" discussed above. Each time you press the left-most [SEL] key, you will step through channels 13-16.

LEVEL "0...100"

This setting functions as the fader. The "y" symbol at the upper right of the knob indicates the 0 dB position. A value of "70" corresponds to 0 dB.

Solo SW "solo, SOLO"

This switches the solo fimction on/off. A display of "solo" is off, and "SOLO" is on. This status is also indicated by the solo indicator at the upper right of the LCD (p.l2).

Mute SW "mute, MUTE"

This switches the mute fimction on/off. A display of "mute" is off, and "MUTE" is on.

Chapters. Parameters

6. EQ mode

Channel EQ (Ch EQ)

EQ In

if ti]l!l

Pad

О glO ^ О

ЯЯМ B№M ШШ

Hz dB

9 о

Hz da

OlEKII

Here you can adjust the EQ for each channel 1~12. Use the [SEE] keys to select a channel.

EQ In "OFF, ON"

The EQ will be active with a setting of ON. The EQ will be bypassed with a setting of OFE.

Pad "0,6,12dB"

Use this to lower the input level of the EQ. With a setting of "0" the level will not change. A setting

of "6" lowers the level 6 dB, and "12" lowers the level 12 dB.

Specify the cutoff frequency of the low EQ (shelving type).

Specify the gain of the low EQ (shelving type).

Specify the center frequency of the mid EQ (parametric type).

Specify the gain of the mid EQ.

Specify the Q of the mid EQ. Higher values will narrow the frequency area that is affected by the mid EQ.

"32 HZ...1 kHz"

"-12...+12dB"

"200 Hz... 10 kHz"

"-12...+12dB"

"0.6...8.0"

HF "0.8... 16 kHz"

Specify the cutoff frequency of the high EQ (shelving type).

HG "-12...+12dB"

Specify the gain of the high EQ (shelving type).

MidEQ

Fc=400Hz

Gain=+12.0dB

Q=0.6~8.0

[MEM]

This accesses the EQ Memory page.

EQ Memory

02:Kick Drum2 l 07:

03: 08: 04: 09: 05: 10:

URITE] [LQCKliNAME] [RE8D][EXIT](<^/'t-)

Here you can manage EQ memories. Up to 30 EQ memories can be used. Write [WRITE]:

Write (save) the EQ settings of the current channel into the highlighted EQ memory. Any settings which were previously in that EQ memory will be lost and overwritten.

O Press a [SEE] key to select the channel whose EQ you wish to write into EQ memory.

O Highlight the writing destination, either by rotating knob [8] or by using the [ /\ ]/[ \/ ]

keys. O Press knob [1] ("[WRITE]"). The display will ask "Are You Sure? [YES] [NO]." O If you wish to write the data into memory, press knob [5] to execute the write operation. If you

decide not to write, press knob [6].

6. EQ mode

Kick Druml

Lock [LOCK]: This will protect the EQ memory so that it cannot be overwritten.

O Highlight the EQ memory that you wish to protect, either by rotating knob [8] or by using the

O Press knob [3] ("[LOCK]")- A "L" symbol will appear at the right of the EQ memory name, and

Name [NAME]: This lets you modify the EQ memory name.

O Highlight the EQ memory that you wish to rename, either by rotating knob [8] or by using the

O Press knob [4] ("[NAME]"), and the EQ Name page will appear. For the procedure of modify

Read [READ]: This reads the highlighted EQ memory into the EQ of the channel you specify.

O Highlight the EQ memory that you wish to read, either by rotating knob [8] or by using the

Q Press a [SEL] key to specify the channel into which the EQ settings will be read. Q Press knob [6] ("[READ]") to execute the read operation. When this operation is executed, the

Exit [EXIT]: Exit's the Ch EQ page.

EQ Name

[ /\ ]/[ V ] keys.

it will no longer be possible to save data to that memory. If you select "[LOCK]" once again, the "L" symbol will disappear, and it will once again be possible to save data to that memory.

[ ^ ]/[ V ] keys.

ing the name, refer to the "Prog.Name" item that was discussed earlier in this chapter.

[ /\ ]/[ V ] keys.

EQ settings of that channel will be overwritten and lost.

Here you can modify the name of a memory.

EQM.01:

K i c k Drum1

ABCDEFGHIJB-MN OPQRSTUUUXVZ 0123456789

abode f 9h i J k

mn op^rstuuwxy z !" '

+-?3

[>] ¡SHFT] («) (») [SEL.llENTRl

For the procedure of modifying a name, refer to the "Prog.Name" item that was discussed earlier in this chapter.

Chapters. Parameters

7. BUS mode

Bus Assign

Master ta

ST-Group Ql

GIO G2Q1 G30 G4Q) G50 GGO G7Qt G80

OFF OFF OFF OFF OFF OFF OFF OFF

Here you can make settings to specify how the signal of each channel will be sent to master L/R and to the group buses.

Master "OFF, ON"

This sends the stereo-panned post-fader signal to master L/R. With a setting of "ON," the signal

will be sent.

ST-Group, G1 ...G8 "OFF, ON"

This sends the signal to the group buses. If ST-Group is "ON," the stereo-panned signal will be sent. In this case, one of the four pairs of adjacent channels G1-G8 (Gl/2, G3/4, G5/6 or G7/8) can be selected as the destination.

If ST-Group is "OFF," the mono signal from before pan will be sent. In this case, any two destina tions G1-G8 can be freely selected. If you select "ON" for a third destination it will blink, and you will have to turn one of them "OFF."

8. INPUT mode

The contents of this mode can also be set from I/S/P mode. If you wish to view the settings of all channels simultaneously as you make settings, use this mode. If you wish to view the other set tings of the channel as you make settings, use I/S/P mode.

Input Select (Input Sel.)

8. INPUT mode

Select the input source for each channel. You can choose from the following 24 audio inputs. "DIG-A1...DIG-A8" of adat OPTICAL IN A

"DIG-B1...DIG-B8" of adat OPTICAL IN B

Phase

This inverts the phase of the input for each channel. If an audio device with a connector that inverts the hot and cold connections is input in stereo, the spatial image may be indistinct, or some portions of the sound may be canceled. In such cases, the phase switch can be used to invert the phase. The phase is inverted when the " ^ " symbol is displayed.

DIG-Al

l:|

_________

5: DIG-A1

9:DIG-A1

13:DIG-A1

6:DIG-A1 10:DIG-A1 14:DIG-A1

3:|

7:DIG-A1 ll:DIG-Al 15:DIG-A1

1...16 "D1G-A1...DIG-A8, D1G-B1...DIG-B8, ANA-A...ANA-H"

"ANA-A...ANA-H" of INPUT A~D and LINE IN E~H

t PGM Uhl >Pha:

iGl 2^ 3^ 4^ 5^1 6^ 7^ 8^

9 Q 10 ca 11 ca 12 Qi 13 14 15 Ql 16 Ql

1...16 "o (phase normal), ^ (phase inverted)"

Chapters. Parameters

9. AUX SND mode

Auxi, Aux2 Send

‘O ^ ^ ''O ^ ®o

B5B K5B E5B WSSM ESI IHSB ESI ESI

50 50 50 50 50 50 50

1...16

For each channel, set the send level to the Auxl and 2 buses.

70. EFF SND mode

Effi Send, Eff2 Send

'O ^ ^ ^ ^ ^

,EH

9Q llQ 13Q 1^ 16Q

50 50__50 50 50

1...16

For each channel, set the send level to the Effl and Eff2 buses.

wssm

E5B ESI |gg| EM ESI

_ _ _

50 50 50

___

"0...100"

1L PAN mode

Ch Pan

The contents of this mode can also be set from I/S/P mode. If you wish to view the settings of all

channels simultaneously as you make settings, use this mode. If you wish to view the other set tings of the channel as you make settings, use 1/S/P mode.

t PGn

>Ch Pan

‘O ^ ^ "O ^ ^ ^

CHT iCHT iCHT CHT iOHT ICHT

9^ 10^ 11/^ 12^ 13^ 14/^ 15^ 16^

CNT CHT CHT CHT CHT CHT CHT CHT

1...16 "L50...L01, CNT, R01...R50"

For each channel, set the stereo position of the signal that is sent to master L/R and to the group bus (when stereo group is selected).

12. EFF1/EFF2mode

Effl I/O, Eff2 I/O

Here you can apply effects to the signals that are sent on the EFFl /2 buses, and send the processed sound to master L/R and the group buses.

Effl,Eff2 "OFF, ON"

When this is "ON," the effect will be applied. When "OFF," the effect will be bypassed.

Msh- "OFF, ON"

When this is "ON," the effect output will be sent to master L/R.

G1/2...G7/8 "OFF, ON"

When this is "ON," the effect output will be sent to the respective group bus.

12. EFF1/EFF2 mode

Effl Edit, Eff2 Edit

t PGM Chi

>Reverb Hall Reo. rPre Delayi TIME DAMP TIME THRU

Os O. 0„s o

TYPE "0...31"

Select the effect type. Rotate knob [1] and a list will appear. Highlight the desired effect type, and press knob [8] ("[ENTR]") to select it.

For the parameters of each effect type, refer to "Chapter 4. Effects."

[MEM]

This accesses the Eff Memory page.

>Effl Edit

JiB

Chapters. Parameters

Eff Memory

Here you can manage effect memories. Up to 50 effect memories can be used (common to both Effl and Eff2).

Write [WRITE]:

Write (save) the effect settings selected for the currently-accessed mode into the highlighted effect

memory. Any settings which were previously in that effect memory will be overwritten and lost.

O Notice the [EFF 1]/[EFF 2] key LED indicators show the effect that will be written into effect

memory. O Highlight the writing destination, either by rotating knob [8] or by using the [ ,^ ]/[ N/ ] keys. O Press knob [1] ("[WRITE]"). The display will ask "Are You Sure? [YES] [NO]."

O If you wish to write the data into memory, press knob [5] [YES] to execute the write operation.

If you decide not to write, press knob [6] [NO]. Lock [LOCK]: This will protect an effect memory so that it cannot be overwritten.

O Highlight the effect memory that you wish to protect, either by rotating knob [8] or by using

the [ ^ ]/[ V ] keys.

O Press knob [3] ("[LCXIK]"). A "L" symbol will appear at the right of the effect memory name, and

it will no longer be possible to save data to that memory. If you select "[LOCK]" once again, the

"L" symbol will disappear, and it will once again be possible to save data to that memory.

Name [NAME]: This lets you modify the effect memory name.

O Highlight the effect memory that you wish to rename, either by rotating knob [8] or by using

the [ /N ]/[ N/ ] keys.

O Press knob [4] ("[NAME]"), and the Eff Name page will appear. For the procedure of modify

ing the name, refer to the "Prog.Name" item that was discussed earlier in this chapter.

Read [READ]: This reads the highlighted effect memory into the effect of the currently-selected mode.

O Notice the [EFF 1]/[EFF 2] key LED indicators to show the effect into which the effect settings

will be read.

O By either rotating knob [8] or by using the [ /\ ]/[ \/ ] keys, highlight the effect memory that

you wish to read.

O Press knob [6] ("[READ]") to execute the readioperation. When this operation is executed, the

previous effect settings will be overwritten and lost.

Exit [EXIT]: Exit the Eff Edit page.

Eff NAME

Here you can modify the name of an effect.

EFM.01:[ ABCDEFGfflIJKLMN OPQRSTUUUXVZ 0123456789

abcdef9hiJ klmn opiHrstuywxyz

[EXIT] [<1 [>] [SHFT] («> (») [SEL.][ENTRll

For the procedure of modifying a name, refer to the "Prog.Name" item that was discussed earlier in this chapter.

13. BUS MASTER mode

Grp. Level

IP ■ 0U+F'rt*j:-01- F'Idf 1 Uh 1 /IdT'F‘ ■ L001 -■ ^

O O O O 0-0 o o

Set the levels of group buses 1~8. A line connecting adjacent knob icons indicates that the buses have been paired in MISC mode.

Group ^ Mstr

SI G2 S3 S4 SS SS G7 S8

13. BUS MASTER mode

0 "01 lill“ 0” r 11“

t PGM Chi >GroupiMstr

oooooooo

CHT ICHT

O Q] O O Q IS] o

OFF OH OFF OFF OFF OFF OH OFF

G1...G8 "L50...L01, CNT, R01...R50", "OFF, ON"

Specify how the group buses 1~8 will be panned and sent to the master bus. Use the knob icons to set the panning.

The send to the master L/R is turned on/off by the switch icons. With a setting of "ON," the bus will be panned according to the setting of the knob icon, and sent to the master bus.

CHT ICHT ICHT

Chapters. Parameters

14. SND MASTER mode

Monitor

Mstr

P [US

Select the signals that will be output to the monitor. The same signals will be sent to the head

phones. The monitor output is also affected by the [TAPE IN/MONITOR] switch of the front panel. In order for the setting you make here to be effective, this [TAPE IN/MONITOR] switch must be in the MONITOR position.

Mstr, Auxl, Aux2, Effl, Eff2 "OFF, ON"

With an "ON" setting, the signal will be output to the monitor. Mstr is output to the monitor in stereo. Auxl and Aux2 are monaural. Effl and Eff2 output the signal that is processed by the effects.

Grp,Link,Gl...G8 "OFF, ON"

If you wish to monitor the group buses in stereo, turn Grp.Link "ON." When Grp.Link is "ON," you can select the monitored signal from the four pairs G1 /2, G3/4, G5/ 6 and G7/8. When Grp.Link is "OFF," you can monitor just one group G1-G8 in mono.

Mstr.Level

Solo L R i Auxl Aux2

Auxl Aux2 Effl Eff2

Q) O 51 Ql

Grp.Link

ms ms ms [US

G15 G2S1 G35 G45 G551 G65 G?5 G85

OFF OH OFF OFF OFF OFF OFF OFF

set PGM

>Mstr.Le'...'el

Effl Eff2

^iOiSIlSQ I №0

O 121

MON+ Pre

Solo "0...100"

This sets the level of the Solo bus.

INDV/MON+ "INDV, MON+"

When monitoring a soloed signal, this switch specifies whether it will be combined with the pre viously-monitored signal. With a setting of "MON+", the sound of the solo bus will be added to the sound of the monitor bus. The monitor bus signal will be attenuated by -12 dB. With a setting of "INDV," only the sound of the solo bus will be heard.

Pre/Post "Pre, Post"

This selects whether the soloed signal will be taken from before the fader ("Pre") or after the fader ("Post"). This setting is common to all channels.

Auxl, Aux2, Effl, Eff2 "0... 100", "ON, OFF"

These set the levels of the Auxl, Aux2, Effl and Eff2 buses. The "ON/OFF" switches are mute switches for each bus. With a setting of "OFF" the bus is muted.

OFF5OFF

IQ) ca

OFF OH

15. METERS mode

Ch Meter

P.üü+Pre:=e+.- PGM Chi !-=Ch Meter' '-'M ?

Al 02 OS 04 OS 0& 07 OS

- - - - - -

12345678 dB 9 10 11 12 13 14 15 16

These meters indicate the post-fader level of each channel. The calibrations indicate the margin that remains until peaking. The selected input is displayed above each meter, using the following abbreviations.

A1...A8: digital in A1...A8 B1...B8: digital in B1...B8

Peak Hold "OFF, 1 Sec...4Sec,

Select the peak hold time for the meters. This setting is shared with the Bus Meter.

analog A.. .H

Bl B2 SS B4 0 F G H

- - 12-

- ‘24-

- -4S-

15. METERS mode

- .

- - -

Peak

Bus Meter

P.00+Preset PGM Chi

These meters indicate the post-volume level of each bus. The calibrations indicate the margin that remains until peaking.

Peak Hold "OFF, 1 Sec...4Sec,

Select the peak hold time for the meters. This setting is shared with the Ch Meter.

* In Meters mode, pressing knob [1] will cause the meter display to appear in inverse video.

>Bljs

Meter

sols

Group

0 -n

- 12-

-24-

-4S-

Aux Eff

1 2 3 4 5 6 7 8 d B L R 1 2 1 2

Peak

Hold

Chapter 4. Effects

This chapter explains the effect types of the 168RC.

00: Reverb Hall

This effect simulates the reverberance and ambiance of a medium- to large concert hall or ensem ble hall.

01: Reverb SmoothHall

This is a hall-type reverb with a smooth release. By lengthening the reverb time you can simulate a variety of environments from a large hall to a stadium.

