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MT128
128 Track Digital Audio Recorder
Playback and Play out system
Reference manual
This document describes the functions of the MT128 Software application, MT64Standard and MT32-SPLite.
WARNING
This Document is a Non-contractual document.
Functions and features described in this manual are subject to
change without notice.
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TABLE OF CONTENTS
INTRODUCTION: ............................................................................................................ 6
Technical properties: ................................................................................................................ 7
EQUIPMENT USE ENVIRONMENT ............................................................................... 8
DEFINITION OF USED TERMS ...................................................................................... 9
AD Converter ......................................................................................................................... 9
ADAT .................................................................................................................................... 9
AES / EBU ............................................................................................................................. 9
AIFF ....................................................................................................................................... 9
ASIO .................................................................................................................................... 10
BWF ..................................................................................................................................... 10
DANTE ................................................................................................................................ 10
Ethernet ................................................................................................................................ 10
Ethersound ........................................................................................................................... 10
GPIO .................................................................................................................................... 11
LTC ...................................................................................................................................... 11
MADI ................................................................................................................................... 11
MIDI .................................................................................................................................... 11
MMC .................................................................................................................................... 12
MTC ..................................................................................................................................... 12
NTFS .................................................................................................................................... 12
Ravenna ............................................................................................................................... 13
RF64..................................................................................................................................... 13
SMPTE Timecode ................................................................................................................ 13
Sony 9 PIN ........................................................................................................................... 13
S-PDIF ................................................................................................................................. 13
USB ...................................................................................................................................... 14
VITC .................................................................................................................................... 14
WORD CLOCK ................................................................................................................... 14
WAV .................................................................................................................................... 14
PUTTING IN OPERATION ............................................................................................ 16
MT 128 Project Manager ....................................................................................................... 16
Project settings ........................................................................................................................ 18
Preferred disk ......................................................................................................................... 20
Extra information ................................................................................................................... 21
Project Settings page in Edit Mode. ...................................................................................... 23
DESCRIPTION OF WORKSPACE ............................................................................... 24
SYS-INFO Section : ................................................................................................................ 26
Project-INFO Section: ............................................................................................................ 26
The bottom bar ....................................................................................................................... 26
Transport control panel ......................................................................................................... 27
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Playback Transport Control Panel ....................................................................................... 28
Locator function bar .............................................................................................................. 29
Locator function bar in Player Mode ................................................................................... 30
Page Selector Bar .................................................................................................................... 30
MT128 Page Overview ........................................................................................................... 32
Transport Option Dialog Box ................................................................................................ 35
Edit Marker / Cue .................................................................................................................. 38
Marker Manager: ................................................................................................................. 38
Marker with M.I.D.I Event: ................................................................................................. 40
Cue Show Panel: .................................................................................................................. 42
Take validation box ................................................................................................................ 44
Non validated Takes ............................................................................................................ 45
I/O FUNCTION PAGES ................................................................................................. 46
Meters ...................................................................................................................................... 46
ASIO Device ............................................................................................................................ 47
Tools & VBAN ........................................................................................................................ 48
Route ........................................................................................................................................ 50
Delay ........................................................................................................................................ 51
TAPE RECORDER PAGES .......................................................................................... 54
Arming Matrix ........................................................................................................................ 54
Group ....................................................................................................................................... 56
Edit Group Dialog Box ........................................................................................................ 57
MIXER PAGES .............................................................................................................. 59
Mono matrix mixer ................................................................................................................. 59
Mixes ........................................................................................................................................ 61
Group ....................................................................................................................................... 63
Main ......................................................................................................................................... 64
Virtual I/O: ........................................................................................................................... 65
SoundPad Routing: .............................................................................................................. 65
Talkover & Monitoring: ....................................................................................................... 65
TIME LINE PAGES ....................................................................................................... 66
Tracks view ............................................................................................................................. 66
Keyboard Shortcuts: ............................................................................................................ 67
Edit Mode: ........................................................................................................................... 67
Edit Dialog Box: .................................................................................................................. 70
Fast Render: ......................................................................................................................... 72
Edit with Keyboard Shortcut: .............................................................................................. 72
List : Database organization. ................................................................................................. 73
Record List ........................................................................................................................... 74
Take List .............................................................................................................................. 77
List View Functions ............................................................................................................. 78
Original Clip List ................................................................................................................. 79
Editing policy : ..................................................................................................................... 79
File List ................................................................................................................................ 80
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Folder List ............................................................................................................................ 80
EDL List Clip(s) .................................................................................................................. 81
Import / Export ....................................................................................................................... 83
Import Audio File ................................................................................................................ 85
Import TC Track .................................................................................................................. 89
Export Consolidated Tracks................................................................................................. 91
Export Fast Render .............................................................................................................. 93
