Yamaha Audio D24 User Manual

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Page 1

DIGITAL MULTITRACK RECORDER

Owner’s Manual

ABS H

OVER

–dB

00 00 00 00

2 6

YAMAHA D24

12 20 30 42

LOCK

READY

0/-

RECORD

READY

SOLO/

SELECT

OVER

–dB

6 1012 1420 1830

2660

READY

7654321

ALL

AUTO

PEAK HOLD

INPUT

FORMAT CHASE

MONITOR SELECT

Keep This Manual For Future Reference.

INT

BITFSTC

MSF

48K

MASTER

PROJECT

SELECT

LOC MEM

RECALL

LOC MEM

STORE

LOCATEENTERCANCEL

TIME DISPLAY

CAPTURE ABS/REL

VARI

UTILITY

SPEED

V. TR ACK

EDIT

SELECT

REMAIN

SETUP

UNDO/ REDO

JOG ON

JOG/DATA SHUTTLE/

CURSOR

PROJECT SEARCH

RTN TO

ROLL

ZERO

BACK

REW FF

DIGITAL MULTITRACK RECORDER

LAST REC

OUT

STOP PLAY REC

SET

REPEAT

POWER

OFF

AUTO PUNCH

REHE

010 PHONES

LEVEL

PHONES

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FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

WARNING: THIS APPARATUS MUST BE EARTHED

IMPORTANT

THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE:

GREEN-AND-YELLOW : EARTH BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may

not correspond with the coloured markings identifying the terminals in your plug, proceed as follows:

The wire which is coloured GREEN and YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or coloured GREEN and YELLOW.

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

* This applies only to products distributed by YAMAHA KEMBLE

MUSIC (U.K.) LTD.

ADVARSEL! Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren.

VARNING Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens instruktion.

VAROITUS Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.

NEDERLAND THE NETHERLANDS

● Dit apparaat bevat een lithium batterij voor geheugen

back-up.

● Raadpleeg uw leverancier over de verwijdering van de

batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing:

Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425

● Gooi de batterij niet weg, maar lever hem in als KCA.

● This apparatus contains a lithium battery for memory

back-up.

● For the removal of the battery at the moment of the

disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows:

Yamaha Music Nederland Service Center Address: Kanaalweg 18-G, 3526 KL

UTRECHT

Tel: 030-2828425

● Do not throw away the battery. Instead, hand it in as small

chemical waste.

Page 3

Laser Diode Properties * Material : AlGaInP * Wavelength : 675–695 nm * Emission Duration : Continuous * Laser Output Power : Less than 44.6 µW

(Note)

Laser output is measured at a distance of 20 cm from the object lens on the optical pick-up head.

This unit is classified as a

CLASS 1 LASER PRODUCT LUOKAN 1 LASERLAITE KLASS 1 LASERAPPARAT

Class 1 laser product. This label is located on the exterior.

Klassmärkning för Finland.

DANGER

INVISIBLE LASER RADIATION WHEN OPEN. AVOID DIRECT EXPOSURE TO BEAM.

DANGER

RADIATIONS INVISIBLES DU LASER EN CAS D' OUVERTURE. EVITER TOUTE EXPOSITION DIRECTE AU FAISCEAU.

VORSICHT

LASERSTRAHLUNG. WENN ABDECKUNG GEÖFFNET NICHT DEM STRAHL AUSSETZEN.

ADVARSEL

USYNLIG LASERSTRÅLING VED ÅBNING NÅR SIKKERHEDSAFBRYDERE ER UDE AF FUNKTION. UNDGÅ UDSAETTELSE FOR STRÅLING.

VARNING OSYNLIG LASERSTRÅLNING NÄR DENNA DEL ÄR ÖPPEND. STRÅLEN ÄR FARLIG.

APL

• These labels are located on the interior.

• Varningsanvisning för laserstrålning. Placerad i apparaten.

CAUTION

USE OF CONTROLS OR ADJUSTMENTS OR PERFORMANCE OF PROCEDURES OTHER THAN THOSE SPECIFIED HEREIN MAY RESULT IN HAZARDOUS RADIATION EXPOSURE.

ADVARSEL

Usynlig laserstråling ved åbning. Undgå udsaettelse for stråling.

VAROITUS

Laitteen käyttäminen muulla kuin tässä käyttöohjeesa mainitulla tavalla saattaa altistaa käyttäjän turvallisuusluokan 1 ylittävälle näkymättömälle lasersäteilylle.

VARNING

Om apparaten används på annat sätt än i denna bruksanvisning specificerats, kan användaren utsättas för osynlig laserstrålning, som överskrider gränsen för laserklass 1.

Page 4

Important Information

Read the Following Before Operating the D24

Warnings

• Do not subject the D24 to extreme temperatures, humidity, direct sunlight, or dust, which could be a potential ﬁre or electrical shock hazard.