Output Output W/D LEVL

Rev. TIME

DAMP

Pre Delay TIME

Pre Delay THRU 0...100%

Pre EQ TRIM 0...100 Pre EQ LOW Pre EQ HIGH -12.0...+12.0(!B Set the gain of the high frequency equalizer.

Output W/D Dry, 1 ...99, Wet Set the balance between the effect processed sound and

Output LEVI 0...100 Set the output level.

0.1...10.0S

0...100%

0...200mS

-12.0...+12.0dB

Set the reverb time.

Set the high frequency attenuation.

Set the delay time after the direct sound. This controls the width of the space.

Set the amount of the undelayed sound that will be mixed. By mixing some of the undelayed sound, you can accen tuate the feeling of attack.

Set the input level to the equalizer. Set the gain of the low frequency equalizer.

the direct sound.

02: Reverb Room

This is a reverb in which the early reflections are emphasized, producing a tighter-feeling room. By adjusting the balance between the early reflections and the reverb sound, you can simulate different materials for the room's walls.

03: Reverb BrightRoom

This is a bright-sounding room-type reverb.

03: Reverb BrightRoom

Output Output W/D LEVL

Rev.TIME DAMP Pre Delay TIME Pre Delay THRU

ERefLEVL Rev.LEVL

Pre EQ TRIM Pre EQ LOW Pre EQ HIGH Output W/D

Output LEVL

0.1...3.0S

0...100%

0...100mS

0...100%

0...100

-12.0...+12.0dB

-12.0...+12.0dB Dry, 1...99, Wet

0...100

Set the reverb time. Set the high frequency attenuation. Set the delay time after the direct sound. p.46 Set the amount of the undelayed sound that will be mixed.

Set the level of the early reflections. Set the reverb level.

By adjusting the proportion of the ERef LEVL and the Rev.LEVL, you can simulate different materials for the room's walls. Raising ERef LEVEL will produce a harder feeling, and raising Reverb LEVEL will produce a softer feeling.

Set the input level to the equalizer. Set the gain of the low frequency equalizer. Set the gain of the high frequency equalizer. Set the balance between the effect processed sound and

the direct sound. Set the output level.

Chapter 4. Effects

04: Reverb Wet Plate

This is a simulation of a high-density plate reverb. It produces warm reverberation.

05: Reverb Dry Plate

This is a simulation of a light plate reverb. It produces a dry-sounding reverberation.

In o-

Pre EQ HIGH

-<Z

Pre Delay THRU

——

Pre Delay

TIME

Reverb

Output Output W/D LEVL

-0^

Rev. TIME DAMP Pre Delay TIME

Pre Delay THRU

Pre EQ TRIM Pre EQ LOW

Pre EQ HIGH

OufputW/D

Output LEVL

Output Output W/D LEVL

0.1...10.0S Set the reverb time.

0...1007o

0...200mS

0...100%

0...100

Set the high frequency attenuation. Set the delay time after the direct sound.

Set the amount of the undelayed sound that will be mixed.

Set the input level to the equalizer.

-12.0...+12.0dB Set the gain of the low frequency equalizer.

-12.0...+12.0dB Dry, 1...99,Wét

Set the gain of the high frequency equalizer. Set the balance between the effect processed sound and

the direct sound.

0...100 Set the output level.

-0

-------------

US’ p.46

06: Early Reflections

This is an effect that isolates only the early reflections from the reverb simulation. This provides a useful way to give a sound presence or realism. Since you can select the decay curve of the reflec

tions, you can also produce sounds like gated reverb or reverse effects.

06: Early Reflections

Output Output W/D LEVL

TYPE

Sharp, Loose,

Select the type of decay curve for the early reflections.

Modulated, Reverse

ERTIME 10...800mS Set PreDLAY 0...200mS Set PreEQTRIM 0...100

Set the

PreEQLOW PreEQHIGH Output W/D

-12.0...+l2.0dB

-12.0...+12.0dB Set Dry,!...99, Wet Set

Set

the

Output LEVL

0...100 Set

Early Reflections - Type

Dry-

Chapter 4. Effects

07: L/C/R Delay

This is a multi-tapped delay with three taps: left, right, and center. The left/right spread of the delayed sound can also be adjusted.

Output LEVL

Delay CORS Delay FINE RTIO

Level L Level CNTR Level R FBAK Damp HIGH Damp LOW

SPRD

OutLEVL

O.JOOOmS

0...10 mS 1:2:3...3:2:1,..„

1:4:5...5:4:1

0...100

-100...+100

0...100%

0...100

Set the delay time (10 msec steps). Set the delay time (1 msec steps). Set the ratio of delay times between the L, C and R taps.

5 indicates the delay time specified by Delay COARSE

and Delay FINE. Set the output level of the L tap. Set the output level of the C tap. Set the output level of the R tap. Set the amount of feedback for the C tap. Set the amount of high frequency attenuation. Set the amount of low frequency attenuation.

Damp HIGH and Damp LOW set the amount of attenua tion that will be applied to the high range and low range. Each time the delay sound is fed back, the tone will be come darker/lighter.

Set the width of the effect sound. A setting of 100 will produce the maximum width, and a setting of 0 will cause both channels of effect sound to be output from the center.

Set the output level.

08: Mod.Delay (Modulation Delay)

This is a delay that allows the delay time to be swept by an LFO. Since the pitch will be affected by this, you can produce delay sounds that have modulation or vibrato.

In O-

C LFO WAVE )--K LFO S^ГPE~

LFO WAVE Triangle, Sine Select the LFO waveform. LFO SHPE -100...+100 Specify how the LFO waveform will be modified.

Delay

-0-

FBAK

LFO FREQ

By modifying the LFO waveform, you can control the char acter of the sweep at the flanging peaks.

08: Mod. Delay (Modulation Delay)

Output LEVL

-0:

^ Output

PAN

Output LEVL

LFO FREQ DPTH DLAY

0.02...15.0HI

0...100

0...500 mS

Set the LFO speed. Set the LFO modulation depth. Set the delay time.

FBAK -100...+100 Set the amount of delay feedback. Output PAN L50...L01, CNT, R01...R50 Set the output panning. Output LEVL 0...100

Set the output level.

Chapter 4. Effects

09: Chorus

This is a stereo-output harmonic chorus. The left and right LFOs can be biased to control the

spaciousness.

If0 TYPE Triangle, Sine ' Select the LFO waveform. LFO PHSE -180...+180 deg Set the phase difference between the left and right LFOs.

If the phase of the LFOs is biased, modulation will be ap plied to the left and right "out of step" with each other. This will produce a more spacious feeling, and the processed sounds in the left and right will "beat" against each other.

LFO FREQ 0.02... 15.0 Hz DPTH

W/D Dry,!...99, Wet

PreDLAY FBAK

DAMP

Split FREQ

Split LOW 0...100 Split HIGH

0...100

0...200mS Set the delay time after the direct sound.

-100...+100

0...100

100Hz...10.0kHz

0...100

Set the LFO speed. Set the modulation depth of the LFO. Set the balance between the effect processed sound and

the direct sound.

Set the amount of feedback for the chorus block. Raising the feedback will produce a flanging effect.

Set the amount of high frequency attenuation for the cho rus block.

Set the frequency at which the low and high frequencies will be split. Only the high frequency range will be sent to the chorus block.

Set the output level of the low frequency range. Set the output level of the high frequency range (the cho

rus sound).

10: M.tap Chorus-Delay (Multitop Chorus-Delay)

This is an effect with two choruses that have differently-phased LFOs. For each, you can inde pendently set the delay time, depth, output level, and panning. This allows you to produce a highly complex stereo effect.

11: Detune

Tapi DLAY 0...560 mS Tapi DPTH 0...100 Tapi lEVL 0...100 Tapi PAN L50...L1,CNT,R1...R50 Tapi FBAK -100...+100 Tap2DLAY 0...5Ó0 mS Tap2 DPTH Tap2 LEVL 0...100

Tap2 PAN L50...L01,CNT,R01...R50 LFOFREQ OutLEVL 0...100 Set the

11 : Detune

This creates a detune effect by slightly skewing the pitch of the input signal. It adds a feeling of depth to the sound that is more natural than that produced by the chorus effect.

Set the Set the Set the Set the Set the Set the

0...100

0.02...15.00HZ Set the

Set the Set the Set the

SHFT -50...+50 cents Set the pitch difference relative to the input signal

DLAY 0...500 mS Set the time by which the input signal is delayed. DAMP 0...100% Set the amount of high frequency attenuation. Output PAN L50...L01,CNT,R01...R50 Set the stereo position of the output. Output LEVL O.JOO Set the output level.

Chapter 4. Effects

12: Bi Phase Mod. (Bi Phase Modulation)

This is a chorus which uses a waveform that is the sum of two different LFOs. The frequency and

depth can be set independently for each of these two LFOs, allowing extremely complex wave forms to be created by the combination. This makes it possible to produce "analog-like" modula tion sounds that have an unstable feeling.

Chorus/Flanger -

High Damp

( LF01 WAVE )

( LF02WAVE )

..................

...................

-0-—>

^ Output

PAN

-0^

-0-

Output LEVL

Output

LEVL

LFOs WAVE T/T,T/S,S/T,S/S LF01 FREQ

0.02...15.0HZ LFOl DEPTH 0...100 LF02 FREQ 0.02...15.0HZ LF02 DEPTH 0...100 DLAY FBAK

0.0...50.0 mS

■100...+100

Select the waveforms for LFOl and 2. (T: Triangle, S: Sine) Set the speed of LFOl. Set the modulation depth of LFOl. Set the speed of LF02. Set the modulation depth of LF02. Set the delay time after the direct sound. Set the amount of feedback for the chorus block. Raising

the feedback allows this effect to be used as a flanger.

DAMP 0...100%

Set the

Output PAN L50...L01,CNT, R01...R50 Set the Output LEVL 0...100

Set the

13: Ensemble

This is an ensemble effect with three chorus blocks. The blocks are output to left, right, and center, producing an ensemble effect with a 3-dimensional feeling of depth and width.

13: Ensemble

Out LEVL

SPED SHIM

In o-

( SHIM

( LFO

1...100

0...100

Ensemble

Out LEVL

)■

Set the LFO speed. Set the amount that the LFO waveform will "shimmer."

Raising this setting will produce more "shimmer," result ing in a richer and more complex chorus effect.

DPIH Out LEVL

0...100

Set the LFO modulation depth. Set the output level.

Chapter 4. Effects

14: Rotary Speaker

This effect simulates a rotary speaker. Since the low frequency range rotor and the high frequency range horn are simulated independently, a very realistic sound is produced. The position of the mic is also simulated in stereo.

Out LEVL

MODE SPED

Rotor ACCI

Rotor RTIO

Horn ACCI

Horn RTIO

Mic DIST

MicSPRD

Rotate, Stop Slow, Fast

0...100

Stop, 0.50...2.00

0...100

Stop, 0.50...2.00

0...100

This switches the speaker between rotating/stopped. This switches the speaker rotation between slow/fast

speeds. Set the rate at which the low frequency rotor will change

speeds. When an actual rotary speaker is switched between slow and fast, the speed does not change immediately, but accelerates or decelerates over a certain length of time. The Rotor ACCL and Horn ACCL settings allow you to specify the speed at which this change will take place.

Adjust the rotational speed of the low frequency rotor. A setting of 1.00 is standard, and Stop will stop the rotation.

Set the rate at which the high frequency horn will change rotational speed.

Adjust the rotational speed of the high frequency horn. A setting of 1.00 is standard, and Stop will stop the rotation.

Set the distance between the microphones and the rotary speaker.

Set the angle between the left and right microphones.

Rotary Speaker - Mic Placement

Microphone

MIC DIST ,

Microphone

R/H BAL

OutLEVL

Rotor, 1...99, Horn

0...100

Set the volume balance between the low frequency rotor and the high frequency horn.

Set the output level.

15: Pitch Shifter

This effect changes the pitch of the input signal. You can choose one of three types: fast response, high sound quality, and a type mid-way between these. Since a delay with feedback is used, you can also create special effects in which the pitch continues to rise (or fall).

15: Pitch Shifter

MODE

Shift SEMI Shift FINE DIAY FBAK

DAMP Output PAN Output LEVEL

Slow, Midi, Fast Select the operating mode of the pitch shifter. Slow will

result in the least change to the sound quality. Fast will provide quick response. Midi is between the other two selections. If only a small amount of pitch shift is required. Fast is an appropriate setting. If you need to shift the pitch by a large interval, you may wish to select Slow.

-24...+24:l/2tene Set the pitch shift amount in semitone steps.

-50...+50 cents Set the pitch shift amount in 1-cent steps.

0...50 mS Set the time by which the input signal is delayed.

-100...+100 Set the amount of feedback.

Since the sound that is fed back is re-input to the pitch shifter, the pitch will successively rise (or fall).

0... 100% Set the amount of high frequency attenuation. L50...L01, CNT, R01...R50 Set the stereo location of the output.

0... 100 Set the output level.

Chapter 4. Effects

16: Pitch Shift Mod. (Pitch Shift Modulation)

This effect uses an LFO to modulate the pitch shift amount of detuning. The effect sound and the direct sound can be panned to left and right to produce a clear spaciousness. It is especially effec tive to output the sound from stereo speakers, since the effect sound and the direct sound will be mixed in the air.

Output Output W/D LEVL

SHFT -50...+50 cent If 0 WAVE Triangle, Square

Set the pitch difference relative to the input signal.

Select the LFO waveform.

LfOFREQ 0.02...15.00 Hz Set the LFO speed. DPTH -50...+50 Set the depth of LFO modulation for the pitch shifter.

Pitch Shift Mod - Pitch Shift / Depth

/ i LFO Waveform=Triangie

f Depth (+vaiue)

Original Pitch •

Pitch Shift (+ value)

T LFO Waveform=Square

Depth (-value)

OutputW/D 0...100 Set the balance between the effect sound and the direct

sound. As this setting is increased, the effect sound will become louder. With a setting of 100, the effect sound and direct sound will be output with a balance of 1:1.

Output PAN L50...101, CNT, R01...R50 Set the left/right position of the effect sound and the di

rect sound. Settings of "L" place the effect sound at left and the direct sound at right. If Output W/D is at 0, pan will have no effect.

Output LEVI 0...100 Set the output level.

17: Limiter

This effect limits the volume of the input signal to a specified level. This is similar to what a compressor does, but a limiter will compress the sound only when it exceeds the specified level, thus holding down the peaks. Since you have the option of applying a peaking-type equalizer to the trigger signal (a signal which controls the operation of the limiter), you can freely specify the frequency range to which the limiter will respond.

Limiter RTIO 1.0:1...50:1, inf:1 Specify the compression ratio of the signal. Compression

17: Limiter

will be applied when the level of the trigger signal exceeds the level specified by THRE.

Limiter THRE -40...0dB

Set the level at which compression will occur.

Chapter 4. Effects

Limiter ATCK

limiter RISE

Output PAN Output LEVI Side EQ THRU

Side EQ FREQ

SideEQQ

Side EQ GAIN

Trig Mon.

1...100

1.J00

150...11,CNT,R1...R50

0...100

OFF, ON

100Hz...10.0kHz

0.6...8.0

-I2.0...+12,

OFF, ON

Specify the attack time and release time of the compression.

Higher settings will cause compression to be applied more slowly.

Limiter - Attack / Release

Dry

Pan the effect sound and direct sound.

Set the output level. Switch the equalizer on/off for the trigger signal. The

limiter uses this post-EQ signal to determine when to ap ply compression. With the appropriate equalizer settings, you can specify the frequency range to which the limiter

will respond. Specify the center frequency of the trigger signal equal

izer. Specify the width of the frequency range for the trigger

signal equalizer. Set the gain of the trigger signal equalizer. Switch between monitoring the effect output and moni

toring the trigger signal. When this is ON, the signal from the limiter will not be output, and the trigger signal will be output. This allows you to check the equalized trigger signal. Normally you will leave this OFF.

18: Multiband Limiter

This effect applies separate limiters to the low range, mid range, and high range of the input

signal. Since you can control the dynamics for each frequency range, you can compress the low,

mid, and high ranges in a way different than when an equalizer is used.

18: Multiband Limiter

Band'Pass FUters

' Low

Mid

High

__A

Envelope - ControT)-—

Offset LOW

Offset MID

Offset HIGH

Limiter

Envelope - ControT)--—^

Limiter

Envelope - Control '

Output

~ PAN

Output

LEVL

-0-—°

Output LEVL

Limiter RTIO 1.0:1...50:1, inf; 1 Set the compression ratio. >®’p.59

Limiter THRE -40...0 dB Set the level from which compression will occur. IIS’ p.59

ATCK 1...100 Set the attack time. 'S’p.60

RLSE 1...100 Set the release time. ■ ®’p.60

Offset LOW -40...0dB Set the gain of the low range trigger signal.