Import SoundPad Session .................................................................................................... 95
Export SoundPad Session .................................................................................................... 97
Project Export ......................................................................................................................... 98
Exporting MT128 Project. ................................................................................................... 98
Project Import ...................................................................................................................... 101
Importing MT128 Project. ................................................................................................. 101
SOUND PAD MODULE............................................................................................... 104
SoundPAD Edit Mode .......................................................................................................... 105
Audio File Selector ............................................................................................................... 107
Supported Audio Format: .................................................................................................. 107
Import Options Dialog Box: .............................................................................................. 108
SoundPad Operational Page ................................................................................................ 110
SoundPad and Playlist: ...................................................................................................... 110
SoundPad Mode and Special Bottom Bar: ........................................................................ 111
SoundPad Dual Screen: ..................................................................................................... 112
SoundPad Button Editing .................................................................................................... 114
UP Mix Dialog Box ........................................................................................................... 116
Playback Mode: ................................................................................................................. 118
Sound Properties Dialog Box: ........................................................................................... 118
M.I.D.I. Implementation .................................................................................................... 119
Local Monitoring ............................................................................................................... 121
SoundPad Group Editing ..................................................................................................... 124
SoundPad Sampling ............................................................................................................. 125
SYSTEM SETTINGS ................................................................................................... 129
RECORD OPTIONS ............................................................................................................ 129
CREATE NEW TAKE ...................................................................................................... 129
CREATE NEW AUDIO FILE ON NEW TAKE .............................................................. 130
ALWAYS GOOD TAKE .................................................................................................. 130
CREATE MARKER ON NEW TAKE ............................................................................. 130
AUTOMATIC CROSS FADE .......................................................................................... 130
LOCK RECORDING ........................................................................................................ 130
ORIGINATOR AS PREFIX .............................................................................................. 130
UNIQUE ID AS SUFFIX .................................................................................................. 130
AUDIO FILE NAMING CONVENTION ........................................................................ 130
ARCHIVING MODE ........................................................................................................ 130
PLAYBACK OPTIONS ....................................................................................................... 131
PLAYBACK ON RECORD .............................................................................................. 131
CHANGE TIMELINE POSITION ON PLAYBACK ...................................................... 131
FF/REW Speed X .............................................................................................................. 131
VARISPEED/SCRUBBING BAR .................................................................................... 131
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SHOW DELETED ITEMS ................................................................................................ 131
MIXER/ROUTING .............................................................................................................. 132
MONITOR INPUTS ON RECORDED ARMED TRACK .............................................. 132
DIRECT ACCESS TO SLIDER........................................................................................ 132
EXCLUSIVE ROUTING .................................................................................................. 132
EXTRA I/O MICROPHONE ............................................................................................ 132
EXTRA I/O MONITOR .................................................................................................... 132
REGIONAL OPTIONS ....................................................................................................... 133
DISPLAY LOCAL DATE/TIME (otherwise UTC) ........................................................ 133
US FORMAT DATE ......................................................................................................... 133
EU FORMAT DATE ......................................................................................................... 133
VIRTUAL KEYBOARD TYPE :...................................................................................... 134
LAYOUT OPTIONS ............................................................................................................ 134
EXTEND SOUNDPAD DISPLAY ................................................................................... 134
SOUNDPAD FULL SCREEN DISPLAY ........................................................................ 135
MT32 SPLITE LAYOUT STYLE .................................................................................... 135
SCALE OPTION ............................................................................................................... 135
METER HEADROOM ...................................................................................................... 135
MIDI / LTC ........................................................................................................................... 135
M.I.D.I. Input ..................................................................................................................... 136
M.I.D.I. Output .................................................................................................................. 136
MT128 MIDI SYNC .......................................................................................................... 136
SEND MIDI TIMECODE ................................................................................................. 136
MIDI Remote Monitoring .................................................................................................. 136
LTC input ........................................................................................................................... 136
MIDI Mapping ...................................................................................................................... 137
Transport MIDI Mapping .................................................................................................. 137
Transport Functions ........................................................................................................... 137
Sound PAD Mapping ......................................................................................................... 138
Button Range ..................................................................................................................... 138
Stop All / Stop All Cut ....................................................................................................... 138
Remoting Options ................................................................................................................. 139
X-Key 24 Midi Mapping ...................................................................................................... 140
GPIO Midi Mapping ............................................................................................................ 141
ADMINISTRATION PAGES ........................................................................................ 142
Administration Login: .......................................................................................................... 143
General Options: .................................................................................................................. 144
Startup Options .................................................................................................................... 145
Licensing: .............................................................................................................................. 146
Update page ........................................................................................................................... 147
Load Package and Installation procedure. ......................................................................... 148
Script Page ............................................................................................................................ 149
System pages: System function access. ............................................................................... 150
Disk Manager ..................................................................................................................... 151
Format Disk ....................................................................................................................... 152
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INTRODUCTION:
Congratulations to purchase this Multi-Track digital audio recorder and player.
The MT-128 is an easy to use and secure hard disc multi track recording; player and
play out system, designed for professional users. It is delivered as a computer based
turnkey system or as integrated software in a piece of hardware (like mixing console).
All controls of the MT-128 can be done by at least a 15“-Touch-TFT.
The graphic user interface (GUI) is designed to provide an adapted overview of status
information and allows quick access to main functions in whatever kind of operational
situations.
The system can be configured with up to 128 Channels of digital audio I/O, available in
MADI, AES-3, ADAT®, Ethersound, and whatever audio interface format handled by
ASIO Driver. Endowed with professional audio devices, it supports Wordclock- and
Video-Synchronization. Timecode is supported via LTC-I/O, MIDI and others…
The MT-128 supports WAVE, Broadcast-Wave (RF64) and AIFF file formats and
operates in „single file per track “ mode. Projects and audio files can be imported- and
exported.
All incoming and outgoing audio signal can be free routed. An internal mixer controls the
levels of audio outputs (direct track output) and it allows up to 9 stereo mix busses plus
a separate stereo PFL-Bus.
Loop-Recording, Auto Punch-In/Out, Pre-and Post-record buffer (up to 3 seconds),
Track-Arming while recording and some more recording features make the MT-128 a
state of the art non-destructive „Audio-Multitracker“.
Generated audio files are displayed in „classical“ time-line view, but also in a list view.
This helps to keep the overview and makes it easy to handle the MT-128 projects. All
recorded audio is managed as record-sessions, takes, clips and files. The Takemanagement fulfils the needs of take organized recording workflow.
The security of audio data is given by a permanent auto save, in worst case (like power
loss) only last buffers (max. 10 seconds) will be lost. The possible RAID support of the
System helps to reduce the risk of data-loss by hard disc failure.