• Connect the D24 power cord to an AC outlet of the type stated in this or as indicated on the D24. Failure to do so is a ﬁre and electrical shock hazard.

• Do not plug several devices into the same AC outlet. This may overload the AC outlet, and could be a ﬁre or electrical shock hazard. It may also affect the performance of some devices.

• Do not place heavy objects on the power cord. A damaged power cord is a potential ﬁre and electrical shock hazard.

• If the power cord is damaged (e.g., cut or a bare wire is exposed), ask your dealer for a replacement. Using the D24 with a damaged power cord is a ﬁre and shock hazard.

• Hold the power cord plug when disconnecting from an AC outlet. Never pull the cord. A power cord damaged through pulling is a potential ﬁre and electrical shock hazard.

Owner’s Manual

• Do not place small metal objects on top of the D24. Metal objects falling inside the D24 is a ﬁre and electrical shock hazard.

• Do not block the D24 ventilation slots. The D24 has ventilation slots at the side and a cooling fan at the rear to keep the internal components cool. Blocking the ventilation slots or obstructing the fan’s airﬂow is a potential ﬁre hazard.

• Do not attempt to modify the D24. This is a potential ﬁre and electrical shock hazard.

• The D24 operating temperature is between 5˚C and 35˚C (41˚F and 95˚F).

Cautions

• Allow enough free space around the unit for normal ventilation. This should be: 10 cm behind and 20 cm above. These distances should also be adopted when rack-mounting the unit. For normal ventilation during use, remove the rear of the rack or open a ventilation hole. If the airﬂow is not adequate, the unit will heat up inside and may cause a ﬁre.

• Turn off audio devices when connecting them to the D24, and use only the cables speciﬁed in the relevant owner’s manuals.

• If you notice any abnormality—such as smoke, odor, or noise—turn off the D24 immediately. Remove the power cord from the AC outlet. Conﬁrm that the abnormality is no longer present. Using the D24 in this condition is a potential ﬁre and shock hazard. Consult your dealer for repair.

• If a foreign object or water gets inside the D24, turn it off immediately. Remove the power cord from the AC outlet. Using the D24 in this condition is a potential ﬁre and electrical shock hazard. Consult your dealer for repair.

• If you plan not to use the D24 for a long period of time, remove the power cord from the AC outlet. Leaving the D24 connected is a potential ﬁre hazard.

• Do not use benzene, thinner, cleaning detergent, or a chemical cloth to clean the D24. Use only a soft, dry cloth.

D24—Owner’s Manual

Page 5

MO Disks

• Use only MO disks of the type speciﬁed in this manual.

• Store MO disks in a place free from extreme temperatures, humidity, dust, and dirt.

• Do not slide open the MO disk shutter, and never touch the actual disk.

• If an MO disk is stored in a cold place (e.g., overnight in a car), and then moved to a warmer environment, condensation may form on the disk. In this case, the disk should be left to acclimatize for about 30 minutes before use.

Interference

The D24 uses high-frequency digital circuits that may cause interference on radio and television equipment located nearby. If interference is a problem, relocate the affected equipment.

D24 Exclusion of Certain Responsibility

Manufacturer, importer, or dealer shall not be liable for any incidental damages including personal injury or any other damages caused by improper use or operation of the D24.

Package Contents

The D24 package should contain the following items. Contact your Yamaha dealer if you are missing an item.

• D24 Digital Multitrack Recorder

• This manual

•Power cord

• MO disk

• Disk eject tool

Trademarks

ADAT MultiChannel Optical Digital Interface is a trademark and ADAT and Alesis are registered trademarks of Alesis Corporation. Apple and Macintosh are registered trademarks of Apple Computer, Inc. Digidesign and OMF are registered trademarks and Sound Designer II is a trademark of Avid Technology, Inc. Tascam Digital Interface is a trademark and Tascam and Teac are registered trademarks of Teac Corporation. MS-DOS is a registered trademark and Windows is a trademark of Microsoft Corporation. Yamaha is a trademark of Yamaha Corporation. All other trademarks are the property of their respective holders and are hereby acknowledged.

No part of the D24 software or this Owner’s Manual may be reproduced or distributed in any form or by any means without the prior written authorization of Yamaha Corporation.

