Korg HDR-TRI User Manual
HDR-TRI
Hard Disk Recorder Option
User’s Guide
1E
Table of Contents
Table of Contents
1. Introduction
Features of the HDR-TRI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
About hard disk recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
About hard disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
About sound and audio events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
2. Operation
Settings for recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Hard disk connections and settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Formatting a hard disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Types of SCSI devices that can be connected and their ID settings. . . 5
Connections for recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Song settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Checking the external input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Recording an audio track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Recording a guitar in stereo on tracks 3 and 4 while listening to audio
tracks 1 and 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
The Compare function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Playing back the track(s) you recorded. . . . . . . . . . . . . . . . . . . . . . . . 12
Adjusting the pan or volume balance of the tracks. . . . . . . . . . . . . . . 12
Recording mixer events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Re-recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Using the rehearsal function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Using auto punch-in recording to edit. . . . . . . . . . . . . . . . . . . . . . . . . 14
Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Creating repetitions of the same phrase . . . . . . . . . . . . . . . . . . . . . . . 15
Track bouncing (“ping-pong” recording) . . . . . . . . . . . . . . . . . . . . . . 15
Bouncing MIDI tracks and audio tracks together . . . . . . . . . . . . . . . . 16
Applying master effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Creating a song in conjunction with the MIDI sequencer . . . . . . . . 17
Saving/loading recorded data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Saving song data to a hard disk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Loading data from a hard disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Using a recorded sound more than once in the same .SNG file . . . 20
Creating different arrangements using the same vocal . . . . . . . . . . . . 20
Using the same sound more than once . . . . . . . . . . . . . . . . . . . . . . . . 20
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
3. Parameters
Sequencer P1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
1–5: Audio Track Rec. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
1–6: Mix Audio Track 1–4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
1–7: Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Sequencer P2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
2–5: Audio Track parameter (Audio Track 1–4) . . . . . . . . . . . . . . . . 30
Sequencer P5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
5–3: Audio Track Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
i
Table of Contents
5–4: Audio Track Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Disk P1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
1–1: Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
1–3: Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
1–4: Audio Utility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
4. Appendix
Block diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
ii
1. Introduction
Features of the HDR-TRI
Thank you for purchasing the
enjoy long and trouble-free use, please read this manual carefully.
In this manual, tracks recorded by the hard disk recor der ar e referr ed to as
“
audio tracks
Parameter Guide and Basic Guide are referred to in this manual as “
tracks
This manual explains the functions which are newly added when the
HDR-TRI hard disk recorder option
whose functions remain unchanged, refer to your Parameter Guide, Basic
Guide, and Effect Guide.
.” In contrast, tracks of the sequencer discussed in the
.”
HDR-TRI hard disk recorder option
Features of the HDR-TRI
• 4-channel hard disk recorder
• 16-bit linear PCM recording
• A 540 Mbyte hard disk allows approximately 47 minutes of stereo recording
• Up to 7 SCSI disks can be connected
• Instantaneous cueing
• Rehearsal function
• Manual or Auto Punch In/Out recording is supported
• Editing operations such as Copy, Move, Erase, Delete, Insert, and Edit Undo
• Backup to DAT via the S/P DIF OUT connector
• Digital EQ
• Two master effect sends
About hard disk recording
Realtime recording to an audio track can be performed using Overwrite Recording, Auto Punch-In Recording, or Manual Punch-In Recording. Unlike when
recording to a MIDI track, Overwrite Recording overwrites only the measures
that were recorded.
As when recording to a MIDI track, recording to an audio track cr eates “events”
(audio events) which can be edited in detail using the Audio Event Edit functions. Since individual audio events can be edited, you can edit (move, delete,
copy, etc.) even small segments of sound such as orchestra hits.
In addition, the mixer allows you to adjust the pan, volume, etc. for each audio
track, and to record these changes so that they will be faithfully reproduced
when the data is played back.