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Technical properties:
Support of:
32, 64 or 128 TRACKS (according version),
8-32 BIT (FLOAT) @ 32-384 KHZ SAMPLERATE,
I/O OPTIONS MADI/AES/ADAT®/ANALOG…
PLAYBACK VARISPEED,
CONTINUOUS RECORDING, MIRROR RECORDING,
BWF (RT64), WAV, AIFF,
SINGLE FILE PER TRACK (STEREO FILE FOR LINKED TRACK),
FILE IMPORT & EXPORT, CONSOLIDATE, MULTI CHANNEL RENDERING.
TIME AND TRACK STAMPING,
REDUNDANT PLAYBACK
Some Features:
TOUCH SCREEN, MOUSE, KEYBOARD,
EXTERNAL TIMECODE, WORDCLOCK, VIDEOSYNC,
MONITORING, DELAY LINE PER TRACK,
MATRIX-MIXER, MAIN- PFL- AND AUX-Busses,
16x FADER/TRACKS GROUPS (VCA),
FLEXIBLE ROUTING (128 I/O),
FULL METERING,
TIMELINE, LIST VIEW, WAVEFORM DISPLAY.
LOCATOR MANAGEMENT, CUE PLAY/STOP, CUE MIDI OUT
TAKE MANAGEMENT,
WAVEFORM DISPLAY, TIME LINE BASIC EDITING
CONSOLITADE TRACKS;
REMOTE CONTROL,
SOUND PAD, INSTANT PLAYBACK, PLAYLIST MANAGEMENT.
CONTROL BY XKEY-24 / GPIO / MMC PROTOCOL
Sound Pad Module
64 INSTANT PLAYBACK SOUNDS
4 PLAYLISTS WITH UPTO 256 SOUNDS
SUPPORTS WAV, AIF, BWF, MP3, M4A, WMA, WMV, MP4, AVI, MOV, CDA
REAL TIME SAMPLERATE AND BIT RESOLUTION CONVERSION
1-8 CHANNEL SOUND MANAGEMENT
M.I.D.I. CONTROL BY LEARN FUNCTION
GPIO AND SPECIAL KEYBOARD REMOTING
SAMPLING AND EDITING FUNCTIONS (PITCH, GAIN, ATTACK, RELEASE),
INTERACTION WITH MT128 TIMELINE.
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EQUIPMENT USE ENVIRONMENT
The MT128 is Multi Tracks Audio Recorder Player system dedicated to stressful
environment such as live performances, shows, public events or record session with a
band or orchestra.
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DEFINITION OF USED TERMS
source: Wikipedia, the free encyclopedia.
AD Converter
An analog-to-digital converter (abbreviated ADC, A/D or A to D) is a device which converts continuous
signals to discrete digital numbers. The reverse operation is performed by a digital-to-analog converter
(DAC).
Typically, an ADC is an electronic device that converts an input analog voltage (or current) to a digital
number proportional to the magnitude of the voltage or current. However, some non-electronic or only
partially electronic devices, such as rotary encoders, can also be considered ADCs. The digital output
may use different coding schemes, such as binary, Gray code or two's complement binary.
ADAT
Alesis Digital Audio Tape or ADAT, first introduced in 1991, was used for simultaneously recording eight
tracks of digital audio at once, onto Super VHS magnetic tape - a tape format similar to that used by
consumer VCRs. Greater numbers of audio tracks could be recorded by synchronizing several ADAT
machines together. While this had been available in earlier machines, ADAT machines were the first to do
so with sample-accurate timing - which in effect allowed a studio owner to purchase a 24-track tape
machine eight tracks at a time. This capability and its comparatively low cost were largely responsible for
the rise of project studios in the 1990s.
"ADAT" is also used as an abbreviation for the ADAT Lightpipe protocol, which transfers 8 tracks in a
single fiber optic cable. The ADAT cable standard is no longer strictly tied to ADAT tape machines, and is
now utilized by analog-to-digital converters, input cards for digital audio workstations, effects machines,
etc. One of the original benefits of utilizing ADAT versus S/PDIF or AES/EBU was that a single cable
could carry up to eight channels of audio. (AES10 (MADI) can now carry up to 64 channels.)
AES / EBU
The digital audio standard frequently called AES/EBU, officially known as AES3, is used for carrying
digital audio signals between various devices. It was developed by the Audio Engineering Society (AES)
and the European Broadcasting Union (EBU) and first published in 1985, later revised in 1992 and 2003.
Both AES and EBU versions of the standard exist. Several different physical connectors are also defined
as part of the overall group of standards. A related system, S/PDIF, was developed essentially as a
consumer version of AES/EBU, using connectors more commonly found in the consumer market.
AIFF
Audio Interchange File Format (AIFF) is an audio file format standard used for storing sound data for
personal computers and other electronic audio devices. The format was co-developed by Apple
Computer in 1988 [1] based on Electronic Arts' Interchange File Format (IFF, widely used on Amiga
systems) and is most commonly used o n Apple Macintosh computer systems.
The audio data in a standard AIFF file is uncompressed pulse-code modulation (PCM). There is also a
compressed variant of AIFF known as AIFF-C or AIFC, with various defined compression codecs.
Standard AIFF is a leading format (along with SDII and WAV) used by professional-level audio and video
applications, and unlike the better-known lossy MP3 format, it is non-compressed (which aids rapid
streaming of multiple audio files from disk to the application), and lossless. Like any non-compressed,
lossless format, it uses much more disk space than MP3—about 10MB for one minute of stereo audio at
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a sample rate of 44.1kHz and a sample size of 16 bits. In addition to audio data, AIFF can include loop
point data and the musical note of a sample, for use by hardware samplers and musical applications.