D24—Owner’s Manual

Page 6

Contents

1 Welcome to the D24 . . . . . . . . . . . . . . . . . . . . . . . . 1

Welcome to the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

About this Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Installing the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

D24 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Choosing MO Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

2 Touring the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Transport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Power Switch & Phones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Jog/Data & Shuttle/Cursor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Peak, Monitor, Format & Chase Buttons . . . . . . . . . . . . . . . . . . . . . . . 17

Keypad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Track Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

iii

3 The Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Turning On & Off the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Write Protecting Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Inserting & Ejecting Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Formatting MO Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Transport Operation Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Indicator Status Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

4 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

About Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Preparing to Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Setting the Recording Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Conserving Disk Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Undoing a Recording or Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Rehearsing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Extending the Top of a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Checking the Time Remaining . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Using Normal & Fine Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Using Peak Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

5 General Operation . . . . . . . . . . . . . . . . . . . . . . . . . 45

Using Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Using Fast Forward & Rewind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

A–B Repeat Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

D24—Owner’s Manual

Page 7

Contents

Soloing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Selecting the Solo Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Using Absolute & Relative Zero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Using Roll-back . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Setting the Roll-back Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Using Virtual Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Shuttling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Nudging the Current Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Setting the Nudge Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Using Varispeed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

6 Quick Locate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Searching for Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Project Search Confirmation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Selecting Projects Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Returning to Zero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Using the A & B Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Locating the LAST REC IN & OUT Points . . . . . . . . . . . . . . . . . . . . . . 62

Locating Positions Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Storing Locate Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Storing Locate Points Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Recalling Locate Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

7 Punch In/Out Recording . . . . . . . . . . . . . . . . . . . . 67

About Punch In/Out Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Manual Punch In/Out Rehearsal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Manual Punch In/Out Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Setting the LAST REC IN & OUT Points . . . . . . . . . . . . . . . . . . . . . . . . 71

Auto Punch In/Out Rehearsal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Auto Punch In/Out Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Setting the Pre-roll Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Setting the Post-roll Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

8 Editing Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Copying Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Erasing Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Deleting Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Titling Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Protecting Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Modifying a Project’s Start Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

9 Editing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Copying Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Moving Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Erasing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Swapping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Slipping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

10 Editing Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Copying Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Moving Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

D24—Owner’s Manual

Page 8

Contents

Deleting Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Erasing Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Inserting Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Insert Copying Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Time Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Pitch Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

11 Wordclocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Wordclocks & the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Wordclock Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Dual AES/EBU Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Selecting a Wordclock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Wordclock System Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Terminating BNC Wordclock Distribution . . . . . . . . . . . . . . . . . . . . . 131

12 Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Timecode & the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Timecode Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Selecting a Timecode Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Setting the Timecode Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Setting a Timecode Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Chasing External Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Setting the Chase Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Transmitting MTC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Timecode Hookup Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

13 Multiple D24s & Video Sync . . . . . . . . . . . . . . . . . 143

Multiple D24s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Expanding the Number of Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Extending the Recording Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Setting the Serial Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Using Video Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Terminating BNC Video Sync Distribution . . . . . . . . . . . . . . . . . . . . . 150

Connecting a Video Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Video Hookup Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

14 SCSI & External Disk Drives . . . . . . . . . . . . . . . . . . 153

SCSI & the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Using External Disk Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Certified Disk Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Available Recording Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Connecting Disk Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Assigning SCSI IDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Terminating the SCSI Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Formatting External Disk Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Selecting the Work Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Duplicating MO Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Copying Projects Between Disk Drives . . . . . . . . . . . . . . . . . . . . . . . . . 164

Mounting D24 Disks on a Personal Computer . . . . . . . . . . . . . . . . . . . 165

Connecting the D24 to a Personal Computer . . . . . . . . . . . . . . . . . . . . 166

D24—Owner’s Manual

Page 9

Contents

15 Other Functions . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Setting the Peak Hold Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Setting the Fade In/Out Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Setting the Display Brightness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Setting the Remote ID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Recovering Disk Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Physical Formatting for MO Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Ejecting Troublesome Disks (emergency use) . . . . . . . . . . . . . . . . . . . 174

Initializing the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Checking the Version Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Updating the System Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

16 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

MIDI & the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

MIDI Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Using MMC (MIDI Machine Control) . . . . . . . . . . . . . . . . . . . . . . . . . 178

17 Digital Audio I/O . . . . . . . . . . . . . . . . . . . . . . . . . 181

About mini YGDAI Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Card Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Choosing Digital I/O Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Choosing D24 Slots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Selecting Slot Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Installing Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Using Dual AES/EBU Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Using the Coaxial Digital Input & Output . . . . . . . . . . . . . . . . . . . . . . 187

Assigning the Coaxial Input & Output . . . . . . . . . . . . . . . . . . . . . . . . . 188

Emphasis & the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

SCMS & the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Digital I/O & Wordlength . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Setting the SCSI ID of the Internal MO Drive . . . . . . . . . . . . . . . . . . . 193

Error Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Connector Pin Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

D24 Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . 211

D24—Owner’s Manual

Page 10

In this chapter...

Welcome to the D24

Welcome to the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

About this Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Installing the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

D24 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Choosing MO Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

D24—Owner’s Manual

Page 11

Chapter 1—Welcome to the D24

Welcome to the D24

Thank you for choosing the Yamaha D24 Digital Multitrack Recorder.