. In order to
is installed. For the parameters
MIDI
IntroductionOperationParametersAppendix
IntroductionOperationParametersAppendix
1
About hard disks
About hard disks
About sound and audio events
When a hard disk connected to the
is divided into two partitions: a
The
filer partition
and also includes an area used to manage these files. The
sound partition
When you specify the size of the filer partition in the Format
dialog box before executing the Format command, the disk
will be formatted with the remaining space allotted to the
sound partition (
ify the partitioning, you must either execute Format once
again, or execute the Wipe command.
When audio recording is performed, sound is recorded directly into the sound
partition of the hard disk. At the same time, event data (audio events) pertaining
to that sound is recorded into the audio track that is currently selected. (The
sound data itself does not exist in the audio track.) Audio events contain data
that specifies the name of the sound that they use, and data that specifies the
portion of the sound that will be played back.
When a song is played back and an audio event is encountered, the appropriate
sound will be played back from the hard disk. This means that playback is not
possible unless the sound itself as well as the audio event that uses that sound
are both present.
Be aware that audio events can be erased using the event edit commands, and
can also be erased by accident by turning the power off before they have been
saved to the hard disk. Furthermore, if just the sound is left, it will not be possible to re-use that sound in an audio track. If you allow these unusable sounds to
accumulate in your hard disk, they will simply occupy disk space to no purpose, so we recommend that you execute the “Delete Unused Sound” command
(☞page 53 of this manual) to make the best use of your hard disk.
is used to save .SNG files and .PCG files,
is used to record sound.
☞
page 48 of this manual). In order to mod-
TRINITY
filer area
is formatted, it
and a
sound area
Hard Disk
.
Filer partition
.SNG files
.PCG files etc.
Sound partition
Recorded
sounds
2
2. Operation
Settings for recording
This section explains how to make the necessary settings for hard disk recording. Be sure to make these settings before performing hard disk recording.
Hard disk connections and settings
Up to 7 hard disks can be connected using
maximum capacity of
The
TRINITY
disks may vary, so read the manual of your hard disk to check the type of connector it has before purchasing an appropriate SCSI cable.
1
Turn the power OFF for the TRINITY and the hard disk(s).
The power of the
necting or disconnecting SCSI cables or changing the ID number of a hard
disk.
2
On the hard disk, set an ID number in the range of 0–6.
If you are connecting two or more hard disks, set them to different ID numbers
so that they can be distinguished.
For details on setting the ID number, refer to the manual for your hard disk.
Setting two or more hard disks to the same ID will cause malfunctions or
loss of data.
3
Connect the SCSI connector of the TRINITY to the SCSI connector of the hard disk.
If you are c
length of the cables is less than 6 meters (18 feet).
4
Terminate the hard disk.
If
two or more hard disks are connected
chain (the hard disk furthest from the
Even if only one hard disk is connected, that hard disk must be terminated.
Some hard disks require an externally attached terminator. Others have a switchable terminator built-in. Refer to the manual for your hard disk.
4 Gbytes
uses a
D-Sub 25-pin
onnecting two or more hard disks
and an average seek time of 11.5 ms or less.
connector. The connectors of different hard
TRINITY
and any hard disk(s) must be OFF before con-
TRINITY
Settings for recording
SCSI cables
, terminate the last hard disk in the
. Use hard disks with a
, make sure that the total
).
IntroductionOperationParametersAppendix
Total length of SCSI cables must be less than 6 meters (18 feet)
SCSI
SCSI
Hard Disk
SCSI
SCSI SCSI
Hard Disk Hard Disk
Hard disk must be terminated
ID2ID1ID0
3
Settings for recording
Formatting a hard disk
5
Turn on the power of the hard disk(s), and then turn on the power of the TRINITY.
When turning on the power, turn on devices in sequence from the
TRINITY
When turning off the power, turn off devices in sequence from the
hard disk
If the hard disk is being used by the
disk must first be formatted to establish a filer partition and a sound partition.
1
In Disk mode P1 tab 3 page (Utility), use the drive select field to select the hard
disk that you wish to format.
.
.