The file extension for the standard AIFF format is .aiff or .aif. For the compressed variants it is supposed
to be .aifc, but .aiff or .aif are accepted as well by audio applications supporting the format.
ASIO
Audio Stream Input/Output (ASIO) is a computer soundcard driver protocol for digital audio specified by
Steinberg, providing a low-latency and high fidelity interface between a software application and a
computer's sound card. Whereas Microsoft’s DirectSound is commonly used as a stereo input and output
for non-professional users, ASIO allows musicians and sound engineers to process their audio via
Windows computer software instead of external hardware.
BWF
Broadcast Wave Format (BWF) is an extension of the popular Microsoft WAVE audio format and is the
recording format of most file-based non-linear digital recorders used for motion picture and television
production. It was first specified by the European Broadcasting Union in 1997, and updated in 2001 and
2003.
The purpose of this file format is the addition of metadata to facilitate the seamless exchange of sound
data between different computer platforms and applications. It specifies the format of metadata, allowing
audio processing elements to identify themselves, document their activities, and permit synchronization
with other recordings. This metadata is stored as extension chunks in a standard digital audio WAV file.
Files conforming to the Broadcast Wave specification have names ending with the extension .WAV.
DANTE
Dante (Digital Audio Network Through Ethernet) is a combination of software, hardware, and network
protocols that deliver uncompressed, multi-channel, low-latency digital audio over a standard Ethernet
network using Layer 3 IP packets. Developed in 2006 by a Sydney-based company named Audinate,
Dante builds and improves on previous audio over Ethernet technologies, such as CobraNet and
EtherSound.
Ethernet
Ethernet is a family of frame-based computer networking technologies for local area networks (LANs).
The name comes from the physical concept of the ether. It defines a number of wiring and signaling
standards for the Physical Layer of the OSI networking model, through means of network access at the
Media Access Control (MAC) /Data Link Layer, and a common addressing format.
Ethernet is standardized as IEEE 802.3. The combination of the twisted pair versions of Ethernet for
connecting end systems to the network, along with the fiber optic versions for site backbones, is the most
widespread wired LAN technology. It has been in use from around 1980 to the present, largely replacing
competing LAN standards such as token ring, FDDI, and ARCNET.
Ethersound
EtherSound is one of several Audio over Ethernet technologies currently used in audio engineering and
broadcast engineering applications. EtherSound is developed and licensed by Digigram.
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EtherSound is compliant with IEEE Ethernet standards allowing the use of standards-compliant hardware
and cables. However, EtherSound is not designed to share Ethernet LANs with typical office operations
data or Internet traffic such as email. Like all audio-over-Ethernet technologies, EtherSound adapts the
non-deterministic nature of CSMA/CD protocols to provide a continuous stream of high-sample rate, 24bit digital audio data. The Ethernet protocol allows every device equal access to the network (Carrier
Sense Multiple Access) and accepts the inevitability of "collisions" as a result. Ethernet data is sent in
bursts. Ethernet frames are sent in a serial stream (one after the other) and contain addresses, protocol
control information and data. EtherSound's solution to the problem of using a non-deterministic equalpriority network to transmit deterministic, prioritized audio data is proprietary, as are the solutions adopted
by other audio-over-Ethernet technologies.
GPIO
General-purpose input/output (GPIO) is a generic pin on an integrated circuit (commonly called a chip)
whose behavior (including whether it is an input or output pin) can be controlled (programmed) by the
user at run time.
GPIO pins have no special purpose defined, and go unused by default. The idea is that sometimes the
system integrator building a full system that uses the chip might find it useful to have a handful of
additional digital control lines, and having these available from the chip can save the hassle of having to
arrange additional circuitry to provide them.
LTC
Linear (or Longitudinal) Timecode (LTC) encodes SMPTE timecode data as a Manchester-Biphase
encoded audio signal. The audio signal is commonly recorded on a VTR track or other storage media.
Each frame is terminated by a 'sync word' which has a special predefined sync relationship with any video
or film content.
A special bit in the linear timecode frame, the 'biphase mark correction' bit, ensures that there are an
even number of AC transitions in each timecode frame.
The sound of linear timecode is a jarring and distinctive noise and has been used as a sound-effects
shorthand to imply 'telemetry' or 'computers'. Many professional audio engineers see this use of LTC in
sound-effects as an exceptionally lazy, unrealistic sound design technique. In the industry "LTC" is
pronounced "Litsy" except in the UK where it is pronounced "ell-tee-cee".
MADI
Multichannel Audio Digital Interface, or MADI, is an industry-standard electronic communications protocol
that defines the data format and electrical characteristics of an interface carrying multiple channels of
digital audio. The AES standard for MADI is currently documented in AES10-2003. The MADI standard
includes a bit-level description and has features in common with the two-channel format of AES3. Serial
digital transmission over coaxial cable or fibre-optic lines of 28, 56, or 64 channels is supported, with
sampling rates of up to 96 kHz and resolution of up to 24 bits per channel.
MIDI
MIDI (Musical Instrument Digital Interface), is an industry-standard protocol defined in 1982 that enables
electronic musical instruments such as keyboard controllers, computers, and other electronic equipment
to communicate, control, and synchronize with each other. MIDI allows computers, synthesizers, MIDI
controllers, sound cards, samplers and drum machines to control one another, and to exchange system
data. MIDI does not transmit an audio signal or media — it transmits "event messages" such as the pitch
and intensity of musical notes to play, control signals for parameters such as volume, vibrato and
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panning, cues, and clock signals to set the tempo. As an electronic protocol, it is notable for its
widespread adoption throughout the music industry.