Offset MID -40...0dB Set the gain of the mid range trigger signal.

Offset HIGH -40...0dB Set the gain of the high range trigger signal.

For example, if you do not want compression to be ap plied to the high range, adjust Offset HIGH to lower the level of the high range trigger signal so that it is lower than the

THRE (Threshold) level. This will mean that the high range

limiter will not respond, and compression will not be ap plied.

Output PAN L50...L01, CNT, ROl ...R50 Set the stereo location of the output.

Output LEVL 0...100 Set the output level.

Chapter 4. Effects

19: Wide Enhancer

This effect includes an exciter, and also adds spaciousness and presence to the sound. It can be used to convert a monaural input source into stereo.

PreEQTRIM Pre EQ Low Pre EQ High BLDN

PONT

Delay R

WDTH OutLEVL

0...100 Set the input level of the 2-band equalizer.

-12.0...+12.0dB Set the gain of the low range equalizer

-12.0...+12.0dB Set the gain of the high range equalizer

-100...+100 Set the depth of the exciter effect. The frequency patterns

which are emphasized will be different for positive (+) and

negative (-) values.

0... 140 Specify the frequency range in which emphasis will occur.

Higher settings will extend the emphasis to lower frequen

cies.

0.0...50 mS Set the delay time for the left channel of the enhancer. By

creating slight differences in the Delay L and Delay R delay

times, you can control the sense of stereo and depth.

0.0...50 mS Set the delay time for the right channel of the enhancer.

0...100 Set the depth of the enhancer effect.

0... 100 Set the output level.

20: Auto Pan

This is an auto pan effect that moves the sound between left and right.

20: Auto Pan

LFOTYPE Triangle, Sine LFO SHPE -100...+100

LFOFREQ 0.02...15.0HZ DPTH 0...100 Out LEVI

0...100

Select the LFO waveform. Specify how greatly the LFO waveform will be modified.

is-p.Sl

By modifying the LFO waveform you can change the pan ning curve.

Set the LFO speed. Set the LFO modulation depth. Set the output level.

Chapter 4. Effects

21: Graphic EQ

This is a 7-band graphic equalizer. The gain setting of each band is shown as a bar graph, provid ing an intuitive and visual indication of the frequency response. Select one of five types to deter mine the combination of center frequencies.

TYPE

TRIM

Output PAN Output LEVL 0...100 Bandl Band2 Bands Band4 Bands Bands Band/

80-220-500 Hz

1.0-2.5-6.3-16 kHz bands. 120-320-630 Hz

1.2-3.2-8.0-18 kHz

63-180-560 Hz

1.2-3.2-8.0-18 kHz

80-120-450 Hz

1.6-3.2-6.3-10 kHz 160-320-800 Hz

1.6-3.2-6.3-12 kHz

0...100 L50...L1,CNT,R1...R50

-12...+12dB

-12...+12dB Set the gain of band 5.

-12...+12dB

Select the combination of

Adjust the input level. Set the output panning. Set the output level. Set the gain of band 1. Set the gain of band 2. Set the gain of band 3. Set the gain of band 4.

Set the gain of band 6. Set the gain of band 7.

22: EQ-Early Reflection

In this effect, the sound passes through a 2-band parametric equalizer and an early reflection

effect (the initial reflections before the reverberant "wash" of sound begins).

22: EQ-Earìy Reflection

Bandi FREQ Bandi Q

Bandi GAIN Band2FREQ Band2 Q 0.6...8.0 Set the width of the frequency range for band 2.

Band2GAIN E.Refledion TYPE

E.Reflection

TIME

E.Reflection DLAY

E.Reflection W/D

Out PAN

100Hz...10.0kHz

0.6...8.0 Set the width of the frequency range for band 1. Higher

-12...+12dB Set the gain of band 1. 100Hz...10.0kHz

-12...+12dB Set the gain of band 2. Sharp, Loose,

Modulated, Reverse

10...800mS Set the length of the early reflections.

0...200mS Set the time from the original sound until the first early

Dry, 1...99, Wet

L50...101,CNT, R01...R50

Set the center frequency of band 1.

settings of this value will make the band narrower and sharper.

Set the center frequency of band 2.

■ S’ Bandl Q

Select the decay curve of the early reflections.

reflection is heard. Set the balance between the effect sound and the direct

sound. Set the pan position of the output.

“S' p.49 Type

Chapter 4. Effects

23: EQ-Delay

In this effect, the sound passes through a 2-band parametric equalizer and then a delay.

Bandi FREQ 100HZ...10.0 kHz Set the center frequency of band 1. Bandi Q 0.6...8.0

Bandi GAIN Band2 FREQ Band2Q 0.6...8.0

Band2GAlN Delay TIME 0...680 mS Delay FBAK Delay DAMP

Delay W/D

Out PAN

Set the width of the frequency range for band 1. Higher settings of this value will make the band narrower and sharper.

-12.0...+12.0dB Set the gain of band 1. 100Hz...10.0kHz

-12...+12dB

-100...+100 Set the amount of feedback.

0...100%

Dry, 1...99, Wet

L50...L01,CNT, R01...R50

Set the center frequency of band 2.

Set the width of the frequency range for band 2.

Set the gain of band 2. Set the delay time.

Set the amount of high frequency attenuation. The tone of the delayed sound will become darker each time it feeds back.

Set the balance between the effect sound and the direct

sound. Set the pan position of the output.

I®’ Bandl Q

24: Exciter-Tap Delay

In this effect, the sound passes through an exciter which adds sparkle to the sound and empha sizes its outline, and then passes through a multi-tap delay with two taps. Various combinations of delay times can create complex delayed sounds.

24: Exciter-Tap Delay

Exciter BIND

Exciter PONT

Exciter W/D

Tapi DLAY Tapi LEVI

Tap2 DLAY Delay FBAK Delay HDMP Delay LDMP Delay W/D

Out PAN

-100...+100

0...140

Dry, 1...99, Wet

0...680 mS

0...100

0...680 mS

-100...+100

0...100%

Dry, 1...99, Wet

L50...L01,CNT, R01...R50

Set the depth of the exciter effect. The pattern of frequen cies that is emphasized will differ for positive (+) and nega tive (-) settings.

Set the frequency range in which emphasis will occur. Larger settings will cause the range of emphasis to be ex tended further into the low frequency range.

Set the balance between the effect sound and the direct sound.

Set the delay time of tap 1. Set the output level of tap 1. By creating differences in vol

ume between taps 1 and 2, feedback delay which might otherwise be monotonous can be made to have interest ing "grooves."

Set the delay time of tap 2. Set the amount of feedback for tap 2. Set the amount of high frequency attenuation Set the amount of low frequency attenuation. Set the balance between the effect sound and the direct

sound.

Set the pan position of the output.

№p.50 is-p.50

Chapter 4. Effects

25: Delay-Chorus

In this effect, the input signal passes through a delay effect, and then through a chorus effect which modulates the delay time of the input signal to add depth and warmth to the sound. The delay effect allows you to independently adjust the attenuation of the low range and high range, so that you can create a variety of different-feeling delay sounds.

Delay TIME 0...680mS Set the delay time. Delay FBAK -100...+100 Set the amount of feedback. Delay HDMP 0...100% Set the amount of high frequency attenuation.

p.50 Damp HIGH7Damp LOW

Delay LDMP 0...100% Set the amount of low frequency attenuation.

■ S’ p.50 Damp HIGH/Damp LOW

Delay W/D Dry, 1...99, Wef Set the balance between the effect sound and the direct

sound.

Out PAN L50...L1, CNT, Set the pan position of the output.

R1...R50 Chorus WAVE Triangle, Sine Select the LFO waveform. Chorus FREQ 0.02...15.00 Hz Set the LFO speed. Chorus DLAY 0.0...50.0 mS Set the delay time from the original sound. Chorus DPTH 0...100 Set the LFO modulation depth. Chorus W/D Dry,!...99, Wet Set the balance between the effect sound and the direct

sound.

26: Flanger-Delay

In this effect, the sound passes through a flanger effect which creates a sensation of strong modu lation and pitch movement, and then passes through a delay effect which creates echoes.

26: Flanger-Delay

Pianger FBAK

Flanger

Flanger W/D

Delay FBAK

Delay

Delay DAMP

Delay W/D

( Pianger SHPE )

Flanger DLAY 0.0...50 mS Set the delay time from the original sound. Flanger SHPE -100...+100 Specify how greatly the LFO waveform will be modified.

■ S- p.51 LFO SHAP

Flanger FREQ 0.02...15 Hz Set the LFO speed. Flanger DPTH 0...100 Set the LFO modulation depth. Flanger FBAK -100...+100 Set the amount of feedback. Flanger W/D Dry, Set the balance between the effect sound and the direct

1...99, Wet sound. Delay TIME 0...680mS Set the delay time. Delay FBAK -100...+100 Set the amount of feedback.

Delay DAMP 0...100% Set the amount of high frequency attenuation.

>®“ p.50 Damp HIGH/Damp LOW

Delay W/D Dry, 1...99, Wet Set the balance between the effect sound and the direct

sound.

Out PAN L50...L01, CNT, Set the pan position of the output.

R01...R50

Chapter 4. Effects

27: Delay-Phaser

In this effect, the input signal passes through a delay effect that creates echoes, and then passes through a phaser effect that creates modulation by changing the phase of the sound.

Delay TIME 0...680mS Set the delay time. Delay FBAK -100...+100 Set the amount of feedback. Delay DAMP 0...100% Set the amount of high frequency attenuation. Delay W/D Dry, 1 ...99, Wet Set the balance between the effect sound and the direct

sound.

Output PAN L50...L01,CNT, Set the pan position of the output.

R01...R50 Output LEVL 0...100 Set the output level. Phaser FREQ 0.02... 15.0 Hz Set the LFO speed. Phaser MNAL 0...100 Set the frequency at which the effect will be applied. Phaser DPTH 0...100 Set the LFO modulation depth. Phaser RESO -100...+100 Set the amount of resonance.

Positive (+) and negative (-) values of RESO will produce different types of peaking. When both RESO and W/D have positive (+) values, or when they both have negative (-) values, overtones will be emphasized when the phased sound is mixed with the direct sound.

Phaser W/D -Wet, -98...-2, Dry, Set the balance between the effect sound and the direct

+2...+98, Wet sound.

With settings of -Wet—2, the effect sound will be output with inverted phase.

28: Phaser-Tremolo

This effect links the LFO of a phaser and tremolo. The phaser modulation and the tremolo modu lation will be synchronized, producing a pleasant modulation effect. This is especially suitable for electric piano, etc.

28: Phaser-Tremolo

Output LEVL

LFO FREQ 0.02...15.0HZ Phaser MNAL Phaser DPTH 0...100 Phaser RESO Phaser W/D -Wet,-98...-2,

DIFF

Tremolo SHPE

Tremolo DPTH Tremolo W/D Dry, 1...9, Wet

Output PAN L50...L01,CNT,

Output LEVL

0...100

-100...+100

Dry,+2...+98,Wet

-180...+180

-100...+100deg

0...100

R01...R50

0...100

Set the LFO speed. Set the frequency at which the effect will be applied. Set the LFO modulation depth. Set the amount of resonance. Set the balance between the phaser effect sound and the

direct sound. Set the balance between the phaser output and the direct sound. With settings of -Wet—2, the effect sound will be output with inverted phase.

Set the LFO phase difference between the tremolo and phaser.

Specify how greatly the shape of the tremolo LFO will be modified. p.51 LFO SHAP

Set the depth of LFO modulation for tremolo. Set the balance between the effect sound and the direct

sound. This sets the balance between the resulting output of the

phaser + tremolo and the direct sound. Set the pan position of the output.

Set the output level.

Chapter 4. Effects

29: Gale-Limiter

After being sent through a gate effect that mutes the input signal when it falls below a specified level, the signal is sent through a limiter effect that evens out the level.

Gale IHRE 0...100 Set the level at which gating will occur.

Gate - Threshold

GateATCK Gate RISE

GateDLAY O.JOOmS Set the delay time for the gate input. When using a short

Limiter RTIO 1.0:1...50.0:l,lnf:1 Set the compression ratio of the signal. Limiter THRE -40...0dB Set the level at which compression will apply. Limiter ATCK Limiter RLSE 1...100 Set the release time. Output PAN

Output LEVL

1...100

L50...L01, CNT, R01...R50

0...100

Set the attack time. Set the release time.

Gate - Attack / Release

attack time, increase the delay time so that the sound will be input after the gate opens.

“S’ p.59

№ p.59

Set the attack time.

Set the pan position of the output.

Set the output level.

№ p.60

p.60

30: Limiter-Exciter

After being sent through a limiter effect that evens out the volume of the input signal, the sound is

sent through a harmonic exciter effect that adds sparkle and definition to the sound.

30: Limiter-Exciter

Output

LEVL

Limiter THRE -40...0dB Limiter ATCK Limiter RLSE Output PAN

Output LEVL PreEQLOW PreEQHIGH -12.0...+12.0dB Exciter BLND

Exciter PONT

Exciter W/D

1...100

L50...L01, CNT, R01...R50

0...100

-12.0...+12.0dB

-100...+100 Set the depth of the exciter effect. The pattern of the fre

0...140 Set the frequency range in which emphasis will occur.

Dry, 1...99, Wet

Set the level at which compression will apply. Set the attack time. ■ S’ p.60 Set the release time. Set the pan position of the output.

Set the output level. Set the gain of the low range equalizer. Set the gain of the high range equalizer.

quencies that will be emphasized will differ for positive (+) and negative (-) settings.

Larger settings will cause the range of emphasis to be ex-

tended further into the low frequency range.

Set the balance between the effect sound and the direct

sound.

is-p.59

№ p.60

Chapter 4. Effects

31: Overdrive-Amp Sim. (Overdrive-Amp Simulator)

After being sent through an overdrive effect, the sound is sent through an effect that simulates the sonic characteristics of a guitar amp. This is especially effective when used on sounds such as guitar or organ.

OVD

MIX

Amp TYPE Output PAN

Output LEVI Bandi FREQ Bandi 0

Bandi GAIN Band2FREQ Band2 Q Band2GAIN

0...100

0...50

SS,EL84,6L6

L50...L01,CNT,

R01...R50

0...100

100Hz..10.0kHz

0.6...8.0

-12...+12

lOOHzJO.OkHz

0.6...8.0

-12...+12

Set the amount of distortion. The amount of distortion is determined by the level of the

input signal itself in conjunction with the OVD setting. Raising OVD will raise the overall volume, so use Output LEVL to adjust the volume. Output LEVL will also be the input level to the 2-Band EQ. If clipping occurs in the 2Band EQ, adjust Output LEVL.

Set the amount of direct sound that will be mixed into the distortion sound.

Select the type of guitar amp. Set the pan position of the output.

Set the output level. Set the center frequency of equalizer band 1.

Set the frequency width of equalizer band 1. Higher set tings of this value will make the band sharper and more narrow.

Set the gain of band 1. Set the center frequency of equalizer band 2. Set the frequency width of equalizer band 2. Bandl Q Set the gain of band 2.

Chapter 5. MIDI

This chapter explains how MIDI can be used for automation and system expansion, and explains other MIDI-related matters. For explanations of each MIDI parameter, refer to p.30.

1. What is MIDI?

MIDI is an acronym for Musical Instrument Digital Interface, and is a standard specification for exchanging musical data between electronic musical instruments and computers. The 617 parameters of the 168RC which can be controlled in realtime (p.89) such as faders, pan, and EQ, can be transmitted and received via MIDI. By recording/playing back this data on a

sequencer etc., you can perform continuous automation. In addition to these parameters, the 168RC has program locations which store settings, EQ memories and effect memories. These memories can also be selected from an external MIDI device, and it is also possible to transmit these settings to an external MIDI device for storage. Two or more 168RC units can also be controlled via MIDI to form an expanded system.

2. MIDI connections

In order to convey data via MIDI, you must use a MIDI cable to connect the MIDI OUT connector

of the transmitting device to the MIDI IN connector of the received device. There are three types of

MIDI connectors; MIDI IN, MIDI OUT, and MIDI THRU. MIDI IN receives messages from an

external MIDI device, and MIDI OUT transmits MIDI messages to an external MIDI device. MIDI

THRU re-transmits the messages which were received at MIDI IN, for transmission to another

MIDI device.