Never turn off the power while the hard disk is being accessed (e.g., while
the LED indicator of the hard disk is lit).
TRINITY series
When formatting is executed, all data that was previously on that hard
disk will be erased. Before formatting a disk, make sure that it does not
contain data you wish to keep.
The only way to modify the size of the filer partition or the volume label is
to execute formatting once again or to execute the Wipe command.
for the first time, the hard
hard disk →
TRINITY →
Drive select
When using Drive Select to select a hard disk, the ID numbers of hard disks that
have not been formatted will appear as Unformatted, and the ID numbers of
hard disks that are not connected will appear as None. Even if a hard disk has
been formatted by a personal computer, etc., it will be shown as Unformatted,
and such a hard disk must be formatted as well.
2
Choose the page menu command “Format,” and the following dialog box will
appear.
3
4
5
3
Assign a volume label (up to 11 characters).
When formatting is executed, this volume label will be displayed in the drive
select area.
4
Specify the size (0–540 Mbyte) of the filer partition.
When formatting is executed, the remaining space on the disk will become the
sound partition.
4
Settings for recording
If you are using only a single hard disk to perform hard disk recording,
you must specify a filer partition larger than
where .SNG files and .PCG files etc. can be saved. If you are using two or
more hard disks, a filer partition must be created on at least one of the
disks.
5
Press the OK button to execute formatting.
Formatting a hard disk will require a certain amount of time depending on the
size of the hard disk. (e.g., formatting a 540 Mbyte hard disk requires approximately 5 minutes.)
After formatting has been executed, pressing the [COMP ARE] key will not
restore the original state of the disk.
Do not install a hard disk that was formatted on the
another computer. Korg cannot guarantee the operation of such a disk.
0
in order to create an area
TRINITY series
Types of SCSI devices that can be connected and
their ID settings
SCSI devices other than hard disks can also be connected, including removable
media such as magneto-optical disks (MO).
Hard disks can be set freely to any ID number 0–6, but a removable media
device can be used only when its ID number is set to 6.
If you have connected only one removable media device, and no other device is
connected, that removable media can be used to load and save .SNG files.
However if one or more hard disks are also connected in addition to the removable media device, the hard disk(s) will be able to record sound and load/save
.SNG files, but the removable media device will not be able to record sounds nor
load/save .SNG files. The removable media device will be usable only for operations such as “Copy with Sound” (
(
☞
page 47 of this manual).
☞
page 52 of this manual) or “Copy”
IntroductionOperationParametersAppendix
into
5
Settings for recording
Connections for recording
Be sure that the
tions.
power is turned OFF
Mixer
OUTPUT
Effect device
OUTPUT
INPUT
When recording a guitar that has active pickups,
you can connect it directly. However a passive
guitar (i.e., without a built-in preamp) should first
be passed through an effect device.
for all devices before you make connec-
When using a mic to record,
connect it via a mixer.
INPUT
SCSI
Hard Disk
S/P DIF OUT
Headphones
Sources that are input to the
Connect a digital recording device (DAT etc.)
whose sampling frequency is 48 kHz.
ANALOG IN 1 jack
track 1 or 3. Sources that are input to the
DAT
will be recorded on audio
ANALOG IN 2 jack
INPUT
Powered monitor speakers etc.
will be recorded
on audio track 2 or 4.
Sources that are input to the
S/P DIF IN
connector will be recorded with the left
channel on audio track 1 or 3, and the right channel on audio track 2 or 4. Use a
commercially
When turning on the power, turn on each device in sequence from the
nected devices
When turning off the power , turn off each device in sequence fr om the
→
connected devices
available video cable
→
TRINITY
.
.
to make connections.
con-
TRINITY
Never turn off the power while the hard disk is being accessed (e.g., while
the LED indicator of the hard disk is lit).
6
Song settings
1
Access the Sequencer mode P1 tab 5 page (ATrkRec).
Settings for recording
2
37
4
5
6
1
2
In the Song field, select a new song and assign a song name.
The display will ask “Are You Sure?” Press the OK button.