Note names and MIDI note numbers. All MIDI compatible controllers, musical instruments, and MIDIcompatible software follow the same MIDI 1.0 specification, and thus interpret any given MIDI message
the same way, and so can communicate with and understand each other. MIDI composition and
arrangement takes advantage of MIDI 1.0 and General MIDI (GM) technology to allow musical data files
to be shared among many different files due to some incompatibility with various electronic instruments
by using a standard, portable set of commands and parameters. Because the music is simply data rather
than recorded audio waveforms, the data size of the files is quite small by comparison.
MMC
MIDI Machine Control, or MMC, a subset of the MIDI specification, provides specific commands for
controlling recording equipment such as multi-track recorders.
MMC messages can be sent along a standard MIDI cable for remote control of such functions as Play,
Fast Forward, Rewind, Stop, Pause, and Record. These are "System Exclusive" (SysEx) messages.
MTC
MIDI time code (MTC) embeds the same timing information as standard SMPTE time code as a series of
small 'quarter-frame' MIDI messages. There is no provision for the user bits in the standard MIDI time
code messages, and SysEx messages are used to carry this information instead. The quarter-frame
messages are transmitted in a sequence of eight messages, thus a complete timecode value is specified
every two frames. If the MIDI data stream is running close to capacity, the MTC data may arrive a little
behind schedule which has the effect of introducing a small amount of jitter. In order to avoid this it is
ideal to use a completely separate MIDI port for MTC data. Larger full-frame messages, which
encapsulate a frame worth of timecode in a single message, are used to locate to a time while timecode
is not running.
Unlike standard SMPTE timecode, MIDI timecode's quarter-frame and full-frame messages carry a twobit flag value that identifies the rate of the timecode, specifying it as either:
24 frame/s (standard rate for film work)
25 frame/s (standard rate for PAL video)
30 frame/s (drop-frame timecode for NTSC video)
30 frame/s (non-drop timecode for NTSC video)
MTC distinguishes between film speed and video speed only by the rate at which timecode advances, not
by the information contained in the timecode messages; thus, 29.97 frame/s dropframe is represented as
30 frame/s dropframe at 0.1% pulldown.
MTC allows the synchronisation of a sequencer or DAW with other devices that can synchronise to MTC
or for these devices to 'slave' to a tape machine that is striped with SMPTE. For this to happen a SMPTE
to MTC converter needs to be employed. Please note that it is possible for a tape machine to synchronise
to an MTC signal (if converted to SMPTE), if the tape machine is able to 'slave' to incoming timecode via
motor control, which is a rare feature.
NTFS
NTFS is the standard file system of Windows NT, including its later versions Windows 2000, Windows
XP, Windows Server 2003, Windows Server 2008, Windows Vista, and Windows 7.
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NTFS supersedes the FAT file system as the preferred file system for Microsoft’s Windows operating
systems. NTFS has several improvements over FAT and HPFS (High Performance File System) such as
improved support for metadata and the use of advanced data structures to improve performance,
reliability, and disk space utilization, plus additional extensions such as security access control lists (ACL)
and file system journaling.
Ravenna
Ravenna is a technology for real-time transport of audio and other media data in IP-based network
environments, which was introduced to the public on Sep. 10, 2010 at the International Broadcasting
Convention in Amsterdam. Ravenna can operate on most existing network infrastructures using standard
networking technology. Performance and capacity scale with network performance. Ravenna is designed
to match broadcasters' requirements for low latency, full signal transparency and high reliability. Fields of
application include (but are not limited to): in-house signal distribution for broadcasting houses and other
fixed installations, flexible setups at venues and live events, outside broadcasting support, and interstudio links across wide area network links and production facilities.
RF64
RF64 is a BWF-compatible multichannel file format enabling file sizes to exceed 4 GB. It has been
specified by the European Broadcasting Union.
The file format is designed to meet the requirements for multichannel sound in broadcasting and audio
archiving. It is based on the Microsoft RIFF/WAVE format and Wave Format Extensible for multichannel
parameters. Additions are made to the basic specification to allow for more than 4 GB file sizes when
needed. The format is transparent to the BWF and all its supplements and chunks.
A maximum of 18 surround channels, stereo down mix channel and bit stream signals with non-PCM
coded data can also be stored in the file format. RF64 can be used in the entire programme chain from
capture to editing and play out and for short or long term archiving of multichannel files.
SMPTE Timecode
SMPTE timecode is a set of cooperating standards to label individual frames of video or film with a
timecode defined by the Society of Motion Picture and Television Engineers in the SMPTE 12M
specification. SMPTE revised the standard in 2008, turning it into a two-part document: SMPTE 12M-1
and SMPTE 12M-2, including important new explanations and clarifications.
Timecodes are added to film, video or audio material, and have also been adapted to synchronize music.
They provide a time reference for editing, synchronisation and identification. Timecode is a form of media
metadata. The invention of timecode made modern videotape editing possible, and led eventually to the
creation of non-linear editing systems.
Sony 9 PIN
The 9-Pin Protocol is an RS-422 communications protocol using a 9 pin serial cable that allows a
computer interface to Sony and other manufacturer's VTRs. This protocol supports both one-inch reel-toreel video tape recorders as well as cassette video tape recorders.
S-PDIF
S/PDIF specifies a Data Link Layer protocol and choice of Physical Layer specifications for carrying
digital audio signals between devices and stereo components over either optical or electrical cable. The
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name stands for Sony/Philips Digital Interconnect Format (more commonly known as Sony Philips Digital
InterFace), the two companies being the primary designers of the S/PDIF format. It is part of a larger
collection of international standards known as IEC and defined by IEC 60958 (often referred to as
AES/EBU), where it is known as IEC 60958 type II. S/PDIF is essentially a minor modification of the
original AES/EBU standard for consumer use, providing small differences in the protocol and requiring
less-expensive hardware.