The D24 uses standard 3.5-inch removable MO (Magneto Optical) disks for digital audio recording and playback. By employing a removable media, backup downtime in between sessions is eliminated. When one session is complete, simply insert a new disk and begin recording right away. Random access capability provides instant access to up to 99 projects per disk, 99 locate memories per project, all without unproductive rewinding and fast forwarding. Audio data is not compressed, and superb sonic performance is achieved using 16-, 20-, or 24-bit recording resolutions and 44.1 kHz, 48 kHz,

88.2 kHz, or 96 kHz sampling rates, all of which can be set on a project-by-project basis.

Overwrite-type 640 MB MO disks offer 8-track simultaneous recording, with a 24-bit recording resolution and 44.1 kHz or 48 kHz sampling rates, and 4-track simultaneous recording at the higher sampling rates of 88.2 kHz or 96 kHz. A single 640 MB MO disk provides a total recording time of 120 track minutes, or 30 minutes for 4 tracks, 15 minutes for 8 tracks. In addition to the eight main tracks, each track features up to eight virtual tracks, for a grand total of 64 tracks. Auto punch in/out recording, with multiple take capability, allows you to choose the best from up to 99 takes. Both manual and auto punch in/out recording can be rehearsed with automatic playback and input monitor switching.

Video machine-like shuttle playback makes it easy to locate material, and the current position can be nudged in sub-frame steps while listening to a small section of the surrounding material. Tracks can be soloed for individual track monitoring. Other features include ±6% varispeed, A-B repeat playback, and fast forward or rewind at 8x or 16x normal playback speed.

In addition to the 99 locate memories, the A, B, Last Rec In, and Last Rec Out points offer additional ways locate speciﬁc positions quickly, repeatedly, and accurately. Other quick locate functions include Project Search, Return to Zero, and Roll Back. Location points can be speciﬁed with sub-frame accuracy.

Additional recording space can be made available, and projects backed up by connecting optional, external hard disk drives or removable media disk drives to the D24’s SCSI port. The number of tracks available for simultaneous recording and playback can be expanded in multiples of eight by combining up to eight D24s. The total continuous recording time can be extended by using two D24s in Serial mode. The D24’s 3U rack size makes it a drop-in alternative to modular digital multitrack recorders.

Optional mini YGDAI (Yamaha General Digital Audio Interface) cards offer a variety of analog and digital I/O conﬁgurations, with support for all the popular digital audio interconnect formats: AES/EBU, ADAT, and Tascam TDIF-1. S/PDIF Coaxial I/O allows digital stereo transfer between 2-channel digital audio equipment, CD players, DAT decks, and mastering equipment. A front panel phones jack provides convenient monitoring.

Once recorded, projects, tracks, and parts can be edited using non-destructive editing functions, such as 50% to 200% time compression and expansion, ideal for audio-ﬁt-video applications, and pitch change without speed change. Project editing functions include Copy, Delete, Erase, Title, Protect, and Timecode Modify. Track editing functions include Copy, Move, Erase, Swap, and Slip. Part editing functions include Copy, Move, Erase, Insert Space, Insert Copy, and Delete, with single-step undo and redo. Edit points can be speciﬁed with sub-frame accuracy.

D24—Owner’s Manual

Page 12

About this Manual

Tape recorder-like transport controls, and the Large vacuum ﬂuorescent display, with large, easy to read counter, make operation a breeze. Visual level monitoring is provided by eight 16-segment track level meters. Selectable normal and ﬁne scales make it easy to set precise levels when recording reference tones. Also, projects can be titled for easy identiﬁcation.

The D24 can generate, or synchronize to either SMPTE/EBU or MTC (MIDI Timecode) timecode. Timecode synchronization is to 1/10-frame accuracy, and an offset can be set relative to an external timecode source.

Remote control is possible using MMC (MIDI Machine Control), or video editing equipment that supports 9-pin protocols.

Other features include Absolute (ABS) and Relative (REL) counter modes, disk duplication with two D24s, and the ability to mount D24 MO disks on personal computers.

See “D24 Features” on page 4 for a concise rundown of D24 features.

About this Manual

This Owner’s Manual contains all the information you need in order to operate your D24 Digital Multitrack Recorder. Use the table of contents to familiarize yourself with the organization of this manual and locate topics, and use the index to locate speciﬁc information. A glossary of D24-related jargon is provided on page 201.

The following format is used throughout this “FORMAT DISK—ARE YOU SURE”. The message before the dash appears on the 1st line of the display, and the message after the dash appears on the 2nd line.

Owner’s Manual for display messages:

Installing the D24

The D24 can be used freestanding on a stable surface, somewhere that complies with the important information at the beginning of this manual, or mounted in a rack.