3. MIDI Channel and Device ID settings

MIDI THRU: This connector re-transmits

the messages which were received at

MIDI IN.

If you wish to send the same stream

of data to two or more devices, connect

a MIDI cable to this connector.

MIDI OUT: This connector transmits MIDI messages. If you want the 188RC to transmit program recall or parameter data, or when connecting two or more 188RC units, connect this connector to the MIDI IN connector of the received unit.

3. MIDI Channel and Device ID settings

MIDI uses sixteen channels (1~16) in order to transmit and receive messages independently on

each channel. When transmitting data to an external MIDI device or when recording/playing

back data on an external sequencer, the MIDI channels of the transmitting device and receiving

device must match.

The transmit channel of the 168RC is set by the MIDI mode MIDI SETUP page Tx Base Ch param

eter. The receive channel is set by the Rx Base Ch parameter found in the same page.

If you will be transmitting and receiving System Exclusive messages, you must set the MIDI mode MIDI SETUP page Device ID parameter to the same Device ID number on both units.

MIDI IN: This connector receives MIDI messages.

If you want the 168RC to receive program recall or parameter data, or when connecting two or more 168RC units, connect this connector to the MIDI OUT connector of the transmitting unit.

Chapters. MIDI

4. Using MIDI for automation

When panel operations are performed on the 168RC, MIDI messages will be transmitted. The

adjustments you make to fader, pan, or EQ settings etc. can be recording on an external MIDI sequencer, and then played back to perform mixer automation. Although the 168RC by itself does provide total recall of its settings using the Program Save and Recall functions, you can perform more detailed automation by using an external MIDI sequencer. When connecting a single 168RC to a MIDI device to perform automation, you will normally use either Control Change messages or NRPN messages.

Using control changes for automation

Each control change message (for example, a message which indicates that a switch has been pressed) consists of three bytes. This type of message makes efficient use of your sequencer's memory, but since the same types of message are used by other MIDI devices, they can cause other MIDI devices to perform unexpectedly.

O Connect the 168RC's MIDI OUT to the sequencer's MIDI IN, and the 168RC's MIDI IN to the

sequencer's MIDI OUT. O Set the MIDI mode System Extension parameter to "Stand Alone 2". 0 Set the MIDI mode Tx Base Ch and Rx Base Ch to the same number. O Set the MIDI mode Parameter No. to either "Type 1," "Type 2", or "User."

Typel will use control change numbers 0~95 on 7 channels. Type 2 will avoid the control change numbers which are frequently used by synthesizers, but will use 8 channels. User allows you to freely select the channels and control change numbers that will be used. Refer to page 79 for the correspondence between control change numbers and parameters.

0 Put the sequencer in recording mode, and operate the 168RC's faders, pan, and EQ etc. After

recording, playback the sequencer and the 168RC will perform the same operations as were

recorded.

Using NRPN (Non-Registered Parameter Numbers) for

automation

NRPN messages consist of 9 bytes for each message. This means that they occupy more memory than control changes, but there is little chance of them affecting the operation of other MIDI de vices. On the 168RC, the parameter numbers themselves are used as the NRPN numbers.

For settings and operation, refer to the above example. However in step 0, select "Stand Alone 3" so that NRPN messages will be used. Also, the operation in step O will not be necessary.

5. Using MIDI for Program Recall procedures

By transmitting MIDI messages to the 168RC from an external MIDI device such as a MIDI sequencer, you can perform Program Recall, EQ Memory Read and Effect Memory Read opera tions. Also, when you operate the 168RC to perform Program Recall, EQ Memory Read or Effect

Memory Read, program change messages will be transmitted. The following paragraphs discuss

Program Recall reception. For other operations, refer to page 80.

Program Recall

This operation recalls a program from program memory. Program Change numbers 1-100 are received on the Rx Base Ch.

O Connect the MIDI OUT of the transmitting device to the MIDI IN of the receiving device.

0 Set MIDI mode Rx Base Ch to the same MIDI channel as the transmitting device. 0 Set MIDI mode MIDI Type to either "Control Change" or "NRPN."

o Set MIDI mode Program Change Rx to a setting other than "Off."

0 Set MIDI mode Program Change No. to either "Default" or "User," to specify the correspond

ence between the incoming program change numbers and the 168RC's program numbers.

If "User" is selected, the correspondence between the MIDI program change numbers and the 168RC program numbers which are selected will be as specified by the Program Map ping settings.

6. Using MIDI for system expansion

When you wish to expand your system by connecting two or more 168RC units, digital equip ment, or MIDI equipment etc., select a mode appropriate for your system. You can choose from Stand Alone, Cascade, Remote, and Duplicate modes. These settings are made in MIDI mode System Extension.

Stand Alone

This is the most basic setting, and is appropriate when the 168RC is used by itself, or when an external sequencer is connected to perform automation without linking multiple 168RC units.

Operate the 168RC via MIDI input and from its operating panel. Refer to the previous page.

Cascade

This setting is used when multiple 168RC units are connected, and their Solo and Program Recall functions are to be linked. This is useful when you connect multiple 168RC units by a bus connec tion to increase the number of input channels.

Specify the master and sender units as appropriate. In addition to the "Stand Alone" operations, program changes will be recognized on all channels (Omni On). In addition, data for linking the Solo function will be exchanged between the units. For this reason, use two MIDI cables to con nect the master and sender units to each other.

6. Using MIDI for system expansion

Connection procedure

O Use MIDI cables to connect the master MIDI OUT to the sender MIDI IN, and the master MIDI

Q On the 168RC that will be the master unit, set the MIDI mode System Extension setting to

O On the 168RC that will be the sender unit, set the MIDI mode System Extension setting to

Remote

This setting is used when operations on one 168RC are used to control another 168RC. Without touching the panel of the second 168RC, you can control it by operating the first 168RC.

Specify the master and slave units as appropriate for your system. System Exclusive messages will be used to remotely control the slave from the panel of the master. Master operations will not affect the mixer or program settings of the master itself. Of the operations on the master, the MIDI

mode settings are for the master itself, and will not be transmitted to the slave. Of the panel opera tions on the master, only System Extension and Device ID will be valid. Of the panel operations on the slave, only the MIDI mode System Extension settings will be valid.

Procedure for starting remote operation

O Use a MIDI cable to connect the MIDI OUT of the master to the MIDI IN of the slave, and the

e Set the master and slave to the same Device ID number. 0 On the 168RC that will be the master, set MIDI mode System Extension to "Remote Master."

O On the 168RC that will be the slave, set MIDI mode System Extension to "Remote Slave." 0 In the master display, select "Are You Sure? [YES]", and remote operation will begin. A small

IN to the sender MIDI OUT.

"Cascade Master."

"Cascade Sender." Tx Base Ch and Rx Base Ch will be automatically set to "01" on the master and "09" on the

sender, so that MIDI messages used for automation do not conflict.

MIDI IN of the master to the MIDI OUT of the slave.

The words "Remote Master" will blink.

"R" symbol will be displayed at the right of the channel number in the master's LCD, indicat

ing that this unit is the remote master.

Chapters. MIDI

Duplicate

This setting allows operations on one 168RC to be exactly duplicated on another 168RC. This will cause settings to be mirrored exactly, including all operations.

Specify the master and sender units as appropriate. System Exclusive messages will be used to perform the same operations on the slave as on the master, including the LCD displays. When you set the slave device, all panel input except for the MIDI mode System Extension parameters (-MIDI Type) will be ignored.

Procedure for starting copy operation

O Use a MIDI cable to connect the MIDI OUT of the master to the MIDI IN of the slave.

Q On both the master and the slave, set the MIDI mode Devide ID to the same setting.

0 On the 168RC that will be the master, set MIDI mode System Extension to "Duplicate Master."

Leave this display page selected.

O On the 168RC that will be the duplicate slave, set MIDI mode System Extension to "Duplicate

Slave." Leave this display page selected.

When copy operation is started, the current settings of the receiving device will be modified,

so save those programs if necessary.

In the master display, select "Are You Sure? [YES]", and copy operation will begin. A certain

length of time is required for large amounts of data to be transmitted. The unit will not operate until this Copy operation is completed. When the operation is completed, select another mode and resume operations.

7. 168RC MIDI specif ¡cations

The functions which can be performed on the 168RC via MIDI can be broadly classified into the following.

• Using program change messages for Program Recall, EQ Memory Read, and Effect Memory Read.

• Using control change messages or NRPN messages to operate parameters.

• Using System Exclusive messages for extended functionality.

• Using Channel Pressure messages for linked Solo Active.

The MIDI channels given in the explanation here will be for reception. Be aware that in actuality, the transmission and reception channels can be set separately.

Parameter changes

There are 617 parameters which can be modified. These can be edited using Control Change mes sages or NRPN (Non-Registered Parameter Number) messages. For the function of each param

eter number, refer to 7.168RC PARAMETERS LIST WITH ORIGINAL NO. («a- p.89)'.

Parameter changes using Control Change messages

7. 168RC MIDI specifications

You can select from the following three types.

Type 1

All control change numbers (00-95) will be used. The first 96 parameters will be received on the Rx base channel, the next 97-192 parameters on the Rx base + 1 channel, and so on. This means

that seven channels of control change message are used by the 617 parameters.

168RC parameter #

001 002

096 097 098

577

617

MIDI Ch MIDI

Rx 00 Rx

Rx 95 Rx+1 00 Rx+1 01

Rx-t-6 00

Rx-t-6

[ALL IN DECIMAL]

Type 2

Control change messages will be used, but control change numbers commonly used by MIDI instruments will be avoided.

Control Change numbers which will not be used

00: Bank Select MSB 01: Modulation MSB 36:

JoyStick-Y MSB 43:

02 : 04: Foot Controller MSB

07 :Volume

Pan 66:

10 : 11: Expression MSB 67:

Bank Select LSB

32: 33 :Modulation LSB

34:

JoyStick-Y LSB Foot Controller LSB

Expression LSB 64: Damper 65:

Portamento Sosutenuto Soft

84: Portamento

Control

This means that only 79 parameters can be handled by one channel, and they will be assigned as follows.

168RC parameter # MIDI Ch MIDI control # 168RC parameter # MIDI Ch MIDI control #

001 Rx 002 Rx

003 004 Rx 005 006 Rx

025 026

027

032 Rx 033

Rx 06

Rx 09

Rx 31 Rx 35

Rx 37

Rx 44

03 05

052 Rx 63 053 Rx

068 Rx 069 Rx

079 080 Rx+1 03

554 Rx+7

617 Rx+7

Rx 95

83 85

User

The correspondence can be freely defined in MIDI mode. The contents of this mapping can be dumped in as System Exclusive data.

Chapters. MIDI

Parameter changes using NRPN

The internal parameter number will correspond to the NRPN number.

168RC parameter# MIDI Ch MSB (CC#99) LSB (CC#98)

001 Rx 00

002 Rx 128

129 Rx

00 00

127 m

Data Entry (CC#06) 00 01

m m

m : Parameter Value

617 Rx 04

Program changes

These messages are used for the following four operations. Since these operations are independ ent of each other, four different channels are used, starting from the Rx Base channel.

1. Program Recall

The Rx channel will be used. Program numbers 1~T00 are valid, and 101-127 will be ignored. In MIDI mode, you can specify the correspondence between 168RC program numbers and MIDI program change numbers.

2. Effect 1 Memory Read

The Rx + 1 channel will be used. Program numbers 1-50 are valid, and 51-127 will be ignored.

The contents of one of the 50 effect memories will be copied to effect 1. These 50 effect memories

are used in common by effect 1 and effect 2.

3. Effect 2 Memory Read

The Rx + 2 channel will be used. Program numbers 1-50 are valid, and 51-127 will be ignored. The contents of one of the 50 effect memories will be copied to effect 2.

4. EQ Memory Read

The Rx + 3 channel will be used. Program numbers 1-30 are valid, and 31-127 will be ignored. The 30 EQ memories are shared by mixer channels 1-12. This means that you will need to specify

the mixer channel to which the settings that were read from memory will be copied. Polyphonic

Key Pressure messages are used to specify the mixer channel (see the following explanation).

104 m

Polyphonic Key Pressure

These messages are used to specify the mixer channel to which the memory read by EQ Memory Read will be copied. Most accurate operation will be ensured if this message is transmitted before

the EQ Memory Read operation (the Program Change transmitted on the Rx +3 channel). Since the 168RC will remember the mixer channel that v/as last-specified in this way, you can omit the Polyphonic Key Pressure message if you are performing consecutive EQ Memory Read opera tions for the same mixer channel.

[An, Ok, pp]

MIDI channel = Rx + 3 Mixer channel. 1~12 are valid, and others will be ignored.

The 168RC will transmit 00, but the content of this value will be ignored when received. It must be transmit

ted so as to preserve the proper number of bytes in the message.

Channel Pressure

This message is used as "Solo Active" to link the Solo function of multiple 168RC units. In Cas

cade mode, when the first Solo switch is turned on, or when all Solo switches are turned off, the respective message will be transmitted. When the cascade master 168RC receives this, it will switch the solo bus monitor output. This message is received on all channels, regardless of the Rx channel setting.

[Dn, w]

MIDI channel

0-63 Solo Active Off

64-127 Solo Active On

System Exclusive messages

7. 168RC MIDI specifications

FO: Exclusive header F7: End of Exclusive Universal System Exclusive

DEVICE INQUIRY

Recjuest [FO, 7E,xx, 06,01, F7]

Reply [FO,7E,Ox,06,02,42,3D,00,00,00,aa,00,bb,OO.F7]

System Exclusive

Common Header: [FO,42,3n,3D,]

DATA *: Each length is depends on the type of data

MODE

Request [FO,42,3n,3D,12,F7] DATA [F0,42,3n,3D,42,rnm,ll,cc,F7]

Change req. [FO,42,3n,3D,4E,mm,11,cc,F7]

GLOBAL DATA DUMP

Request [FO,42,3n,3D,OE,00,F7]

Reply [FO,42,3n,3D,51,00,DATA *,............ F7]

ALL PROGRAM DATA DUMP

Request [FO,42,3n,3D,1C,00,F7] Reply [FO,42,3n,3D,4C,00,DATA *,

CURRENT PROGRAM DATA DUMP

Request [FO,42,3n,3D,10,00,F7] Reply [FO,42,3n,3D,40,00,DATA *,

ALL EQ MEMORY DATA DUMP

Request [FO,42,3n,3D,1C,01,F7) Data [F0,42,3n,3D,6A,00,DATA *,F7]

Reply [FO,42,3n,3D,4C,01,DATA *,............ F7]

CURRENT EQ DATA DUMP

Request [FO,42,3n,3D,10,01,F7] Reply [F0,42,3n,3D,40,01,DATA *,

ALL EFFECT MEMORY DATA DUMP

Request [FO,42,3n,3D,1C,02,F7] Reply [F0,42,3n,3D,4C,02,DATA *,

CURRENT EFFECT DATA DUMP (In Memory)

Request [FO,42,3n,3D,10,02,F7] Reply [FO,42,3n,3D,40,02,DATA *

ALL PROGRAM NAME DUMP

Request [FO,42,3n,3D,1C,03,F7] [F0,42,3n,3D,24,F7] Reply [F0,42,3n,3D,4C,03,DATA *

xxtDevice ID channel 0-F or 7F

X:Device ID channel aa:Minor Software version bb:Major Software version

42:KORG ID n:Device ID 3D:168RC ID

mm: MODE followings are in Hex.

00:MISC, 01:Ex.Bus I/O, 02:MIDI, 03:Program, 04:Recall, 05:Save, 06:I/S/P, 07:EQ, 08:BUS, 09:INPUT, 0A:AUX Send, 0B:Eff. Send, 0C:PAN, 0D:EFF1, OE:EFF2.OF:,Bus Master, 10:SND Master, ll:Meter, 12: Cycle

11: Selected line

Line No. of the MODE. Though, a LCD

display has only two line to edit, a

MODE can have roore lines.

Ex. On AUX Snd MODE.

01: AUXl chl-8, 02:AUX1 ch9-16, 03:AUX2 chl-8, 04;AUX2 ch9-16 ' Ex. EFFl MODE 01: EFFl Out, 02:first line of a Effect type, 03:Second line of a Effect type

cc: Selected channel

01-10: chl-chl6

Only for EFFl or EFF2 mode. This is used

for one of 32 Effect type.

Ex. 00:Reverb-hall, 10:Pitch Shidt Mod.

DATA *: SEE ATTACHED CHARTS.