USB
USB (Universal Serial Bus) is a way of setting up communication between a computer and peripheral
devices. USB is intended to replace many varieties of serial and parallel ports. USB can connect
computer peripherals such as mice, keyboards, PDA, gamepad and joysticks, scanners, digital cameras,
printers, personal media players, flash drives, and external hard drives. For many of those devices, USB
has become the standard connection method. USB was designed for personal computers, but it has
become commonplace on other devices such as PDA and video game consoles, and as a power cord
between a device and an AC adapter plugged into a wall plug for charging. As of 2008, there are about 2
billion USB devices sold per year, and about 6 billion total sold to date.
The design of USB is standardized by the USB Implementers Forum (USB-IF), an industry standards
body incorporating leading companies from the computer and electronics industries. Notable members
have included Agere (now merged with LSI Corporation), Apple Inc., Hewlett-Packard, Intel, Microsoft
and NEC.
VITC
Vertical Interval TimeCode (VITC) is a form of SMPTE timecode embedded as a pair of black-and-white
bars in a video signal. These lines are typically inserted into the vertical blanking interval of the video
signal. There can be more than one VITC pair in a single frame of video: this can be used to encode extra
data that will not fit in a standard timecode frame.
VITC contains the 64 data bits of the SMPTE linear timecode frame embedded in a new frame structure
with extra synchronization bits and an error-detection checksum. The VITC code is always repeated on
two adjacent video lines, one in each field. This internal redundancy is exploited by VITC readers, in
addition to the standard timecode "flywheel" algorithm.
WORD CLOCK
A word clock or wordclock (sometimes sample clock, which can have a broader meaning) is a clock
signal (not the actual device) used to synchronise other devices, such as digital audio tape machines and
compact disc players, which interconnect via digital audio. S/PDIF, AES/EBU, ADAT, TDIF and other
formats use a word clock. Various audio over Ethernet protocols use broadcast packets for the word
clock. The device which maintains the word clock on a network is the master clock.
Word clock should not be confused with timecode; word clock is used entirely to keep a perfectly-timed
and constant bitrate to avoid data errors. The word clock generator, usually built-in to analog-to-digital
converters, creates digital pulses which contain no other data, and is considered essential to avoid
frequency drift between the internal oscillators of each device. Timecode is actual data (technically
metadata) about the media content being transmitted, and is optional, being sent in a higher layer.
WAV
WAV (or WAVE), short for Waveform audio format, also known as Audio for Windows, is a Microsoft and
IBM audio file format standard for storing an audio bitstream on PCs. It is an application of the RIFF
bitstream format method for storing data in “chunks”, and thus also close to the 8SVX and the AIFF
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format used on Amiga and Macintosh computers, respectively. It is the main format used on Windows
systems for raw and typically uncompressed audio. The usual bitstream encoding is the Pulse Code
Modulation (PCM) format.
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PUTTING IN OPERATION
MT 128 Project Manager
After launching the MT128 (or MT64-Standard) application, the project manager screen
appears. It gives the list of all projects and templates found on the system. All available
disks are automatically scanned. If this list is empty, it means that all disks are empty. If
using MT32-SPLite, jump to next chapter. MT32-SPLite does not include project
management.
Emergency RECORD
A tap on this button starts immediately the recording. A project called “Emergency _xx”
is automatically created. All inputs available are routed 1:1 to automatically armed
tracks. "Emergency Record" starts with the last audio-device settings.
Scroll bar
The scroll bar allows moving up and down in the list of recent projects as in the list of
templates. The digits on top show the current selection and total number of
projects/templates.
Load
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Select a project or template from list and tap this button to recall a recent project or to
create a new project based on a template.
Delete
Select a project or template from list and tap this button to delete a recent project or
template (a specific dialog box will appear to confirm the operation).
Power off
Tap on this button to shut down the MT-128 Application. (by option it is possible to also
shut down the computer in the same time).
Sort by
Tap on this button to select the criteria of sorting the list.
New Project
A tap on this button will make appear the Project Setting Dialog box in order to create a
new project.
Administration
Tap on this button to enter in the administration pages (login/password required). See
Administration pages later in this document.
Export
A Tap on this button will open a specific Dialog Box to Export the current selected
project to an extra disk or any folder. This is made to archive or port the project on other
computer. Entire project can be exported, it means all settings, EDL, Cues, SoundPad
Session and all media used by the project (including recorded, imported and audio file
used by Sound Pad). It is also possible to Export Takes only (recorded audio files). See
Project Export chapter later in this document.
Import
A Tap on this button will open a specific Dialog Box to Import a project (previously
exported) in the current project base. All settings, data base, media files will be copy on
the given local disk as regular MT128 project. After the operation, the imported project
will be listed in the project list. See Project Import chapter later in this document.
Project Item
Project (or Template) items in list, show different useful information: Project Name, type,
sample rate, initial disk location (for the project only, media can be located on different
disks) and number of sounds in Sound-Pad module.
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Project settings
The project settings page appears after creating a new project or after loading an
existing project.
All Metadata, recording parameters (resolution, samplerate, file format) and TC-Sync
source are entered or listed here. This page can be re-called in operation with a tap on
the Project display in the top bar.
Name
A tap opens the virtual keyboard to enter name of a new project (the name cannot be
modified after having created the project). If it’s a new project, the Take Prefix is
automatically filled with the name of the project.
Description
A tap opens the virtual keyboard to enter/change text data. This field is also used to fill
broadcast wave file header information (when recording BWF audio file).
Originator
A tap opens the virtual keyboard to enter/change text data. This field is also used to fill
broadcast wave file header information (when recording BWF audio file).