3
In the Track field, select the audio track(s) that you wish to record.
Select
AT1–AT4
ing. Make sure that the audio track(s) selected here appear in the Audio Track
Display.
4
If you wish to hear the metronome while you record, set the Metronome setting to
On or Rec (to sound only during recording), and adjust the tab 7 page (Preference)
Metronome settings Precount, Output, and Level.
With a metronome Output setting of L,
output from the headphone jack and from output jacks 1/L/MONO and 2/R.
With a metronome Output setting of
nome sound will be output from output jacks 3 and 4.
5
In the Take field, specify the take name.
6
If you want to differentiate sounds by a number added to the end of the take
name, check the Take No. box.
7
If two or more hard disks are connected, execute the Page Menu Command “Rec
HD Select” and select the hard disk that will be used for recording.
If only one hard disk is connected there is no need to execute this command.
for monaural recording, or
L+R
Send 1, Send 1+2
AT1&2
or
AT3&4
for stereo record-
, or R, the metronome sound will be
, or
Send 2
, the metro-
IntroductionOperationParametersAppendix
7
Settings for recording
Checking the external input
Before you begin, go to “Song settings” (☞page 7 of this manual) and select an
audio track (AT1 for this example).
1
Access the Sequencer mode P1 tab 5 page (ATrkRec).
2
3
4
16
2
Select the Input Select item.
If you are recording from an analog device such as a guitar connected to the
ANALOG IN 1 or 2 jack, select
Input from the ANALOG IN 1 jack will be recorded on audio track 1 or 3.
Input from the ANALOG IN 2 jack will be recorded on audio track 2 or 4.
If you are recording from a digital device such as a DAT connected to the S/P
DIF connector, select
System Clock setting is set to
proceed to step
If a digital signal containing a copy inhibit flag is input, the display will indicate
Copy Inhibit
SCMS (Serial Copy Management System) flag. However it will be recorded as
digital audio data without the SCMS flag.
When digitally recording from copyrighted audio material such as a commercial DAT tape, you must be sure to obtain permission. Otherwise, you
must use non-copyrighted material. Korg will take no responsibility for
the consequences of any copyright violation which you may commit.
Input from the S/P DIF connector will be recorded with the left channel of the
source on audio track 1 or 3, and the right channel on audio track 2 or 4.
It is not possible to record a sampler or CD with a sampling frequency
other than 48 kHz via the S/P DIF connector. If you wish to record from
such a sampler or CD, use the ANALOG 1 or 2 jacks.
6
. The
Digital
.
HDR-TRI
Analog
.
. In this case, make sure that the Global mode P2
S/P DIF
. If you are recording from a digital device,
is able to record a digital signal which contains the
8
Settings for recording
3
Set the Input Level setting to a level appropriate for the connected device.
When recording vocals, pass the signal through a mixer and set this to –10 dBu
or +4 dBu. When recording a guitar that has active pickups, or a passive-type
guitar through an effect unit, set this to –30 dBu. However the input level will
depend on the characteristics of the connected device, or on the loudness of the
vocalist, the guitar playing technique, etc., so use the following table only as a
general guideline.
Example of connected device
–30 dBu Guitar
–10 dBu Consumer audio equipment such as CD player
+4 dBu Professional audio equipment and keyboards
4
At this point, set the Rec Level fader to 0.0.
5
Play the connected guitar or other source.
The Rec Level meter will light, allowing you to confirm that an external audio
signal is being received. If the level meter is not responding, check the Input
Select setting, connections, cables, and the connected devices once again.
If the Input Level indicates
occurs, set the Input Level to the next higher level.
6
Using the fader at the right of Rec Level, adjust the recording volume so that the
level meter does not rise all the way.
The output volume will be affected by this setting, so if you have connected external monitor speakers, etc., lower their volume before adjusting this setting.
The volume that is output from external monitor speakers is determined
by the combination of the Rec Level and the tab 6 page (MixA1–4) channel
Volume. Also, there will be no output if the Pan settings are OFF for the
various channels in the tab 6 page (MixA1–4). If the level meter is moving
but you hear no sound, make sure that the volume is raised and that Pan is
not set to OFF.