DATA *:SEE ATTACHED CHARTS. MIDI IN DATA FORMAT ERROR

DATA *:SEE ATTACHED CHARTS

DATA *: SEE ATTACHED CHARTS. value. Or process is incompleted because of setup or

...........

........... F7j ML,MR,Chl-Chl6,Gl-G8,SL,SR,Al,A2,El,E2

...........

............

F7]

F7] [F0,42,3n,3D,23,F7J

F7]

ALL EQ MEMORY NAME DUMP

Request [FO,42,3n,3D,1C,04,F7]

Reply [F0,42,3n,3D,4C,04,DATA *,............ F7]

ALL EFFECT MEMORY NAME DUMP

Request [FO,42,3n,3D,1C,05,F7] Reply [F0,42,3n,3D,4C,05,DATA *

PROGRAM WRITE REQUEST

Request [FO,42,3n,3D,11,0b,pp,F7]

Completed [FO,42,3n,3D,21,F7] Error [F0,42,3n,3D,22,F7]

*: EQ memory write and Effect memory write are

PARAMETER CHANGE

Ex.

METER DATA

DATA: 32byte. 7bit for each.

PROGRAM PARAMETER MAP DUMP

Request [FO,42,3n,3D,35,00,F7]

PROGRAM CHANGE MAP REQUEST

Reque'st [FO, 42,3n, 3D, 07,00, F7 ] Data [FO,42,3n,3D,5D,00,DATA *,F7]

System exclusive handshake messages

A receiver will reply these message according to recog-

nized message. When first four byte from FO to 3D is

wrong, a receiver will not reply any message.

This means the length of the massege is illegal.

DATA LOAD COMPLETED ( ACK )

This means the massage is recognized and process is

completed.

DATA LOAD ERROR ( NAK )

This means the massage includes an unknow command or

hardware error.

DATA *: SEE ATTACHED CHARTS.

b: 0=Program, 1=EQ Memory*, 2=Effect Memory*

pp: Destination of Program/Memory No.

effective only in each memory page.

[F0,42,3n,3D,41,00,ff,nn,ll,mm,F7]

This message is not on handshake manner.

168RC will send this when a parameter is edited by front panel. And When the system receive this, ceirtain parameter will be

changed. ff: function number ( Hex ] 00*. Fader, 10*.Solo, 20‘.Mute, 30*.Sel Key, 40: Edit SW, 50:Edit Volume nn: No. of controller For Fader,Solo,Mute and SelKey, this means

ch. No.. For Edit SW and Edit Volune, this

indicate one of eight physical nobs from

left. Value of zero is reserved. 11: LSB 7bit ram: MSB 7bit

F0,42,3n,3D,41,00,00,01,00,7F,F7 Chi Fader Max FO,42,3n,3D,41,00,20,04,00,7F,F7 A fourth edit SW is on. A Parameter that

should be edited is depend on where the

system is. Mode, page and line is defined

by MODE Change message.

[FO,42,3n,3D,47,00,DATA,F7] No handshake. Only the data is transmit-

ted. the data is absolute. No peak holded.

7F:Full bit (Max) 19:-48dB ILSB = 0.46875dB Order of DATA is

DATA *: SEE ATTACHED CHARTS.

DATA *:SEE ATTACHED CHARTS.

[F0,42,3n,3D,26,F7]

............

F7]

Chapters. Reference

Chapter 6. Reference

This chapter contains various cormection examples for systems, specifications, error messages, and block diagrams etc.

System connection examples

A recording sysfem using one odot

O Use an ADAT-OPTICAL cable to connect the 168RC's adat OPTICAL IN A to the adat's Digital

OUTPUT. In the same way, cormect the 168RC's adat OPTICAL OUT A to the adat's Digital

INPUT. Also, cormect appropriate input sources to INPUT A~D and LINE IN E~H, and connect a monitor system and a master recorder etc. as necessary.

0 Press the adat's DIGITAL INPUT switch to connect the adat inputs to the 168RC's group buses.

O Set the 168RC's MISC mode CLK Source to "INTERNAL."

If you are using an adat XT, set the adat XT's C LOCK SOURCE to "DIG 48K".

O In INPUT mode, assign the signals which are input from the 168RC's adat OPTICAL IN A to

appropriate channels of "DIG-A1"~"DIG-A8" Also in INPUT mode, assign the signals which are input from INPUT A~D and LINE IN E~H to appropriate channels of "ANA-A"~"ANA-EI".

adat

Master recorder (DAT)

1. System connection examples

A recording system which adds one adot and a Trinity

(with Dl/F option installed)

O In addition to the settings described on the previous page, use an ADAT-OPTICAL cable to

connect the 168RC's adat OPTICAL IN B to the Korg Trinity's Digital OUT.

O Use a BNC cable to connect the 168RC's WORD CLOCK OUT to the Trinity's WORD CLOCK

IN. 0 In the Trinity's GLOBAL mode PI, set System Clock to "Digital I/F". O In the 168RC's INPUT mode, assign the Trinity's output to appropriate charmels "DIG-

B1"~"DIG-B4".

adat

Master recorder (DAT)

Chapters. Reference

A recording system using two odot units

O Use an ADAT-SYNC cable to connect the SYNC OUT of the first adat to the SYNC IN of the

second adat. Operations on the first unit will cause the second unit to function as well.

e Use ADAT-OPTICAL cables to connect the Digital OUT of each adat to the 168RC's adat

OPTICAL IN A and B. In the same way, connect the Digital IN connectors of each adat to the 168RC's adat OPTICAL OUT A and B connectors.

O In the 168RC's MISC mode, set CLK Source to "INTERNAL."

If the first unit is an adat XT, set the adat XT's CLOCK SOURCE to "DIG 48K".

O Iri INPUT mode, assign "DIG-A1"~"DIG-A8” and "DIG-B1"~"DIG-B8" to appropriate chan

nels.

adat

Master recorder (DAT)

1. System connection examples

A recording system using two 168RC units and two odat units

O Use a MIDI cable to connect the first 168RC's MIDI IN to the second 168RC's MIDI OUT. In the

same way, connect the first 168RC's MIDI OUT to the second 168RC's MIDI IN.

Q Connect the first adat's SYNC OUT to the second adat's SYNC IN. Operations on the first unit

will cause the second unit to function as well. Q Connect the optical output of each adat to the IN-A of the respective 168RC. O Set the MISC mode CLK source to "DIG-B" ifor the first 168RC, and to "INTERNAL" for the

second 168RC.

If the first unit is an adat XT, set the adat XT's CLOCK SOURCE to "DIG 48K".

0 In the 168RC's MIDI mode, set System Extension to "Cascade Master" for the first I68RC, and

to "Cascade Sender" for the second 168RC.

0 On the second 168RC, assign Master L/R or Solo L/R etc. to Dig-Out-B in Ex.BUS lO mode.

Eor Ex.BUS lO mode Input Sel. on the first 168RC, input the Master L/R or Solo L/R etc. that

was assigned to DIG-Out-B on the second 168RC into the same bus.

adat

Master recorder (DAT)

Chapters. Reference

2. Troubleshooting

Nothing appears in the LCD when the [POWER] switch is

pressed

• Is the power cable connected to an AC outlet?---------------------------------------------------------------(p.8)

No sound

' Are the external devices connected correctly? ’ Is a signal selected for input to the mixer channel? ■ ' Are the channel faders raised? ' Is MUTE turned on?--------------------------------------------

• Is SOLO turned on for the channels which do not output sound?------------Have the BUS Assign settings been made correctly to send signals to the

master L/R and group buses?

• Are the group bus volume and "ON/OFF" switches set correctly? -

• Is the signal that you wish to output to Monitor selected correctly? Is the [TAPE IN/MONITOR] switch set correctly?

' Are the levels of the [MONITOR] knob and [PHONES] knob raised?

Sound does not disappear

• Is the Input Sel. setting causing a signal to be input to an internal bus?

• Is SOLO turned on?----------------------------------------------------------------------------------------------(p.4,35)

• Is the [TAPE IN/MONITOR] switch set correctly?

----------

------------------------------

---------------------------------------------------------

(p.l6,82-85)

- (p.9, 35,39)

----------

------

(p.lO, 38) (p.lO, 44) (p.lO, 44)

------

---------------------------

(p.4) (p.4,35) (p.4, 35)

(p.6)

(p-29)

(p.6)

Noise is heard

• Is an unconnected audio input selected in Input Sel?

• Is the CLK Source set correctly?

------------------------------------------------------------------

----------------------------------------------------

Sound is distorted

• Are the [PAD] key and the [TRIM] knob set correctly? —

• Is the [PHANTOM power] switch set correctly?

• Is the fader (level) raised excessively? ' Is the equalizer gain raised excessively?

(Either lower the gain, or use EQ Pad to lower the input level.)

' Is the Output Level of an internal effect raised excessively?

--------------

-------------------------------------

----------

Phase is wrong

• Is the phase of the input device set correctly? -

Operating a fader does not change the volume

• Perform the "fader hooking" operation.--------------------------------------------------

Is channel pairing turned on?

• Are the System Extension settings correct?

---------

Cannot exchange data via MIDI

• Are the MIDI cables connected correctly?-----------

' Are the System Extension settings correct?-------------------------------------------' Do the MIDI channels of the transmitting and receiving devices match? . ’ Are the Program Change No. settings correct?

---------------------------------------

(p-29)

(p.l7, 27,82-85)

-- (p.3)

-- (p.7)

-(p.4,35)

--(p.36)

-(p.46-74)

(p.35,39)

■

----

(p.4)

-(p.4,27) (p.30, 77)

-(p.30-33, 75-78, 85)

------------

-(p.30-33, 75-78, 85)

------------------

(p.30,77)

(p.31)

Cannot transfer digital audio

• Are the cables connected correctly?

• Check the items listed above under "No sound.'

• Is the CLK Source set correctly?------------------------

-------------------

(p.l6,82-85)

-(p.86)

-(p.l7,27, 82-85)

3. Error messages

4. Specifications

¡EOl Battery

The voltage of the internal memory backup battery is low. Please contact a nearby service station or your dealer.

!E02 MIDI 1

A MIDI exclusive message was received in an incomplete format. Please check the length of the data.

!E03 MIDI 2

MIDI message handshaking with a Remote device was incomplete. Remote is a function that is valid only for connecting 168RC units to each other.

!E04 MIDI 3

The MIDI message of response that Remote requires was not received. Are the devices connected to each other by MIDI cables? Are the two devices set to Remote Master and Remote Slave respectively? Do the

Device ID settings match?

4. Specifications

Overall harmonic distortion

Frequency response Dynamic range greater than 100 dB Hum and noise ' under-70 dBu'' IEC-651 A weighted Internal processing 24 bit A/D conversion | 18 bit linear bitstream D/A conversion ' 18 bit iinear bitstream Power consumption Sampling frequency 48 kHz Dimensions and weight

less than 0.1% 10-20 kHz(±1 dB)'’ Memories

Equaiizer

Display MIDI IN, OUT, THRU WORD CLOCK IN/OUT 48kHz, TTL level

Power supply voltage AC, Local Voltage

3 band LOW: sheiving, Mid: parametric, Hi: Sheiving

100 programs, 50 effects memories, 30 EQ memories 240 X 64 fuii dot graphic type, with backlight

27 W

460.2 (W) X 411.9 (D) X 113.3 (H)mm, 8.5 kg

PAD

Input jacks

CH INPUT mic/li'ne A~D OFF

CH INPUT MIC/LINE A-D ON

CH INPUT LINEE-^H

INSERT IN MIC/LINE

TAPE INPUT (L, ijt)

Output jacks Output impedance

MASTER OUT (L,' R) MONITOR OUT (L, R) AUX SEND 1,2 1 1500 lOkO

INSERT OUT MIC/aiNE A-D 470 lOkO PHONES I

Digital input connectors Type DIGITAL IN A (8ch) DIGITAL IN B (8ch) adat optical compatible

GAIN

20dB

16~66dB

0~40dB

1500 lOkO 1500 lOkO

150

adat optical compatible

Input impedance

A,B 3kQ

C,D 2kQ

A,B lOkn C,D 20kQ

20ka -34-+6dBu 20kn +4dBu lOkn -lOdBu

8-50kO

Input level

Nominal levelMaximum nonclipping level

-60—lOdBu +6dBu

-40~+10dBu +26dBu

+22dBu +14dBu TRS Phone Jack Ring +30dBu

Output level

Nominal level

+4dBu +22dBu TRS Phone Jack +4dBu +22dBu TRS Phone Jack +4dBu +4dBu +22dBu TRS Phone Jack Tip

Digital output connectors MASTER DIGITAL OUT A (8ch) DIGITAL OUT B (8ch) adat optical compatible

Maximum nonclipping level

+22dBu

S/P DIF RCA phono adat optical compatible

A, B:XLR3-31TYPE'* (with phantom power)

C, D:TRS'^ Phone Jack

A, B:XLR3-31TYPE'^ (with phantom power)

C, D:TRS'^ Phone Jack

TRS'^ Phone Jack

RCA Pin Jack

Phone Jack

Stereo Phone Jack

Type

Connectors

*1: For analog line level input *2:1=GND 2=HOT 3=COLD *3: T=HOT R=COLD S=GND 0dBU=0.775Vrms

Chapters. Reference

5. External appearance

6. Oph

ions

880A/D 880D/A RM168RC

A/D converter D/A converter Rack mount kit

7. 168RC PARAMETERS LIST WITH ORIGINAL No.

PAN, PI,

Exanfile [Some has no data here ] original No.: [MODE], [PAGE], PARAMETER NAME, [CH],

STEP, SYMBOLS TO DISPLAY

Chamel Block

001

CH FADER, CHI, 101, -INF~+12dB NOT TO DISPLAY ;0dB=70

002

CH FADER, CH2, 101, -INF~+12dB NOT TO DISPLAY

003

CH FADER, CH3, 101, -INF~+12dB NOT TO DISPLAY

004

CH FADER, CH4, 101, -INF~-12dB NOT TO DISPLAY

005

CH FADER, CH5, 101, -INF~*12dB NOT TO DISPLAY

006

CH FADER, CH6, 101, -INF~+12dB NOT TO DISPLAY

007

CH FADER, CH7, 101, -INF-+12dB NC/T TO DISPLAY

008

CH FADER, CH8, 101, -INF-+12dB NOT TO DISPLAY

009

CH FADER, CH9, 101, -INF~*12dB NOT TO DISPLAY

010

CH FADER, CHIO, 101, -INF~+12dB NOT TO DISPLAY

CH FADER, CHll, 101, -INF~+12dB NOT TO DISPLAY

012

CH FADER, CH12, 101, -INF~+12dB NOT TO DISPLAY

013

I/S/P, PI, LEVEL, CH13, 101, 0-100 ;0dB=70

014

I/S/P, PI, LEVEL, CH14, 101, 0-100

015

I/S/P, PI, LEVEL, CHIS, 101, 0-100

016 I/S/P, PI, LEVEL, CH16, 101, 0-100

017

MUTE, CHI, 2, ON, OFF 018 MUTE, CH2, 2, ON, OFF 019 MUTE, CH3, 2, ON, OFF 020 MUTE, CH4, 2, ON, OFF 021 MUTE, CH5, 2, ON, OFF 022 MOTE, CH6, 2, ON, OFF 023 MUTE, CH7, 2, ON, OFF 024 MOTE, CH8, 2, ON, OFF 025 MOTE, CH9, 2, ON, OFF 026 MOTE, CHIO, 2, ON, OFF 027

MOTE, CHll, 2, ON, OFF 028 MOTE, CH12, 2, ON, OFF 029 I/S/P, PI, MUTE, CH13, 2, , MUTE 030 I/S/P, PI, MUTE, CH14, 2, , MOTE 031 I/S/P, PI, HUTS, CH15, 2, , MOTE

I/S/P, PI, MOTE, CH16, 2, , MOTE

032

SOLO, CHI, 2, ON, OFF

'033

SOLO, CH2, 2, ON, OFF

034

SOLO, CH3, 2, ON, OFF

035

SOLO, CH4, 2, ON, OFF

036

SOLO, CH5, 2, ON, OFF

037

SOLO, CH6, 2. ON, OFF

038

• SOLO, CH7, 2, ON, OFF

039

SOLO, CH8, 2, ON, OFF

040

SOLO, CH9, 2, ON, OFF

041

SOLO, CHIO, 2, ON, OFF

042

SOLO, CHll, 2, ON, OFF

043

SOLO, CH12, 2, ON, OFF

044

I/S/P, PI, SOLO, CH13, 2, , SOLO

045

I/S/P, PI, SOLO, CH14, 2, , SOLO

046

I/S/P, PI, SOLO, CH15, 2, , SOLO

047

I/S/P, PI, SOLO, CH16, 2, , SOLO

048

049

050: PAN. PI.