References
A tap opens the virtual keyboard to enter/change text data. This field is also used to fill
broadcast wave file header information (when recording BWF audio file).
Project Mode
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A tap on this field will change the project mode in RECORDER, PLAYER or
SOUNDPAD. This mode changes the Graphic user interface layout and the availability
of different functions. For example in PLAYER mode, Transport Bar provides navigation
buttons instead of REC buttons.
Sample rate
A tap opens list for selection of sampling frequency (recording/playback) to define the
sample rate of the project.
Bit res
A tap opens list for selection of bit resolution (8 /16 / 24/ 32 bits) for recording audio file.
File type: BWF/ WAV / AIFF
A tap opens list for selection of file format – WAV, AIF, BWF (RF 64).
TC Source
A tap opens list for selection TC-Source – Internal, Local PC Clock, Ext TC, MIDI TC,
LTC, TC from Remote drivers… This options is also in the Transport Option Dialog Box.
Disk Mode
A tap on this button will display a small contextual menu to select the following mode:
- TAPE: this regular mode, makes the recording on disks given by the preferred
disk list. If several disk are selected, it will fill disk in the defined disk order.
- SPLIT: enables recording across several drives. Tracks are logically distributed
on disks. For example with two drives, the 64 first tracks will be recorded on first
disk while the 64 others will be recorded on the second disk.
- MIRROR: The last disk of the Preferred Disk Selection is use as mirror disk. It
means it makes a backup copy of all audio file being recorded.
REM: Mirror mode works in 128 tracks only for 44.1 / 48kHz Sample rate. At 96 kHz the
Mirror mode can work if the MT128 is limited to 64 tracks (depends on administration
pages.).
Take prefix
A tap opens the virtual keyboard to enter/change name of take prefix. Name is reflected
in filename of recorded audio files.
Create Project
A tap created the new defined project.
Cancel
A tap returns to project manager if coming from there. / Or discards changes if editing
project currently in operation.
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Preferred disk
A tap opens a specific dialog box (see below) to let the user select which disk will be
involved in the recording (As Project disk, as Media disk or as Mirror disk).
PROJECT DISK: is used to store the project (including SoundPad session) and it is
used as default disk to import Sound for SoundPad (and for Timeline if there is no
Media Disk).
MEDIA DISK(s) are used to store Recorded or Imported audio files on Timeline.
Selecting Media Disk is mandatory for Recording Project.
MIRROR DISK: is used to make the Mirror Recording (Disk Mode must be set to
MIRROR).
The Recording process is using Media disk to store audio file (sequentially or
simultaneously in SPLIT mode. When several disks are selected, in TAPE mode, the
MT128 will detect when the disk becomes full and automatically continue the recording
on next selected Media disk without any data loss. That’s why it is possible to change
the disk order in the selection (by Button Move Up / Down).
Move up
A tap moves a selected drive on step 1 higher. Order of disk determines the priority to
which drive recording is being made, once it is set as Media disk.
Move down
A tap moves a selected drive on step lower.
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OK
Clisk Ok to validate the current disk selection and close dialog box.
Cancel
A tap discards changes being made and exits.
Extra information
A tap opens a sub page for editing further metadata of current project.
Comments/Remarks
A tap opens the virtual keyboard to enter metadata of current project.
Reference
A tap opens the virtual keyboard to enter metadata of current project.
Internal reference
A tap opens the virtual keyboard to enter metadata of current project.
Folder
A tap opens the virtual keyboard to enter metadata of current project.
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Category
A tap opens the virtual keyboard to enter metadata of current project.
Client
A tap opens the virtual keyboard to enter metadata of current project.
Client reference
A tap opens the virtual keyboard to enter metadata of current project.
Exit
A tap closes the dialog box.
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Project Settings page in Edit Mode.
When editing project (after having loaded the project), other functions are available such
as SAVE AS Template. However the name cannot be modified except on SAVE AS
command. Project Editing can be done while Playback or Recording.
Save Modification
Save the actual setting. This button is blinking when something has been modified.
Cancel
Return to operation without changing parameters of the project.
Project Manager
A tap exits current project and opens the project manager (the startup page). This
function is active only after having loaded a project
Save as template
Opens a dialog box for defining a new template (or overwriting an existing one) based
on the current project. This function is active only after having loaded a project.
Save as new project
A tap saves current project as a further project. This function is active only after having
loaded a project.
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DESCRIPTION OF WORKSPACE
The workspace of the MT-128 is subdivided in to 3 main parts. On top there is the "Top
bar, in center there is the space for all "Function-Pages", on bottom is the "Transport
Panel“, the „Locator Function Bar“ and the „Page-Selector Bar“.
Top bar
The "Top bar“ shows four buttons. On the left the "Sys Set" button to access the
"System Settings" page and the HOME button to go back to startup page. On the right
the “Folder” button to open Project Settings Dialog Box (showing essential system and
project information) and the LOCK button to lock the screen.
SYS Set (top left button)
The “Sys Set” button opens the System Settings Pages.
LOCK (top right button)
A tap on this button lock the screen (mouse and touch) to prevent accidental actions
(page selector is still working to navigate in the different pages, but action are disabled).
Tap again on this button to unlock the user interface (a confirmation dialog box will
appear to ask for confirmation).
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Home (left of the Info Section)
The HOME button allows going back to startup page (the first page showing project and
template list).
Project (Folder icon on the left of the Project section)
The project button opens the project settings page (shown in the previous pages).
Caption Display (on the middle)
On the Middle of the caption, there is a button selector to display two different view: the
TimeCode/Status view or the Meter Bridge to see all track output levels.
DISPLAY Status
Display the big caption info bar, to display timecode and recorder status in big format.