When mounting the D24 in a rack, remove the D24’s feet and leave adequate ventilation space around the D24 (at least 10 cm of free space behind). If the D24 is mounted in a portable rack case, keep the rear of the case open when using the D24, so as not to obstruct the ﬂow of air from the cooling fan. Do not mount the D24 next to equipment that produces a lot of heat, such as a power ampliﬁer.

D24—Owner’s Manual

Page 13

Chapter 1—Welcome to the D24

D24 Features

Recording Media

• Standard 3.5-inch MO (Magneto Optical) disks.

• Convenient removable media for quick access to recorded material and sound libraries.

• No backup downtime, loading, or winding.

• Up to 99 projects per disk.

Sonic Performance

• 16/20/24-bit linear recording for superb sonic quality.

• 44.1/48/88.2/96 kHz sampling rates.

• Sampling rate and recording resolution can be set on a project-by-project basis.

Recording

• 8-track simultaneous recording on 640 MB Overwrite-type MO disks, with a 24-bit recording resolution and 44.1 kHz or 48 kHz sampling rate.

• 4-track simultaneous recording on 640 MB Overwrite-type MO disks, with a 24-bit recording resolution and 88.2 kHz or 96 kHz sampling rate.

• 120 track minutes (15 minutes for 8 tracks) using 640 MB MO disks (16-bit, 44.1 kHz).

• 8 virtual tracks per main track, for a total of 64 tracks.

• Auto punch in/out recording with multiple take capability—record and choose the best from up to 99 takes.

• Manual and auto punch in/out recording, with rehearsal.

Playback

• Video machine-like shuttle playback.

• Position nudge, with audio listen.

• Solo function for individual track monitoring.

• ±6% varispeed.

• A-B repeat playback.

Quick Locate

• Up to 99 locate points per project, plus A, B, Last Rec In, and Last Rec Out points.

• Project Search, Return to Zero, and Roll Back functions.

• Location points can be speciﬁed with sub-frame accuracy.

• Fast forward or rewind at 8x or 16x normal playback speed.

System Expansion

• SCSI port for connecting external disk drives (hard disks, removable media drives, etc).

• Tracks can be expanded by combining up to eight D24s, for a total of 64-tracks.

• Continuous recording time can be extended by using two D24s in Serial mode.

• 3U rack size for drop-in alternative to tape-based modular digital multitrack recorders.

D24—Owner’s Manual

Page 14

D24 Features

Flexible I/O

• Optional mini YGDAI (Yamaha General Digital Audio Interface) cards offer a variety of analog and digital I/O conﬁgurations, with support for all the popular digital audio interconnect formats: AES/EBU, ADAT, and Tascam TDIF-1.

• S/PDIF Coaxial I/O.

• Phones.

Editing

• Project editing functions include Copy, Delete, Erase, Title, Protect, and Timecode Modify.

• Track editing functions include Copy, Move, Erase, Swap, and Slip.

• Part editing functions include Copy, Move, Erase, Insert Space, Insert Copy, and Delete.

• Edit Undo/Redo function.

• Edit points can be speciﬁed with sub-frame accuracy.

• 50% to 200% time compression and expansion, for audio-ﬁt-video applications.

• Pitch Change function provides pitch change without speed change.

Easy Operation

• Tape recorder-like transport controls.

• Large vacuum ﬂuorescent display, with large, easy to read counter.

• 16-segment track level meters, with selectable normal and ﬁne scales.

• Projects can be titled for easy identiﬁcation.

Synchronization

• SMPTE/EBU or MTC (MIDI Timecode) synchronization, with timecode offset.

• Timecode synchronization to 1/10-frame accuracy.

• Wordclock I/O for master/slave operation.

Remote Control

• MMC (MIDI Machine Control).

• 9-pin video editor protocols with video sync.

• Optional RC-D24 Remote Controller.

Others

• Absolute (ABS) and Relative (REL) counter modes.

• Project backup.

• Disk duplication with two D24s.

• Mount D24 MO disks on personal computers.

D24—Owner’s Manual

Page 15

Chapter 1—Welcome to the D24

Choosing MO Disks

The D24’s internal MO disk drive uses removable 3.5-inch MO (Magneto Optical) disks for recording and playback. Normal or Overwrite-type MO disks in a variety of sizes can be used, but only 640 MB Overwrite-type disks support 8-track simultaneous recording with a 24-bit recording resolution. The number of tracks available for simultaneous recording depends on the type of MO disk used, its capacity, the selected recording resolution, and sampling rate. See the following section for more information.

Both normal and Overwrite-type MO disks support 8-track simultaneous playback at sampling rates of 44.1 kHz and 48 kHz, and 4-track simultaneous playback at 88.2 kHz and 96 kHz.

Overwrite-type disks feature the Overwrite logo shown here.

Tracks Available for Simultaneous Recording

The following table lists the number of tracks available for simultaneous recording with a variety of normal and Overwrite-type MO disks at each recording resolution and sampling rate.