If the sound is distorted even though the Input Level does not indicate
Overload, or the Rec Level indicate Over, access the tab 6 page (MixA 1–4)
and adjust the volume downward. A volume setting of 0 is –
and 127 is +127 dB.
Overload
, the input level is too high. If this
∞
, 100 is 0 dB,
IntroductionOperationParametersAppendix
9
Recording
Recording
Recording an audio track
When recording an audio track, it is not possible to select Rec as the
Tempo Mode. If you wish to record tempo changes on the Master track,
select a MIDI track or MIXER REC in “1-4d: T rack.” Even when the Tempo
Mode is manual, do not modify the Tempo setting during recording.
1
Perform the procedure “Settings for recording” (☞page 3–10 of this manual).
2
Access the Sequencer mode P1 tab 7 page (Preference).
3
2
10
3
In the Recording Setup item, select the recording method.
If you are recording for the first time, select
4
Press the [REC/WRITE] key.
In 1 or 2 seconds you will enter record-ready mode, and the [START/STOP] key
LED will blink.
Overwrite
.
5 Press the [START/STOP] key.
Recording will begin.
6 To end recording, press the [START/STOP] key.
If you play the keyboard while an audio track is selected in “1–5: Track,”
the settings (MIDI channel, Program, Track Status etc.) of the last-selected
MIDI track will be used.
Recording
Recording a guitar in stereo on tracks 3 and 4
while listening to audio tracks 1 and 2
1 Use the procedure of “Recording an audio track” to record onto audio tracks 1
and 2.
2 Connect your guitar to a stereo-output effect device.
3 Connect the stereo-output effect device to the ANALOG IN 1 and 2 jacks.
Checking the external input
4 In the Track setting, select AT3&4.
The input to the ANALOG IN 1 jack will be recorded onto audio track 3, and the
input to the ANALOG IN 2 jack will be recorded onto audio track 4.
4
5
IntroductionOperationParametersAppendix
7
6
5 In the Input Select setting, select Analog. 6 In the Input Level setting, select –30 dBu. 7 Play your guitar, and adjust the Rec Level so that the level meter does not rise all
the way.
If the Input Level indicates Overload, the input level is too great. If this occurs,
select the next higher setting for Input Level.
8 Press the [RESET] key to return to the beginning of the song. Press the [REC/WRITE]
key and then (after making sure that the [START/STOP] key LED is blinking) press
the [START/STOP] key.
Recording will begin. While listening to audio tracks 1 and 2, play your guitar
and record it on audio tracks 3 and 4.
9 To stop recording, press the [START/STOP] key.
The Compare function
If you press the [COMP ARE] key, the TRINITY will return to the state it was in
before recording began (this is referred to as the Compare function). Press the
[COMPARE] key once again, and the recorded data will reappear.
11
Playback
Playback
Playing back the track(s) you recorded
1 Press the [RESET] key to return to the beginning of the song. 2 Press the [START/STOP] key.
The audio that was recorded will be played back.
Adjusting the pan or volume balance of the tracks
You can adjust the pan and volume of each track so that the recorded tracks are
played back in an appropriate balance. You can also use the equalizer to adjust
the tone of each track.
1 Access the Sequencer mode P1 tab 6 page (MixA1–4).
4
12
2
2 Set the Mix Audio Track Mode to MANUAL for the audio tracks that have already
been recorded.
3 Press the [RESET] key to return to the beginning of the song, and press the [START/
STOP] key.
Playback will begin.
4 Use the Pan/Volume settings to adjust the pan and volume of each track, and use
EQ to adjust the tone.
5 When you are finished, press the [START/STOP] key.
1
Recording mixer events
Y ou can r ecor d pan, volume and equalizer settings as mixer events on the audio
track. The audio track will be played back according to the Pan/Volume, EQ,
and Send 1/2 settings that were recorded.