The Big Caption also displays useful warning to prevent user to make some possible
mistake (for example a blinking red alert is displayed if the recording is done without any
tracks armed) or if there is a problem like disk error, audio device sync problems…
DISPLAY Meter
When taping on DISPLAY METER button part, the caption show the meter bridge,
showing track output levels.
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SYS-INFO Section :
This section displays system information. Clicking in it will open the WatchDog Dialog
Box (for expert user only).
The incoming TC is shown in its original native format. The Format is blinking when
chasing if it does not fit the Timecode format of the project (see Transport Option Dialog
Box). The audio device sampling rate is also blinking if different from the project sample
rate.
Project-INFO Section:
This section displays current project information. Clicking in it will open the Project
Settings Dialog Box.
The Free memory shown is also pending on the number of armed track and the current
audio file format of the project.
The bottom bar
The "Bottom Bar“ bar consists of three parts. On left there is the transport control panel,
as known from tape machines. In the middle there is a function bar for cue points,
locators and punch recording functionality. On the right side the "Page Selector Bar" is
shown. To facilitate operating, the layout of the "Bottom Bar“ can be changed. (see
"System Settings")
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Transport control panel
The Transport Control Panel shows six buttons to control the MT-128, like on common
tape machines. The color of the buttons changes from gray to yellow when a function is
active. The display on top of the buttons shows on the left side the current position of
the play/record cursor on the MT-128 TimeLine. On the right side it shows the takeinformation. Also a special function is given on the display; tap on the timecode of play
cursor to go to a desired time-line position (only in stop or play mode), tap on the takeinformation area to open the Take Validation Box.
REW : Rewind
A tap switches from „Stop“ or „Playback“ to Varispeed-Operation in reverse direction
(rewind). There are up to 4 speed levels. Each tap steps to the next level. Each speed
level can be defined in SysSet-Playback page.
FF : Forward/FS
A tap switches from „Stop“ or „Playback“ to Varispeed-Operation in normal direction
(forward). There are up to 4 speed levels. Each tap steps to the next level. Each speed
level can be defined in SysSet-Playback. During record the button becomes a „Fail
Start“-function that is indicated by the letters „FS“. Then a tap on „FS“ will generate a
marker at the preceding position (start of record or the previous FS-position). When
record is stopped the all markers are updated on the timeline. FS-markers contain the
sufix „_FS##“ (## = number).
Play
A tap starts Playback or (if enabled) toggles between Reverse Playback and normal
Playback.
Stop
A tap stops Playback/Record. Pushing STOP again can toggle the cursor position
between previous playback starting point and last Stop point (see TRANSPORT
options).
Record
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A tap starts recording. During record each tap will start a new take (if enabled in
SysSet-Record). In Punch-Mode – indicated by the letter „P“ in the center of the button
– the button-border is blinking while not recording; i.e. outside a punch-region.
Pause
A tap will toggle between Pause-Mode and Playback/Recording. While Recording,
PAUSE mode does not create new clip or new file or new take, it’s like a time break.
TimeCode Zone
A tap opens Num Pad Dialog Box to let you define a new timecode to place the cursor
on new position.
Options Zone
A tap in this area opens the Transport Option Dialog Box.
Next take
A tap opens the Take Preparation Box to define the name and comments for the next
take.
CHASE
The Chase Button activated the chasing process to follow the current selected TC
source.
Playback Transport Control Panel
If the Project is set In “Player Mode”, the Transport Bar is a bit different: REC and
PAUSE buttons are replaced by Marker Navigation Buttons and the Take Management
Area is used to show the current CUE playing back and around the previous and next
cue.
Varispeed / Scrubbing
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Depending on chosen mode the varispeed / scrubbing slider allows to move on the
tape. This popup box appears when using FF/REW Transport functions (and if the
option is enabled in Sys Set / Playback options Page).
Play / Stop on release
A tap on this button switch the release mode and says if the player will continue or stop
to play after releasing the control.
Locator function bar
This section of the "Transport & Page Selector" bar is done to operate with Cue points
(Marker), Locator (only for MT-128 transport function) and to set and edit sections for
auto punch recording. Marker-positions can be recalled by using <Goto next/prev>, and
also via „Marker Manager“ or by tapping in timeline (top timeline for Locator, Start, End
– bottom timeline for Punch In/Out). Maximum number of all markers: 999
Go to Prev
A tap places Playhead to previous (left hand side) Marker (all types)
Go to Next
A tap places Playhead to next (right hand side) Marker (all types)
Edit / CUE
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A tap opens the „Marker Manager“ sub page. This Dialog Box allows to Edit Marker and
CUE and displays Cue Show Panel to manage the Timeline by CUE list.
Set Start
A tap sets Start-Marker at current cursor position for Loop-operation
Set End
A tap sets End-Marker at current cursor position for Loop-operation
Set LOC
A tap sets Locator-Marker at current cursor position (Cue)
Set Punch In
A tap sets Punch In-marker at current cursor position for Punch recording
Set Punch Out
A tap sets Punch Out-marker at current cursor position for Punch recording
Loop off active
A tap toggles between „Loop active“ and „Loop off“ - Loop active is also indicated in the
REC-Button of transport-control
Punch off active
A tap toggles between „Punch active“ and „Punch off“. Punch active is indicated in the
REC-Button of transport-control. When punch is activated, the recording is done only,
between punch-in and punch-out point (for armed tracks of course).
Locator function bar in Player Mode
In player mode, the Function bar is displayed as below, with 2 big buttons, one to get
access to marker edit dialog box and one to display Cue Show Panel directly.
Page Selector Bar
The different functions pages of the workspace can be easily accessed by one or two
taps on the „Page Selector Bar“. There are four „top pages“ containing up to four „sub
pages“ each.
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