052: PAN, PI,

053

054: PAN, PI,

055: PAN, PI,

056: PAN, PI,

057 PAN, PI, I/S/P, PI. CH9, PAN, 101, R50-R01, CNT,

058 PAN, PI, I/S/P, PI, CHIO, PAN, 101 RSO-ROl, CNT,

059 PAN, PI, I/S/P, PI, CHll, PAN, 101 R50-R01, CNT, 108 BUS,

060

061: PAN, Pi,

062

063

064

065 BUS, PI, CHI, Master, 2, ON, OFF 120 BUS, 066 067 BUS, PI, CH3, Master, 2, ON, OFF 122 068 069 BUS, PI, CH5, Master, 2, ON, OFF 124 BUS, 070 BUS, PI, CH6, Master, 2, ON, OFF 125 BUS, 071 BUS, PI, CH7, Master, 2, OH, OFF 126 BUS, 072 073 074 BUS, PI, CHIO, Master, 2, ON, OFF 129 BUS, 075 076 BUS, PI, CH12, Master, 2, ON, OFF 131 BUS, 077 BUS, PI, CH13, Master, 2, ON, OFF 132 BUS, 078 BUS, PI, CH14, Master, 2, ON, OFF 133 BUS, 079 080 081 082 BUS, PI, CH2, ST-Group, 2, ON, OFF 137

083

084 085 BUS, PI, CH5, ST-Group, 2, ON, OFF 140 BUS, 086

087 BUS, PI, CH7, ST-Group, 2, ON, OFF 142

088 089 BUS, PI, CH9, ST-Group, 2, ON, OFF 144 BUS,

I/S/P, PI, CHI, PAN, 101, R50-R01, CNT,

L01-L50

I/S/P,' PI, CH2, PAN, 101,R50-R01, CNT,

1,01-1,50

I/S/P, PI, CH3, PAN, 101, R50-R01, CNT,

L01-L50

I/S/P, PI, CH4, PAN, 101, R50-R01, CNT,

L01-L50 096 BUS, PAN, PI,

I/S/P, PI, CH5, PAN, 101, R50-R01, CNT, 097 BUS,

L01-L50

I/S/P, PI, CH6, PAN, 101,

I/S/P, PI, CH7, PAN, 101,

L01-L50

I/S/P, PI, CH8, PAN, 101, R50-R01, CNT,

L01-L50

L01-L50 107

L01~L50 PAN, Pi,

I/S/P, PI, CH12, PAN, 101 R50-R01, CNT,

L01-L50

I/S/P, PI, CH13, PAN, 101 R50-R01, CNT,

LÜ1-L50 PAN, PI,

I/S/P, PI, CH14, PAN, 101

L01-L50 PAN, PI,

I/S/P, PI, CH15, PAN, 101 R50-R01, CNT,

L01-L50 PAN, PI,

I/S/P, PI, CH16, PAN, 101, R50-R01, CNT,

L01-L50 118 BUS,

BUS, PI, CH2, Master, 2, ON, OFF 121

BUS, PI, CH4, Master, 2, ON, OFF 123

BUS, PI,

CH8, Master, 2, ON, OFF

BUS, PI,

CH9, Master, 2, ON, OFF 128 BUS,

BUS, PI, CHll, Master, 2, ON, OFF 130

BUS, PI, CH15, Master, 2, ON, OFF 134 BUS, PI, CH16, Master, 2, ON, OFF 135 BUS, PI, CHI, ST-Group, 2, ON, OFF 136 BUS,

BUS, PI, CH3, ST-Group, 2, ON, OFF 138 BUS, BUS, PI, CH4, ST-Group, 2, ON, OFF

BUS, PI,

CH6, ST-Group, 2, ON, OFF

BUS, PI, CH8, ST-Group, 2, ON, OFF 143

R50-R01, CNT,

090 BUS, 091

BUS,

092

BUS,

093

BUS, 094 BUS, 095

BUS,

098 BUS, 099

BUS,

100

BUS, 101 BUS, 102 BUS, 103

BUS, 104

BUS, 105

BUS, 106 BUS,

BUS,

109 BUS,

no BUS,

111

BUS, 112

BUS, 113

BUS, 114

BUS, 115

BUS, 116 BUS, 117 BUS,

119 BUS,

BUS,

BUS, PI,

BUS,

127

BUS,

139 BUS,

141

BUS,

CHIO, ST-Group, 2, ON, OFF

PI,

CHll, ST-Group, 2. ON,

PI,

CH12, ST-Group, 2, ON,

PI,

CH13, ST-Group, 2, ON,

PI,

CH14, ST-Group, 2, ON,

PI,

CH15, ST-Group, 2, ON,

PI,

CH16, ST-Group, 2, ON, OFF 151 BUS,

PI,

CHI, Gl, 2, ON, OFF 152 BUS,

PI,

CH2, Gl, 2, ON, OFF

PI,

CH3, Gl, 2, ON, OFF

PI,

CH4, Gl, 2, ON, OFF

PI,

CH5, Gl, 2, OH, OFF

PI,

CH6, Gl, 2, ON, OFF

PI,

CH7, Gl, 2, ON, OFF

PI,

CH8, Gl, 2, ON, OFF

PI,

CH9, Gl, 2, ON, OFF

PI,

CHIO, Gl, 2, ON, OFF

PI,

CHll, Gl, 2, ON, OFF

PI,

CH12, Gl, 2, ON, OFF

PI,

CH13, Gl, 2, ON, OFF 164 BUS,

PI,

CH14, (31, 2, ON, OFF

PI,

CH15, Gl, 2, ON, OFF

PI,

CH16, Gl, 2, ON, OFF

PI,

CHI, G2, 2, ON, OFF

PI,

CH2, G2, 2, ON, OFF BUS,

PI,

CH3, G2, 2, ON, OFF

PI,

CH4, G2, 2, ON, OFF

PI,

CH5, G2, 2, ON, OFF

PI,

CH6, G2, 2, ON, OFF

PI,

CH7, G2, 2, ON, OFF 174 BUS,

PI,

CH8, G2, 2, ON, OFF

PI,

CH9, G2, 2, ON, OFF

PI,

CHIO, G2, 2, ON, OFF

CHll, G2, 2, ON, OFF

PI,

CH12, G2, 2, ON, OFF

PI,

CH13, G2, 2, ON, OFF

PI,

CH14, G2, 2, OH, OFF 181 BUS,

PI,

CH15, G2, 2, ON, OFF 182 BUS,

PI,

CH16, G2,. 2, ON, OFF

PI,

CHI, G3, 2, ON, OFF

PI,

CH2, G3, 2, ON, OFF

PI,

CH3, G3, 2, ON, OFF 186 BUS,

PI,

CH4, G3, 2, ON, OFF

PI,

CH5, G3, 2, ON, OFF 188 BUS,

PI,

CH6, G3, 2, ON, OFF 189 BUS,

PI,

CH7, G3, 2, ON, OFF

PI,

CH8, G3, 2, ON, OFF

PI,

CH9, G3, 2, ON, OFF

PI,

CHIO, G3, 2, ON, OFF

PI,

CHll, G3, 2, ON, OFF 194 BUS,

PI,

CH12, G3, 2, ON, OFF 195 BUS,

PI,

CH13, G3, 2, ON, OFF

PI,

CH14, G3, 2, ON, OFF

PI,

CH15, G3, 2, ON, OFF

PI,

CH16, G3, 2, ON, OFF

PI,

OFF 146 BUS, OFF 147 OFF 148 BUS, OFF 149 BUS, OFF 150 BUS,

145

153 154 155 BUS, 156 BUS, 157 BUS, 158 159 160 161 162 163 BUS,

165 166 167 168 169 CH9, G5, 2, ON, OFF

170 BUS, 171 172 BUS,

173 BUS,

175

176

177 178 179 180 BUS,

183 184 185

187

190 191 192 193 BUS,

196 197 198 199

BUS,

BUS, BUS,

BUS, BUS, BUS, BUS, BUS,

BUS, BUS, BUS, BUS,

BUS,

BUS, BUS, BUS, BUS, BUS,

BUS, BUS, BUS,

BUS,

BUS, BUS, BUS,

BUS, BUS, BUS, BUS,

PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI,

PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI, PI,

CHI, G4, 2, ON, OFF CH2, G4, 2, ON, OFF CH3, G4, 2, ON, OFF CH4, G4, 2, ON. OFF CH5, G4, 2, ON, OFF CH6, G4, 2, ON, OFF CH7, G4, 2, ON, OFF CH8, G4, 2, ON, OFF CH9, G4, 2, ON, OFF CHIO, G4, 2, ON, OFF CHll, G4, 2, ON. OFF CH12, G4, 2, OH, OFF CH13, G4, 2, ON, OFF CH14, G4, 2, ON, OFF CH15, G4, 2, ON, OFF CH16, G4, 2, ON, OFF CHI, G5, 2, ON, OFF CH2, G5, 2, ON, OFF CH3, G5, 2, ON, OFF CH4, G5, 2, ON, OFF CH5, G5, 2, ON, OFF CH6, G5, 2, ON, OFF CH7, G5, 2, ON, OFF CH8, G5, 2, ON, OFF

CHIO, G5, 2, ON, OFF

CHll, G5, 2, ON, OFF CH12, G5, 2, ON, OFF CH13, G5, 2, ON, OFF CH14, G5, 2, ON, OFF CH15, G5, 2, ON, OFF CH16, G5, 2, ON, OFF CHI, G6, 2, ON, OFF CH2, G6, 2, ON, OFF CH3, G6, 2, ON, OFF CH4, G6, 2, ON, OFF CH5, G6, 2, ON, OFF CH6, G6, 2, ON, OFF CH7, G6, 2, ON, OFF CH8, G6, 2, ON, OFF CH9, G6, 2, ON, OFF CHIO, G6, 2, ON, OFF CHll, G6, 2, ON, OFF CH12, G6, 2, ON, OFF CH13, G6, 2, ON, OFF CH14, G6, 2, ON, OFF CH15, G6, 2, ON, OFF CH16, G6, 2, ON, OFF CHI, G7, 2, ON, OFF CH2, G7, 2, ON, OFF CH3, G7, 2, ON, OFF CH4, G7, 2, ON, OFF CH5, G7, 2, ON, OFF CH6, G7, 2, ON, OFF CH7, G7, 2, ON, OFF

O 2

rr|

5 0

Chapter 6. Reference

co о

2QQ

201

202 BUS, 203 BUS, 204 BUS, 205 BUS, 206 BUS, 207 BUS,

208 209 BUS, 210 211 212 BUS, 213 BUS, 214 BUS, 215 BUS,

216 BUS,

217 BUS, 218 BUS, 219

220

221

222

223 BUS Pl CH15, G8, 2

224 BUS Pl CH16, G8, 2

225

226 EQ,

227 EQ,

228

229

230

231

232

233

234 235

236

237

238 EQ,

239

240

241

242

243

244

245

246

247

248

249

BUS, BUS,

BUS,

BUS, BUS,

BUS,

BUS BUS BUS

EQ,

EQ, EQ, EQ, EQ, EQ, Pl, EQ, EQ, EQ, EQ,

EQ,

EQ, EQ, EQ, EQ, EQ, EQ, EQ, EQ, EQ, EQ,

EQ,

80, 90, 100, 110, 120, 140, 160, 180, 200, 220, 250, 280, 320, 360, 400, 450, 500, 560, 630, 700, 800, 900, IK

G7, 2,

CH8,

Pl,

CH9, G7, 2,

Pl,

CHIO, G7, 2,

Pl,

CHll, G7, 2,

Pl,

CH12, G7, 2,

Pl,

CH13, G7, 2,

Pl,

CH14, G7, 2,

Pl,

CHI 5,G7, 2

Pl,

CH16, G7, 2

Pl,

CHI, GS, 2,

Pl,

CH2, G8, 2,

Pl,

CH3, G8, 2,

Pl,

CH4, G8, 2,

Pl,

CH5, G8, 2,

Pl,

CH6, G8, 2,

Pl,

CH7, G8, 2,

Pl,

CH8, G8, 2,

Pl,

CH9, G8, 2,

Pl,

CHIO, GS, 2,

Pl,

CHll,

G8, 2, ON, OFF

Pl, Pl CH12, G8, 2 Pl CH13,

G8, 2 ON, OFF

Pl CH14,

G8, 2 ON, OFF

PAD, CHI, 3,

Pl,

PAD, CH2, 3,

Pl,

PAD, CH3, 3,

Pl,

PAD, CH4, 3,

Pl,

PAD, CH5, 3,

Pl,

PAD, CH6. 3,

Pl,

PAD, CH7, 3,

Pl,

P.AD, CH8. 3,OdB, 6dB, PAD, CH9, 3,

Pl,

PAD, CHIO, 3

Pl,

PAD, CHll, 3

Pl,

PAD, CH12, 3

Pl,

EQ IN, CHI, 2

Pl,

EQ IN, CH2, 2

Pl,

EQ IN, CH3, 2

Pl,

EQ IN CH4, 2

Pl,

EQ IN CH5, 2

Pl,

EQ IN CH6, 2

Pl,

EQ IN, CH7, 2

Pl,

EQ IN, CH8, 2

Pl,

EQ IN,

CH9, 2

Pl,

EQ IN,

CHIO, 2, ON, OFF

Pl,

EQ IN, CHll,

Pl,

EQ IN,

CH12, 2, ON, OFF

Pl,

CHI, LF, 31,

Pl,

ON, OFF ON, OFF

ON, OFF ON, OFF ON, OFF ON, OFF ON, OFF ON, OFF

ON, OFF ON, OFF ON, OFF ON, OFF ON, OFF ON, OFF ON, OFF ON, OFF ON, OFF ON, OFF

ON, OFF

OdB, 6dB, OdB, 6dB, OdB, 6dB, OdB, 6dB, OdB, 6dB, OdB, 6dB, OdB, 6dB,

OdB, 6dB,

OdB 6dB,

, ON OFF , ON OFF , ON OFF , ON OFF , ON OFF

OFF

, ON

OFF

, ON

OFF

, ON

OFF

, ON

2, Oí, OFF

32, 36, 40

12dB

12dB 12dB 12dB 12dB 12dB 12dB 12dB

12dB

12àB

250

EQ, Pl, CH2, LF, 31, same as above

251

EQ, Pl, CH3, LF, 31, same as above 298

252

EQ, Pl, CH4, LF, 31, same as above 299

253

EQ, Pl, CH5, LF, 31, same as above 300

254

EQ, Pl, CH6, LF, 31, same as above 301

255

EQ, Pl, CH7, LF, 31, same as above 302

256

EQ, Pl, CHS, LF, 31, same as above 303

257

EQ, Pl, CH9, LF, 31, same as above 304

258

EQ, Pl, CHIO, LF, 31, same as above 305

259

EQ, Pl, CHll, LF, 31, same as above 306

260

EQ, Pl, CH12, LF, 31, same as above

261

EQ, Pl, CHI, LGAIN, 31, -12, -11, -10, -9, -8, -7, 308

-6, -5, -4, -3, -2.5, -2.0, -1.5, -1.0, -0.5, 0, +0.5, +1, +1.5, +2, +2.5, +3, +4, +5, +6, +7, +8, +9, +10, +11, +12

262

EQ, Pl, CH2, L GAIN, 31, same as above

263

EQ, Pl, CH3, L GAIN, 31, same as above

264

EQ, Pl, CH4, L GAIN, 31, same as above

265 EQ, Pl, CHS, L GAIN, 31, same as above 266

EQ, Pl, CH6, L GAIN, 31, same as above

267

EQ, Pl, CH7, L GAIN, 31, same as above

268

EQ, Pl, CH8, L GAIN, 31, same as above

269

EQ, Pl, CHS, L GAIN, 31, same as above

270

EQ, Pl, CHIO, L GAIN, 31, same as above ■

271

EQ, Pl, CHll, L GAIN, 31, same as above

272

EQ, Pl, CH12, L GAIN, 31, same as above

273

EQ, Pl, CHI, MF, 35, 200, 220, 250, 280, 320, 360, 400, 450, 500, 560, 630, 700, 800, 900, IK, I.IK,

1.2K, 1.4K, 1.6K, 1.8k, 2.OK, 2.2K, 2.5K, 2.8K, 3.2K,

3.6K, 4.0, 4.5K, 5.OK, 5.6K, 6.3K, 7.OK, 8.OK, 9.OK,

lOK

274

EQ, Pl, CH2, MF, 35, same as above

275

EQ, Pl, CH3, MF, 35, same as above 276 EQ, Pl, CH4, MF, 35, same as above 277

EQ, Pl, CH5, MF, 35, same as above 278 EQ, Pl, CH6, MF, 35, same as above 279 EQ, Pl, CH7, MF, 35, same as above 280