Disk Type

16-bit 20-bit 24-bit 16-bit 20-bit 24-bit

640 MB

Overwrite

230 MB

640 MB

Normal

230 MB

44.1, 48 kHz 88.2, 96 kHz

888444

866433

532211

For performance reasons, it’s recommended that you do not use 128 MB MO disks.

When tracks that have already been recorded are playing back, depending on the number and performance of those tracks (i.e., how heavily they’ve been edited), the number of tracks available for simultaneous recording is reduced. Use the Optimize function to arrange the recorded sound ﬁles for optimum performance. See “Recovering Disk Space” on page 172 for more information.

Recording Time

The total recording time depends on the disk capacity, recording resolution, and sampling rate. A 640 MB Overwrite-type MO disk, for example, offers a total recording time of 120 track minutes with a 16-bit recording resolution and 44.1 kHz sampling rate.

The following table lists the approximate recording times offered by a variety of MO disk capacities, with a 16-bit recording resolution and 44.1 kHz sampling rate.

Disk Capacity

640 MB

230 MB

D24—Owner’s Manual

Track minutes

Recording Time (16-bit, 44.1 kHz)

(mono)

120 min 60 min 30 min 15 min

43 min 21 min 10 min 5 min

2 tracks 4 tracks 8 tracks

Page 16

Choosing MO Disks

The following table lists the approximate recording times available using 640 MB MO disks at a variety of recording resolutions and sampling rates.

Bit

Sampling

Rate

44.1 kHz

48 kHz

88.2 kHz

96 kHz

44.1 kHz

48 kHz

88.2 kHz

96 kHz

44.1 kHz

48 kHz

88.2 kHz

96 kHz

Track minutes

(mono)

120 min 60 min 30 min 15 min

111 min 55 min 27 min 13 min

60 min 30 min 15 min —

55 min 27 min 13 min —

96 min 48 min 24 min 12 min

88 min 44 min 22 min 11 min

48 min 24 min 12 min —

44 min 22 min 11 min —

80 min 40 min 20 min 10 min

74 min 37 min 18 min 9 min

40 min 20 min 10 min —

37 min 18 min 9 min —

2 tracks 4 tracks 8 tracks

Higher recording resolutions and sampling rates offer higher quality, but produce more data, which reduces the total available recording time. Use the Remain function to check the available recording time. See “Checking the Time Remaining” on page 38 for more information.

The number of tracks available for simultaneous recording can be expanded using multiple D24s. See “Multiple D24s” on page 144 for more information.

The D24’s internal MO disk drive supports 230 MB, 540 MB, and 640 MB MO disks. See the Yamaha Professional Audio Web site at the address below for up-to-date news on MO disks.

<http://www.yamaha.co.jp/product/proaudio/homeenglish/>

Preformatted MO Disks

MO disks preformatted for use with PC or Macintosh computers can be used with the D24, but require formatting before use. See “Formatting MO Disks” on page 26 for more information.

Calculating the approximate Recording Time

You can calculate the approximate recording time for a given recording resolution, sampling rate, and disk capacity as follows. First multiple the recording resolution by the sampling rate to get the number of bits produced per second (e.g., 16 705,600 bits per second). Then divide that by eight to get the number of bytes per second (e.g., 705,600 of bytes required per minute (e.g., 88,200

8 = 88,200 bytes per second). Multiply that by 60 to get the number

60 = 5,292,000 bytes per minute, or 5.292 MB/min). Now you know the number of megabytes required to store one minute of audio data, simply divide the capacity of the disk by that number to get the approximate number of track minutes (e.g., 640,000,000

÷ 5,292,000 = 120 minutes). Finally, divide

the number of track minutes by two, four, or eight to get the approximate recording

time available for several tracks (e.g., 120 ÷ 8 = 15 minutes for 8-track simultaneous

recording).

44100 =

D24—Owner’s Manual

Page 17

In this chapter...

Touring the D24 9

Touring the D24

Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Transport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Power Switch & Phones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Jog/Data & Shuttle/Cursor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Peak, Monitor, Format & Chase Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Keypad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Track Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

D24—Owner’s Manual

Page 18

10 Chapter 2—Touring the D24

Front Panel

OVER

–dB

6 1012 1420 1830

2660

READY

RECORD

READY

SOLO/

SELECT

PEAK HOLD

Display

TIME DISPLAY

AUTO

ALL

INPUT

MONITOR SELECT

7654321

FORMAT CHASE

ABS H

OVER

–dB

00 00 00 00

2 6 12 20 30 42

LOCK

READY

0/-

MSF

YAMAHA D24

INT

WC BITFSTC

48K

MASTER

LOCATEENTERCANCEL

PROJECT SELECT

LOC MEM RECALL

LOC MEM STORE

CAPTURE ABS/REL

VARI SPEED

V. TR ACK SELECT

UTILITY

EDIT

JOG/DATA SHUTTLE/

REMAIN

SETUP

UNDO/ REDO

JOG ON

CURSOR

The D24 front panel is explained in the following sections.