1 Use the procedure “Recording an audio track” to record an audio track.
2 Access the Sequencer mode P1 tab 7 page (Preference).
3 In Recording Setup, specify the recording method for mixer events.
When recording mixer events, select Overwrite.
Alternatively, you may use Auto Punch-In or Manual Punch-In to specify the
measures of the area in which recording will take place.
4 Access the tab 6 page (MixA1–4).
5
8
Playback
IntroductionOperationParametersAppendix
6
4
5 For the Track selection, select MIXER REC. 6 For the audio track on which you want to record mixer events, set the Mix Audio
Track Mode to WRITE.
For audio tracks on which you do not want to record mixer events, set the
Mix Audio Track Mode to READ or MANUAL.
7 Press the [RESET] key to return to the beginning of the songpress the [REC/WRITE]
key and then (after making sure that the [START/STOP] key , LED is blinking) press
the [START/STOP] key.
Recording will start.
8 While listening to the song, adjust EQ, Send 1/2, and Pan/Volume for the audio
track on which you want to record mixer events.
If you execute the page menu command “Volume Pairing,” adjusting the volume of one channel in a stereo pair will simultaneously adjust the volume of the
other channel.
9 When you are finished, press the [START/STOP] key.
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Re-recording
Re-recording
This section explains the procedure for re-recording part of a previouslyrecorded audio track.
If you wish to re-record the entire track, select Overwrite, and record using the
procedure “Recording an audio track.”
Using the rehearsal function
1 Access the Sequencer mode P1 tab 7 page (Preference). 2 In the Track setting, select the audio track that you wish to edit. 3 For Recording Setup, select Auto Punch In. 4 Specify the area of measures that you wish to edit. 5 Access the tab 5 page (ATrkRec). 6 Check the Rehearsal check box. 7 Output sound from the instrument, etc. that you are recording, and adjust the
Input Level and Rec Level.
8 Check the Monitor Mode check box to set Auto Input ON.
When Auto Input is ON, you will be able to monitor the external input between
the punch-in and punch-out points, and at other times you will be able to monitor the previously-recorded sound. For example if you have set punch-in at 005
(measure 5) and punch-out at 008 (measure 8), you will be monitoring the previously-recorded sound for the first four measures, and will monitor the external
input sound during measures 5 through 8.
9 Press the [REC/WRITE] key and then (after making sure that the [START/STOP] key
LED is blinking) press the [START/STOP] key.
Simulated recording will start (nothing will actually be recorded). Between the
punch-in and punch-out points, you can practice the phrase that you intend to
record.
0 When you are finished, press the [START/STOP] key.
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Using auto punch-in recording to edit
1 Access the Sequencer mode P1 tab 7 page (Preference). 2 In the Track setting, select the audio track that you wish to edit. 3 For Recording Setup, select Auto Punch In. 4 Specify the area of measures that you wish to edit. 5 Access the tab 5 page (ATrkRec). 6 Un-check the Rehearsal check box.
If you wish to rehearse the punch-in, check the box.
7 Output sound from the instrument, etc. that you are recording, and adjust the
Input Level and Rec Level.
8 Press the [REC/WRITE] key and then (after making sure that the [START/STOP] key
LED is blinking) press the [START/STOP] key.
Recording will start. Play between the punch-in and punch-out points to rerecord the desired phrase.
When auto punch in recording is performed with Auto Input ON, approximately 0.5 seconds will be required from when the Punch Out point is reached
until the track playback sound can once again be monitored. (The audio for this
Editing
Editing
portion of track has not been lost.)
9 When you are finished, press the [START/STOP] key.
Creating repetitions of the same phrase
1 Record using the procedure “Recording an audio track.”
2 Access the Sequencer mode P5 tab 3 page (Atrk Edit).
3
5
4
3 In the Track setting, select the audio track that you wish to edit.
4 In the Start Measure field, specify the copy destination.
5 Press the page menu command “Copy Measure.”
6 In the dialog box, make settings for Song, A.Track, and Measure Start/End to
specify the phrase that you wish to re-use, and then press the OK button.