EQ, Pl, CHS, MF, 35, same as above

281

EQ, Pl, CH9, MF, 35, same as above

282

EQ, Pl, CHIO, MF, 35, same as above 283

EQ, Pl, CHll, MF, 35, same as above 284

EQ, Pl, CH12, MF, 35, same as above

285

EQ, Pl, CHI, MGAIN, 31, -12, -11, -10, -9, -8, -7,

-6, -5, -4, -3, -2.5, -2, -1.5, '1, -0.5, 0, +0.5,

+1, +1.5, +2, +2.5, +3, +4, +5, +6, +7, +8, +9, +10,

+11, +12

286

EQ, Pl, CH2, M GAIN, 31, same as above 287

EQ, Pl, CH3, M GAIN, 31, same as above 288

EQ, Pl, CH4, H GAIN, 31, same as above 289

EQ, Pl, CH5, M GAIN, 31, same as above

290

EQ, Pl, CH6, M GAIN, 31, same as above

291 EQ, Pl, CH7, M GAIN, 31, same as above 292

EQ, Pl, CH8, M GAIN, 31, same as above

293 EQ, Pl, CH9, M GAIN, 31, same as above 294

EQ, Pl, CHIO, M GAIN, 31, same as above

295

EQ, Pl, CHll, M GAIK, 31, same as above 296

EQ, Pl, CH12, M GAIN, 31, same as above

297

307

309

310 311 312 313

314

315 316 317

■318 319 320 321

322 323 324 325

327 328 329 330 331 332

333

335 336 337 338 339 340 341 342 343 344 345 346

PI, CHI, M Q, 8, 0.6, 0.8, 1, 1.4, 2, 3, 5, 8

EQ,

PI, CH2, M Q, 8, 0.6, 0.8, 1, 1.4, 2, 3, 5, I

EQ,

PI, CH3, M Q, 8, 0.6, 0.8, 1, 1.4, 2, 3, 5,

EQ,

PI, CH4, M Q. 8, 0.6, 0.8, 1, 1.4, 2, 3, 5, I

EQ,

PI, CH5, M Q, 8, 0.6, 0.8, 1, 1.4, 2, 3, 5,

EQ,

PI, CH6, M Q, 8, 0.6, 0.8, 1, 1.4, 2,

EQ,

PI, CH7, M Q, 8, 0.6, 0.8, 1, 1.4, 2,

EQ,

PI, CH8, M Q, 8, 0.6, 0.8, 1, 1.4, 2, 3, 5, !

EQ,

PI, CH9, M Q, 8, 0.6, 0.8, 1, 1.4, 2, 3, 5,

EQ,

PI, CHIO, M Q, 8, 0.6, 0.8, 1, 1.4, 2, 3, 5,

EQ,

PI, CHll, M Q, 8, 0.6, 0.8, 1, 1.4, 2, 3, 5,

EQ,

PI, CH12, M Q,

EQ,

PI, CHI, HF, 27

EQ,

1.8

2.0, 2.2, 2.5,

5.6

6.3, 7.0, 8.0,

PI, CH2, HF, 27

EQ,

PI, CH3, HF, 27 PI, CH4, HF, 27, same as above PI, CH5, HF, 27, same as above PI, CH6, HF, 27, same as above

EQ,

PI, CH7, HF, 27, same as above

EQ,

PI, CH8, HF, 27, same as above

EQ,

PI, CH9, HF, 27, same as above

EQ,

PI, CHIO,, HF, 27, same as cibove

EQ,

Pl, CHll, HF, 27, same as above

EQ,

PI, CH12, HF, 27, same as above

EQ,

PI, CHI, HGAIN, 31, -12, -11, -10, -9, -8,

EQ,

-5, -4, -3, -2.5, -2, -1.5, -1, -0,5, 0, +0

-6,

+1.5,

+1,

+12

+11,

Pl, CH2, H GAIN, 31, same as above

EQ,

PI, CH3, H GAIN, 31, same as above

EQ,

Pl, CH4, H GAIN, 31, same as above

EQ,

Pl, CH5, H GAIN, 31, same as above

EQ,

Pi., >_Hv, II vjAIN, ji, same as ai./ove

EQ,

Pl, CH7, H GAIN, 31, same as above

EQ,

Pl, CH8, H GAIN, 31, same as above

EQ,

Pl, CH9, H GAIN, 31, same as above

EQ,

Pl, CHIO, H GAIN, 31, same as above

EQ,

Pl, CHll, H GAIN, 31, same as above

EQ,

Pl, CH12, H GAIN, 31, same as above

EQ,

I/S/P, I/S/P, I/S/P,

I/S/P, I/S/P, I/S/P, I/S/P,

I/S/P,

I/S/P, I/S/P,

8, 0.6, 0.8, 1, 1.4, 2, 3, 5,

0.8, 0.9, 1, 1.1, 1.2, 1.4, :

2.8, 3.2, 3.6, 4.0, 4.5,

9.0, 10, 11, 12, 14, 16 same as above same as above

+2, +2.5, +3, +4, +5,

CHI, AUXl, CH2, AUXl, CH3, AUXl, CH4, AUXl, CH5, AUXl, CH6, AUXl, CH7, AUXl, CH8, AUXl, CH9, AUXl, CHIO, AUXl, CHll, AUXl, CH12, AUXl, CH13, AUXl, CH14, AUXl,

2, PRE, 2, PRE, 2, PRE, 2, PRE, 2, PRE, 2, PRE, 2, PRE, 2, PRE, 2, PRE,

2, PRE, 2, PRE, 2, PRE, 2, PRE,

2. PRE.

POST POST POST POST POST POST POST POST POST

POST POST POST POST POST

-0,5,

+7, +8,

5.0,

+9,

+10,

-7,

347 I/S/P, 348 I/S/P, 349 I/S/P, 350 I/S/P, 351 I/S/P, 352 353 354 355 I/S/P, 356 I/S/P, 357 358 I/S/P, 359 I/S/P, 360 I/S/P, 361 I/S/P, 362 363 I/S/P, 364 I/S/P, 365 366 367 368 369 I/S/P, 370 I/S/P, 371 372 I/S/P, 373 I/S/P, 374 I/S/P, 375 I/S/P, 376 I/S/P, 377 I/S/P, 378 I/S/P, 379 I/S/P, 380 I/S/P, 381 I/S/P, 382 383 384 385

386 I/S/P, 387 388 I/S/P, 389 I/S/P, 390 I/S/P,

391 I/S/P, 392 I/S/P, 393 I/S/P, 394 I/S/P, 395 I/S/P, 396 397 398 I/S/P,

399 I/S/P,

400 I/S/P, 401 I/S/P,

CH15, AUXl, 2, PRE, POST

Pl,

CH16, AUXl, 2, PRE, POST.

Pl,

Pl, AUX SEND, Pl, CHI, AUXl SEND,

AUX SEND, Pl, CH2, AUXl SEND,

Pl,

AUX SEND, Pl, CH3, AUXl SEND,

Pl,

3 ,

I/S/P, I/S/P, I/S/P,

I/S/P,

I/S/P, I/S/P, I/S/P, I/S/P,

I/S/P,

I/S/P, I/S/P, I/S/P, I/S/P,

I/S/P,

I/S/P, I/S/P,

AUX SEND, Pl, CH4, AUXl SEND,

Pl,

3 ,

AUX SEND, Pl, CH5, AUXl SEND,

Pl,

AUX SEND, Pl, CH6, AUXl SEND,

Pl,

AUX SEND, Pl, CH7, AUXl SEND,

Pl,

AUX SEND, Pl, CHS, AUXl SEND,

Pi,

AUX SEND, Pl, CH9, AUXl SEND,

Pl,

AUX SEND, Pl, CHIO, AUXl SEND,

Pl,

AUX SEND, Pl, CHll, AUXl SEND,

Pl,

AUX SEND, Pl, CH12, AUXl SEND,

Pl,

AUX SEND, Pl, CH13, AUXl SEND,

Pl,

AUX SEND, Pl, CH14, AUXl SEND,

Pl,

AUX SEND, Pl, CH15, AUXl SEND,

Pl,

AUX SEND, Pl, CH16, AUXl SEND,

Pl,

CHI, AUX2, 2, PRE, POST

Pl,

CH2, AUX2, 2, PRE, POST

Pl,

CH3, AUX2, 2, PRE, POST

Pl,

CH4, AUX2, 2, PRE, POST

Pl,

CH5, AUX2, 2, PRE, POST

Pl,

CH6, AUX2, 2, PRE, POST

Pl,

CH7, AUX2, 2, PRE, POST

Pl,

CHS, AUX2, 2, PRE, POST

Pl,

CH9, AUX2, 2, PRE, POST

Pl,

CHIO, AUX2, 2, PRE, POST

Pl,

CHll, AUX2, 2, PRE, POST

Pl,

CH12, AUX2, 2, PRE, POST

Pl,

CH13, AUX2, 2, PRE, POST

Pl,

CH14, AUX2, 2, PRE, POST

Pl,

CH15, AUX2, 2, PRE, POST

Pl,

CH16, AUX2, 2, PRE, POST

Pl,

AUX SEND, P2, CHI, AUX2 SEND, 101, 0-100

Pl,

AUX SEND, P2, CH2, AUX2 SEND, 101, 0-100

Pl,

AUX SEND, P2, CH3, AUX2 SEND. 101, 0-100

Pi,

AUX SEND, P2, CH4, AUX2 SEND, 101, 0-100

Pl,

AUX SEND, P2, CHS, AUX2 SEND, 101, 0-100

Pl,

AUX SEND, P2, CH6, AUX2 SEND, 101, 0-100

Pl,

AUX SEND, P2, CH7, AUX2 SEND, 101, 0-100

Pl,

AUX SEND, P2, CHS, AUX2 SEND, 101, 0-100

Pl,

AUX SEND, P2, CH9, AUX2 SEND, 101, 0-100

■Pl, AUX SEND, P2, CHIO, AUX2 SEND 101, 0-100

Pl,

AUX SEND, P2, CHll, AUX2 SEND 101, 0-100

Pl,

AUX SEND, P2, CH12, AUX2 SEND, 101, 0-100

Pl,

AUX SEND, P2, CH13, AUX2 SEND 101, 0-100

Pl,

AUX SEND, P2, CH14, AUX2 SEND

Pl,

AUX SEND, P2, CH15, AUX2 SEND

Pl,

AUX SEND, P2, CH16, AUX2 SEND

Pl,

CHI, EFFl, 2, PRE, POST

Pl,

CH2, EFFl. 2, PRE, POST

Pl,

CH3, EFFl, 2,' PRE, POST

Pl,

CH4, EFFl, 2, PRE, POST

Pl,

CHS, EFFl, 2, PRE, POST

Pl,

101, 0-100 101, 0-100 101, 0-100 101, 0-100 101, 0-100 101, 0-100 101, 0-100 101, 0-100 101, 0-100

101, 0-100 101, 0-100 101, 0-100 101, 0-100 101, 0-100 101, 0-100 101, 0-100

101, 0-100 101, 0-100 101, 0-100

402

I/S/P,

403

I/S/P,

404

I/S/P,

405

I/S/P,

406

I/S/P,

407

I/S/P,

408

I/S/P,

409

I/S/P,

410

I/S/P,

411

I/S/P,

412

I/S/P,

413

I/S/P,

414

I/S/P,

415

I/S/P,

416

I/S/P,

417

I/S/P,

418

I/S/P,

419

I/S/P, 420 I/S/P, 421 I/S/P, 422 I/S/P, 423

I/S/P, 424

I/S/P, 425

I/S/P, 426

I/S/P, 427

I/S/P,

428

I/S/P,

429

I/S/P, 430 I/S/P, 431 I/S/P, 432 I/S/P, 433 I/S/P, 434 I/S/P, 435 I/S/P, 436 I/S/P, 437

I/S/P, 438 I/S/P, 439 I/S/P, 440 I/S/P, 441 I/S/P, 442 I/S/P, 443 I/S/P, 444 I/S/P, 445 I/S/P, 446 I/S/P, 447 I/S/P, 448 I/S/P, 449 I/S/P, 450 I/S/P,

451 I/S/P,

452 I/S/P, Pl, 453 I/S/P, Pl,

I/S/P,

454

I/S/P,

455

I/S/P,

456

СНб, EFFl, 2, PRE, POST 457 I/S/P, Pl, EFF SEND, P2, CH13, EFF2 SEND, 101, 0-100

Pl,

CH7, EFFl, 2, PRE, POST 458

Pl,

CHS, EFFl, 2, PRE, POST 459 I/S/P, Pl, EFF SEND, P2, CH15,

Pl,

CH9, EFFl, 2, PRE, POST 460 I/S/P, Pl, EFF SEND, P2, CH16, EFF2 SEND,

Pl,

CHIO, EFFl, 2, PRE, POST

Pl,

CHll, EFFl, 2, PRE, POST 461 INPUT, P2, I/S/P, Pl, Chi, 2, PHASE

Pl,

CH12, EFFl, 2, PRE, POST 462

Pl,

CH13, EFFl, 2, PRE, POST 463

Pl,

CH14, EFFl, 2, PRE, POST 464

Pl,

CHI5, EFFl, 2, PRE, POST 465

Pl,

CH16, EFFl, 2, PRE, POST 466 INPUT, P2, I/S/P, Pl, Ch6,'2, PHASE

Pl,

EFF SEND, Pl, CHI, EFFl SEND,

Pl,

EFF SEND, Pl, CH2, EFFl SEND,

Pl,

EFF SEND, Pl, CH3, EFFl SEND,

Pl,

EFF SEND, Pl, CH4, EFFl SEND,

Pl,

EFF SEND, Pl, CHS, EFFl SEND,

Pl,

EFF SEND, Pl, CH6, EFFl SEND, 101, 0-100 472 INPUT, P2, I/S/P, Pl, Chl2, 2, PHASE

Pl,

EFF SEND, Pl, CH7, EFFl SEND,

Pl,

EFF SEND, Pl, CHS, EFFl SEND,

Pl,

EFF SEND, Pl, CH9, EFFl SEND,

Pl,

EFF SEND, Pl, CHIO, EFFl SEND 101, 0-100 476 INPUT, P2, I/S/P, Pl, Chl6, 2,

Pl,

EFF SEND, Pl, CHll, EFFl SEND 101, 0-100

Pl,

EFF SEND, Pl, CH12, EFFl SEND 101, 0-100

Pl,

EFF SEND, Pl, CH13, EFFl SEND 101, 0-100

Pl,

EFF SEND, Pl, CH14, EFFl SEND

Pl,

EFF SEND, Pl, CH15, EFFl SEND

Pl,

EFF SEND, Pl, CH16, EFFl SEND 101, 0-100

Pl,

CHI, EFF2, 2, PRE, POST

Pl,

CH2, EFF2, 2, PRE, POST

Pl,

CH3, EFF2, 2, PRE, POST

Pl,

CH4, EFF2, 2, PRE, POST

Pl,

CHS, EFF2, 2, PRE, POST

Pl,

CH6, EFF2, 2, PRE, POST

Pl,

CH7, EFF2, 2, PRE, POST

Pl,

CHS, EFF2, 2, PRE, POST

Pl,

CH9, EFF2, 2, PRE, POST

Pl,

CHIO, EFF2, 2, PRE, POST

Pl.