1 2 3

PROJECT SEARCH

ROLL

RTN TO

BACK

ZERO

REW FF

DIGITAL MULTITRACK RECORDER

LAST REC

OUT

STOP PLAY REC

SET

REPEAT

POWER

OFF

AUTO PUNCH

REHE

010 PHONES

LEVEL

PHONES

OVER

–dB 2 6 12 20 30 42 60

READY

OVER

–dB

6 10 12 14 20 18 30

26 60

READY 12345678

ABS REL

LOCK

CHASE

MSF

00 00 00 00

000000000000 000000000000

WC BIT

INT EXT

16 20 24

44.1K48K96KVARI

MASTER SLAVE

4 9865 J7 K

A Level meters

These 16-segment track meters, with Peak Hold function, show playback and input signal levels from –60 dB to 0 dB. In Fine mode, they display levels from –26 dB to 0 dB. The OVER indicator lights up when several consecutive audio samples exceed the digital saturation point. See “Metering” on page 39 for more information.

When the Shuttle, Nudge, Time Compression, or Pitch Change function is used, track meters 7 and 8 function as stereo meters, and meters 1 through 6 are turned off.

B ABS/REL indicators

These indicators show whether the counter is displaying absolute (ABS) time or relative (REL) time. See “Using Absolute & Relative Zero” on page 49 for more information.

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Page 19

Display 11

C Counter

The main counter shows the current position in hours, minutes, seconds, and frames, (00:00:00.00), and can display the absolute (ABS) time or relative (REL) time. See “Using Absolute & Relative Zero” on page 49 for more information.

The 2nd line of the message area displays time information in hours, minutes, seconds, frames, and sub-frames (00:00:00.00.0). Each sub-frame is one tenth of a frame, making 10 sub-frames per frame.

The 2nd line is also used to display the remaining recording time. See “Checking the Time Remaining” on page 38 for more information.

Hour Min Sec fr

HMS F

00 00 00 00

STOP

000000000

Hour Min Sec fr sub-fr

D READY indicators

These indicators show which tracks are selected for recording. When a track is selected for recording, the corresponding READY indicator ﬂashes. During recording or rehearsal, the corresponding indicator lights up continuously. See “Recording” on page 33 for more information.

E Message area

The message area consists of two lines that can each display up to 12 characters, which typically show the status and operating mode of the D24, function and parameter names and values, project titles and numbers, locate memory numbers, editing information, time values, and so on.

F LOCK indicator

This indicator shows whether or not the D24 is locked to the selected wordclock source. See “Selecting a Wordclock Source” on page 124 for more information.

G CHASE indicator

This indicator shows whether or not the D24 is synchronized to the external timecode source. It ﬂashes when the D24 is chasing, and lights up continuously when it’s fully synchronized. See “Chasing External Timecode” on page 138 for more information.

H WC window

This window shows the selected wordclock source: internal (INT) or external (EXT). See “Selecting a Wordclock Source” on page 124 for more information.

I BIT window

This window shows the selected recording resolution: 16, 20, or 24. See “Setting the Recording Resolution” on page 32 for more information.

J FS window

This window shows the selected sampling rate: 44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz. When 88.2 kHz is selected, both the 44.1 kHz and 96 kHz indicators light up. See “Selecting a Wordclock Source” on page 124 for more information.

The “VARI” indicator lights up when the Varispeed function is turned on. See “Using Varispeed” on page 55 for more information.

K TC window

This window shows the selected timecode source: master or slave. When set to master, the D24 uses internal timecode, and when set to slave, an external timecode source. See “Selecting a Timecode Source” on page 135 for more information.

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12 Chapter 2—Touring the D24

Transport Controls

3 2 1

PROJECT SEARCH

RTN TO

ZERO

ROLL BACK

REW FF

6 7

LAST REC

OUT

STOP PLAY REC

SET

REPEAT

M N O P Q

AUTO PUNCH

REHE

9 J

K L

The “Transport Operation Table” on page 27 and the “Indicator Status Tables” on page 28 list how the transport buttons and indicators function in each transport mode.

A A & B buttons & indicators

These buttons are used to set and locate the A and B points. The A and B indicators light up when the respective A or B point is set. See “Using the A & B Points” on page 61 for more information.

B ROLL BACK button

This button is used to roll back from the current position in steps of between 1 and 30 seconds, the default being 5 seconds. See “Using Roll-back” on page 50 for more information.

C RTN TO ZERO button

This button is used to locate the zero position. See “Returning to Zero” on page 60 for more information.