The phrase of the area you specified here will be copied to the measure of the
track that you specified in step
7 Repeat steps 4–6. 8 Press the [RESET] key to return the current location to the beginning of the song,
and then press the [START/STOP] key to listen to the playback.
2
4.
IntroductionOperationParametersAppendix
Track bouncing (“ping-pong” recording)
Here’s how to bounce (i.e., combine or “ping-pong”) audio tracks 1, 2 and 3 to
audio track 4. Because the TRINITY can bounce tracks in the digital domain,
you can perform this operation any number of times without degrading signal
quality.
1 In the Sequencer mode, set Track to AT4(R). 2 In the Sequencer mode P1 tab 6 page (MixA1–4), set audio track 4 to a Volume of
0.
To be sure that audio track 4’s volume stays at 0, set its Mix Audio Track Mode
to Manual.
3 In the Sequencer mode P1 tab 1 and 2 pages (Trk1–8, Trk9–16), set each MIDI
track’s Track PLAY/MUTE/REC setting to MUTE.
15
Editing
This way , only the audio tracks will be bounced. If you want to bounce the MIDI
tracks’ audio as well, see “Bouncing MIDI tracks and audio tracks together”
below.
4 Make the appropriate Volume, Panning, EQ and Send 1/2 settings for audio
tracks 1, 2 and 3.
Since you will be mixing these three tracks down to a single track, you will not
be able to change their mix at a later time. Be sure you are satisfied with the settings
you make at this point.
5 Set Pan to R127 for audio tracks 1–3.
The playback from audio tracks 1–3 will be output from the right channel of the
S/P DIF jack. This is necessary because audio tracks 2 and 4 record signals from
the right channel (you selected audio track 4 as the recording track in the previous step). Audio tracks 1 and 3 record signals from the left channel. If you had
chosen to bounce to audio track 1 or 3, you would need to set Pan to L000 for
this step.
6 Connect the S/P DIF OUT connector to the S/P DIF IN connector.
Use a commercially available video cable to make connections.
7 Set the Global mode P2 System Clock setting to Internal.
8 Set the P1 tab 5 page (ATrkRec) Input setting to Digital.
9 Press the [RESET] key to return to the beginning of the song, press the [REC/WRITE]
key and then (after making sure that the [START/STOP] key LED is blinking) press
the [START/STOP] key.
Recording from audio tracks 1, 2, and 3 to audio track 4 will begin.
0 Disconnect the video cable from the S/P DIF OUT and IN connectors.
If the mixer volume is raised when the S/P DIF connectors are connected,
oscillation may occur. For this r eason, the S/P DIF OUT and IN connectors
should not be connected to each other except while bouncing tracks.
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Bouncing MIDI tracks and audio tracks together
The TRINITY also lets you bounce MIDI tracks and audio tracks together, down
to audio tracks. Bouncing tracks in this way allows you to conserve MIDI tracks
and polyphony. For example, you can bounce MIDI tracks 1–16 plus audio
tracks 1 and 2 to audio tracks 3 and 4, preserving the stereo mix you have created.
The procedure is basically the same as outlined in the previous section (ignore
steps
3 and 5). Make the appropriate Volume, Panning, EQ and Send 1/2 set-
tings for audio tracks 1 and 2 and the MIDI tracks (you can also set the MIDI
tracks’ insert effects). In step
step
1, set Track to AT3&4.
2, set the Volume of audio tracks 3 and 4 to 0. In
Applying master effects
1 Access the Sequencer mode P1 tab 6 page (MixA1–4).
2 Use Send 1/2 to adjust the send levels (the amount of signal sent to the master
effects) for each track.
Send 1 is the input to the modulation-type master effect (effect 1).
Send 2 is the input to the reverb-type master effect (effect 2).
With a setting of 064, the send level to the master effect will be 50 percent.
3 Access the P8 tab 1 page (Master FX).
T o use a master ef fect, select the ef fect and turn it ON, and raise the r eturn 1 and
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