CHll, EFF2, 2, PRE, POST

Pl,

CH12, EFF2, 2. PRE, POST

Pl,

CH13, EFF2, 2, PRE, POST

Pl,

CH14, EFF2, 2, PRE, POST

Pl,

CH15, EFF2, 2, PRE, POST

Pl,

CHI6, EFF2, 2, PRE, POST

Pl,

EFF SEND, P2, CHI, EFF2 SEND,

Pl,

EFF SEND, P2, CH2, EFF2 SEND,

Pl,

EFF SEND, P2, CH3, EFF2 SEND,

Pl,

EFF SEND, P2, CH4, EFF2 SEND, 101, 0-100

Pl,

EFF SEND, P2, CH5, EFF2 SEND, 101, 0-100

Pl,

EFF SEND, P2, CH6, EFF2 SEND, 101, 0-100

Pl,

EFF SEND, P2, CH7, EFF2 SEND,

Pl,

EFF SEND, P2, CH8, EFF2 SEND, 101, 0-100 EFF SEND, P2, CH9, EFF2 SEND, EFF SEND, P2, CHIO, EFF2 SEND,

Pl,

EFF SEND, P2, CHll, EFF2 SEND, 101, 0-100

Pl,

EFF SEND, P2, CH12, EFF2 SEND, 101, 0-100

Pl,

101, 0-100 101, 0-100 101, 0-100 101, 0-100 101, O-lOO

101, 0-100 473 INPUT, P2, I/S/P, Pl, Chl3, 2, , PHASE 101, 0-100 101, 0-100

101, 0-100 101, 0-100

101, 0-100 101, 0-100 101, 0-100

101, 0-100

I/S/P, Pl, EFF SEND, P2, CH14, EFF2 SEND, 101, 0-100

INPUT, P2, I/S/P, Pl, Ch2, 2, PHASE INPUT, P2, I/S/P, Pl, Ch3, 2, PHASE INPUT, P2, I/S/P, Pl, Ch4, 2, PHASE INPUT, P2, I/S/P, Pl, Ch5, 2, PHASE

467

INPUT, P2, I/S/P, Pl, Ch7, 2, PHASE

468

INPUT, P2, I/S/P, Pl, Ch8, 2, PHASE

469

INPUT, P2, I/S/P, Pl, Ch9, 2, PHASE

470

INPUT, P2, I/S/P, Pl, ChlO, 2, PHASE

471 INPUT, P2, I/S/P, Pl, Chll, 2,

474

INPUT, P2, I/S/P, Pl, Chl4, 2, PHASE

475

INPUT, P2, I/S/P, Pl, Chl5, 2, PHASE

EFF2 SEND, 101, 0-100

PHASE

Hastei Block

477

BUS MSTR, Pl, GROUP LEVEL, Gl, 101, 0-100 478 BUS MSTR, Pl, GROUP LEVEL, G2, 101, 0-100 479 BUS MSTR, Pl, GROUP LEVEL, G3, 101, 0-100 480

BUS MSTR, Pl, GROUP LEVEL. G4, 101, 0-100

481

BUS MSTR, Pl, GROUP LEVEL, G5, 101, 0-100 482 BUS MSTR, Pl, GROUP LEVEL, G6, 483 BUS MSTR, Pl, GROUP LEVEL, G7, 101, 0-100 484 BUS MSTR, Pl, GROUP LEVEL, G8, 101, 0-100 485 BUS MSTR, P2, BUS TO MSTR, Gl,2,ON, OFF 486 BUS MSTR, P2, BUS TO MSTR, G2,2,ON, OFF 487

BUS MSTR, P2, BUS TO MSTR, G3, 2, ON, OFF

488

BUS MSTR, P2, BUS TO MSTR, G4,2,ON, OFF 489 BUS MSTR, P2, BUS TO MSTR, G5,2,ON, OFF 490 BUS MSTR, P2, BUS TO MSTR, G6,2,ON, OFF 491 BUS MSTR, P2, BUS TO MSTR, G7,2,ON, OFF 492

BUS MSTR, P2, BUS TO MSTR, G8,2,ON, OFF 493

BUS MSTR, P2, GROUP PAN, Gl, 101, R50-R01, CNT,

L01-L50 494 BUS MSTR, P2, GROUP PAN, G2, 101,

L01-L50 495 BUS MSTR, P2, GROUP PAN, G3, 101, R50-R01,

L01-L50 496 BUS MSTR, P2, GROUP PAN, G4, 101,

L01-L50 497 R50-R01,BUS MSTR. P2. GROUP PAN, G5, 101, CNT,

L01-L50 498 BUS MSTR, P2, GROUP PAN, G6, 101, R50-R01, CNT,

L01-L50 499 BUS MSTR, P2, GROUP PAN, G7, 101, R50-R01, CNT,

L01-L50 500 BUS MSTR, P2, GROUP PAN, G8, 101, R50-R01,

L01-L50

501 SND MSTR, P2, SOLO LEVEL, 101, 0-100

101, 0-100

R50-R01, CNT,

R50-R01,

101, 0-100

CNT,

502

SND MSTR, P2, AUXl SE2ÍD, 2, ON, OFF

503

SND MSTR, P2, AUXl LEVEL, 101, 0-100 SND MSTR, P2, AUX2 SEjND, 2, ON, OFF

504

SND MSTR, P2, AÜX2 LEVEL, 101, 0-100

505

SND MSTR, P2, EFFl SEND, 2, ON, OFF

506 507

SND MSTR, P2, EFFl LEVEL, 101, 0-100 SND MSTR, P2, EFF2 SEND, 2, ON, OFF

508

SND MSTR, P2, EFF2 LEVEL, 101, 0-100

509

510

SND MSTR, PI,

511

SND MSTR, PI, SND MSTR, PI,

512

SND MSTR, PI,

513

SND MSTR, PI,

514

SND MSTR, PI,

515

SND MSTR, PI,

516

SND MSTR, PI,

517

SND MSTR, PI,

518

SND MSTR, PI,

519

SND MSTR,

520 521

SND MSTR,

522

SND MSTR,

523

SND MSTR,

524

SND MSTR,

525;

SND MSTR,

MASTER FADER, 101, -INF-OdB NOT TO DISPLAY

526: 527:

MASTER MUTE, 2, ON, OFF

EX.BUS 10, PI, MasterL, 25, OFF, A3, DIG-A4, DIG-A5, DIG-A6, DIGDIG-B2, DIG-B3, DIG-B4, DIG-B5, B8, ANA-A, ANA-B, ANA-C, ANA-D, ANA-H

EX.BUS 10, PI, MasterR, 25, OFF, A3, DIG-A4, DIG-A5, DIG-A6, DIGDIG-B2, DIG-B3, DIG-B4, DIG-B5, B8, ANA-A, ANA-B, ANA-C, ANA-D,

EX.BUS 10, PI, Gl, 25, OFF, DIGDIG-A4, DIG-A5, DIG-A6, DIG-A7, B2, DIG-B3, DIG-B4, DIG-B5, DIGANA-A, ANA-B, ANA-C, ANA-D, ANA-

EX.BUS 10, PI, G2, 25, OFF, DIGDIG-A4, DIG-A5, DIG-A6, DIG-A7, B2, DIG-B3, DIG-B4, DIG-B5, DIGANA-A, ANA-B, ANA-C, ANA-D, ANA-

EX.BUS 10, PI, G3, 25, OFF, DIGDIG-A4, DIG-A5, DIG-A6, DIG-A7, B2, DIG-B3, DIG-B4, DIG-B5, DIG-

ANA-A, ANA-B, ANA-C, ANA-D, ANA-

EX.BUS 10, PI, G4, 25, OFF, DIGDIG-A4, DIG-A5, DIG-A6, DIG-A7, B2, DIG-B3, DIG-B4, DIG-B5, DIGANA-A, ANA-B, ANA-C, ANA-D, ANA-

EX.BUS 10, PI, G5, 25, OFF, DIGDIG-A4, DIG-A5, DIG-A6, DIG-A7, B2, DIG-B3, DIG-B4, DIG-B5, DIG-

ANA-A, ANA-B, ANA-C, ANA-D, ANA-

MONITOR MSTR, 2, ON, OFF MONITOR AUXl, 2, ON, OFF MONITOR AUX2, 2, ON, OFF MONITOR EFFl, 2, ON, OFF MONITOR EFF2, 2, ON, OFF MONITOR GroupLink, 2, ON, OFF MONITOR Gl, 2, ON, OFF MONITOR G2, 2, ON, OFF MONITOR G3,. 2, ON, OFF MONITOR G4, 2, ON, OFF MONITOR G5, 2, ON, OFF

PI,

MONITOR G6, 2, ON, OFF

PI,

MONITOR G7, 2, ON, OFF

PI,

MONITOR G8, 2, ON, OFF

PI,

SOLO MONITOR, 2, INDV, MON+

P2,

SOLO PRÉ/POST, 2, PRE, POST

P2,

DIG-Al, DIG-A2, DIG-

-A7, DIG-A8, DIG-Bl, DIG-B6, DIG-B7, DIGANA-E, AHA-F, ANA-G,

DIG-Al, DIG-A2, DIG-

•A7, DIG-A8, DIG-Bl, DIG-B6, DIG-B7, DIGANA-E, ANA-F, ANA-H

•Al, DIG-A2, DIG-A3, DIG-A8, DIG-Bl, DIG-

•B6, DIG-B7, DIG-B8,

•E, ANA-F, ANA-H

•Al, DIG-A2, DIG-A3, DIG-A8, DIG-Bl, DIG-

•B6, DIG-B7, DIG-B8,

•E, ANA-F, ANA-H

•Al, DIG-A2, DIG-A3, DIG-A8, DIG-Bl, DIG-

•B6, DIG-B7, DIG-B8, E, ANA-F, ANA-H

Al, DIG-A2, DIG-A3, DIG-A8, DIG-Bl, DIGB6, DIG-B7, DIG-B8,

•E, ANA-F, ANA-H

•Al, DIG-A2, DIG-A3, DIG-A8, DIG-Bl, DIG-

•B6, DIG-B7, DIG-B8, E, ANA-F, ANA-H

EX.BUS 10, P1, G6, 25, OFF, DIG-A1, DIG-A2, DIG-A3, DIG-A4, DIG-A5, DIG-A6, DIG-A7, DIG-A8, DIG-B1, DIGB2, DIG-B3, DIG-B4, DIG-B5, DIG-B6, DIG-B7, DIG-B8, ANA-A, ANA-B, ANA-C, ANA-D, ANA-E, ANA-F, ANA-H

EX.BUS 10, P1, G7, 25, OFF, DIG-Al, DIG-A2, DIG-A3, DIG-A4, DIG-A5, DIG-A6, DIG-A7, DIG-A8, DIG-Bl, DIGB2, DIG-B3, DIG-B4, DIG-B5, DIG-B6, DIG-B7, DIG-B8, ANA-A, ANA-B, ANA-C, ANA-D, ANA-E, ANA-F, ANA-H EX.BUS 10, Pl, G8, 25, OFF, DIG-Al, DIG-A2, DIG-A3, DIG-A4, DIG-A5, DIG-A6, DIG-A7, DIG-A8, DIG-Bl, DIGB2. DIG-B3, DIG-B4, DIG-B5, DIG-B6, DIG-B7, DIG-B8. ANA-A, ANA-B, ANA-C, ANA-D, AHA-E, ANA-F, ANA-H

EX.BUS 10, Pl, EFFECTl, 25, OFF, DIG-Al, DIG-A2, DIG-A3, DIG-A4, DIG-A5, DIG-A6, DIG-A7, DIG-A8, DIGBl, DIG-B2, DIG-B3, DIG-B4, DIG-B5, DIG-B6, DIG-B7, DIG-B8, ANA-A, ANA-B, ANA-C, ANA-D, ANA-E, ANA-F,

ANA-H

EX.BUS 10, Pl. EFFECT2, 25. OFF, DIG-Al, DIG-A2. DIG-A3, DIG-A4, DIG-A5, DIG-A6, DIG-A7, DIG-A8, DIGBl, DIG-B2, DIG-B3, DIG-B4, DIG-B5, DIG-B6. DIG-B7, DIG-B8, ANA-A, ANA-B, ANA-C, ANA-D, ANA-E, ANA-F,

ANA-H

EX.BUS 10, Pl, AUXl., 25, OFF, DIG-Al, DIG-A2, DIG

AS, DIG-A4, DIG-A5, DIG-A6, DIG-A7, DIG-A8, DIG-Bl,

DIG-B2, DIG-B3, DIG-B4, DIG-B5, DIG-B6, DIG-B7, DIGB8, ANA-A, ANA-B, ANA-C, ANA-D, ANA-E, ANA-F, ANA-H

EX.BUS 10, Pl, AUX2, 25, OFF, DIG-Al, DIG-A2, DIG AS, DIG-A4, DIG-A5, DIG-A6, DIG-A7, DIG-A8, DIG-Bl, DIG-B2, DIG-B3, DIG-B4, DIG-B5, DIG-B6, DIG-B7, DIGB8, ANA-A, ANA-B, ANA-C, ANA-D, ANA-E, ANA-F, ANA-H

EX.BUS 10, Pl, SOLO L, 25, OFF, DIG-Al, DIG-A2, DIG AS, DIG-A4, DIG-A5, DIG-A6, DIG-A7, DIG-A8, DIG-Bl,

DIG-B2, DIG-B3, DIG-B4, DIG-B5, DIG-B6, DIG-B7, DIG-

B8, ANA-A, ANA-B, ANA-C, ANA-D, ANA-E, ANA-F, ANA-H

EX.BUS 10, Pl, SOLO R, 25, OFF, DIG-Al, DIG-A2, DIG AS, DIG-A4, DIG-A5, DIG-A6, DIG-A7, DIG-A8, DIG-Bl, DIG-B2, DIG-B3, DIG-B4, DIG-B5, DIG-B6, DIG-B7, DIGB8, ANA-A, ANA-B, ANA-C, ANA-D, ANA-E, ANA-F, ANA-H

EX.BUS 10, P2, G2, G3, G4, G5, SL-L, SL-R

EX.BUS 10, P2, G2, G3, G4, G5,

SL-L, SL-R EX.BUS 10, P2,

G2, G3, G4, G5, SL-L, SL-R

EX.BUS 10, P2, G2, G3, G4, G5, SL-L, SL-R

EX.BUS 10. P2, G2, G3, G4, G5, SL-L, SL-R

EX.BUS 10, P2, G2, G3, G4, G5, SL-L. SL-R

Dig-out-B, Chi, 16, ST-L, ST-R, Gl, G6, G7, G8, AUXl, AUX2, EFFl, EFF2,

Dig-out-B, Ch2, 16, ST-L, ST-R, Gl, G6, G7, G8, AUXl, AUX2, EFFl, EFF2,

Dig-out-B, Ch3, 16, ST-L, ST-R, Gl, G6, G7, G8, AUXl, AUX2, EFFl, EFF2,

Dig-out-B, Ch4, 16, ST-L, ST-R, Gl, G6, G7, G8, AUXl, AUX2, EFFl, EFF2,

Dig-out-B, Ch5, 16, ST-L, ST-R, Gl, G6, G7, G8, AUXl, AUX2, EFFl, EFF2,

Dig-out-B, Ch6, 16, ST-L, ST-R, Gl, G6, G7, G8, AUXl, AUX2, EFFl, EFF2,

Dig-out-B, Ch7, 16, ST-L, ST-R, Gl, G6, G7, G8, AUXl, AUX2, EFFl, EFF2,

Dig-out-B, Ch8, 16, ST-L, ST-R, Gl, G6, G7, G8, AUXl, AUX2, EFFl, EFF2,

en en

3 0

33 Й

Г-“

Chapter 6. Reference

INPUT, PI, I/S/P, PI, Chi, 24, DIG-Al, DIG-A2, DIG AS, DIG-A4, DIG-A5, DIG-A6, DIG-A7, DIG-A8, DIG-Bl, DIG-B2. DIG-B3, DIG-B4, DIG-B5, DIG-B6, DIG-B7, DIGB8, ANA-A, ANA-B, ANA-C, ANA-D, ANA-E, ANA-F, ANA-G, ANA-H

INPUT, PI, I/S/P, PI, Ch2, 24, DIG-Al, DIG-A2, DIG AS, DIG-A4, DIG-A5, DIG-A6, DIG-A7, DIG-A8, DIG-Bl, DIG-B2, DIG-BS, DIG-B4, DIG-B5, DIG-B6, DIG-B7, DIG-

B8, ANA-A, ANA-B, ANA-C, ANA-D, ANA-E, ANA-F, ANA-H

INPUT, PI, I/S/P, PI, ChS, 24, DIG-Al, DIG-A2, DIG AS, DIG-A4, DIG-A5, DIG-A6, DIG-A7, DIG-A8, DIG-Bl,

DIG-B2, DIG-BS, DIG-B4, DIG-B5, DIG-B6, DIG-B7, DIG-

BS, ANA-A, ANA-B. ANA-C, ANA-D, ANA-E, ANA-F, ANA-H

INPUT, PI, I/S/P, PI, Ch4, 24, DIG-Al, DIG-A2, DIG

AS, DIG-A4, DIG-A5, DIG-A6, DIG-A7, DIG-A8, DIG-Bl,

DIG-B2, DIG-BS, DIG-B4, DIG-B5, DIG-B6, DIG-B7, DIG-