D LAST REC IN & OUT buttons & indicators

These buttons are used to set and locate the LAST REC IN and LAST REC OUT points. The IN and OUT indicators light up when the respective IN or OUT point is set. See “Setting the LAST REC IN & OUT Points” on page 71 and “Locating the LAST REC IN & OUT Points” on page 62 for more information.

E PROJECT SEARCH buttons

These buttons are used to search for projects. Pressing the [ ] button selects the top of the current project. Pressing the [ ] button selects the top of the next project. See “Searching for Projects” on page 58 for more information.

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Transport Controls 13

F MO disk drive slot

MO disks are loaded into the internal MO drive through this slot. See “Inserting & Ejecting Disks” on page 25 for more information.

G Manual eject hole

This hole is used when disks cannot be ejected in the normal way. See “Ejecting Troublesome Disks (emergency use)” on page 174 for more information.

H Eject button & activity indicator

This button is used to eject MO disks, but also functions as a drive activity indicator, lighting up when the disk drive is busy. See “Inserting & Ejecting Disks” on page 25 for more information.

I AUTO PUNCH button & indicator

This button selects the Auto-Punch In/Out function. The AUTO PUNCH indicator ﬂashes when this function is on. See “Auto Punch In/Out Recording” on page 68 for more information.

J SET button

This button is used in conjunction with the LAST REC [IN], LAST REC [OUT], [A], and [B] buttons to set the LAST REC IN, LAST REC OUT, A, and B points, respectively. See “Setting the LAST REC IN & OUT Points” on page 71 and “Setting the A & B Points” on page 61 for more information. It’s also used in conjunction with the [RTN TO ZERO] button to set the relative zero position. See “Using Absolute & Relative Zero” on page 49 for more information.

The [SET] button is also used in conjunction with the [ENTER] button for the Auto Memory Store function, and in conjunction with the [LOCATE] button to set the Keypad Timecode Input mode. See “Storing Locate Points Automatically” on page 65 and “Locating Positions Directly” on page 63 respectively for more information.

K REHE button & indicator

This button is used to engage Rehearsal Standby mode and, when pressed together with the [PLAY] button, punch in rehearsal. In Rehearsal mode, recording can be practiced, with automatic playback and input monitor switching at the punch in and out points, without actually recording anything to disk. The REHE button indicator ﬂashes in Rehearsal Standby mode, and lights up continuously during rehearsal. See “Rehearsing” on page 36, “Manual Punch In/Out Rehearsal” on page 69, and “Auto Punch In/Out Rehearsal” on page 72 for more information.

L REPEAT button & indicator

This button selects the A–B Repeat playback function. The REPEAT indicator lights up when this function is on. See “A–B Repeat Playback” on page 47 for more information.

M REW button

This button is used to start rewind. Press it once for rewind at 8x normal play speed, the REW button indicator ﬂashes. Press it again for rewind at 16x normal play speed, the REW button indicator lights up continuously. Pressing and holding the REW button during playback rewinds at 8x normal play speed.

N FF button

This button is used to start fast forward. Press it once for fast forward at 8x normal play speed, the FF button indicator ﬂashes. Press it again for fast forward at 16x normal play speed, the FF button indicator lights up continuously. Pressing and holding the FF button during playback fast forwards at 8x normal play speed.

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14 Chapter 2—Touring the D24

O STOP button

This button is used to stop playback, recording, rehearsal, rewind, and fast forward, and to cancel the Rehearse Standby mode. The STOP button indicator lights up when the D24 is stopped.

P PLAY button

This button is used to start playback, punch out of recording or rehearsal, and in conjunction with the [REC] and [REHE] buttons, punch in for recording or rehearsal, respectively. The PLAY button indicator lights up during playback, recording, and rehearsal.

Q REC button

This button is used in conjunction with the [PLAY] button to start recording. The REC button indicator lights up while recording. See “Recording” on page 29 for more information.

Power Switch & Phones

POWER

OFF

010

PHONES

LEVEL

PHONES

A POWER switch

This switch is used to turn on and off the D24. It’s recessed to prevent accidental operation. See “Turning On & Off the D24” on page 24 for more information.

B PHONES LEVEL control

This control is used to adjust the volume level of the phones. See “Monitoring” on page 42 for more information.

C PHONES jack

A pair of stereo headphones can be connected to this stereo phone jack for monitoring. See “Monitoring” on page 42 for more information.

The following illustration shows how the PHONES jack is wired.

1/4" TRS phone plug

D24—Owner’s Manual

Tip (left)

Ring (right)

Sleeve (ground)

Page 23

Jog/Data & Shuttle/Cursor Controls 15

Jog/Data & Shuttle/Cursor Controls

JOG ON

JOG/DATA SHUTTLE/

CURSOR

A JOG ON button & indicator

This button is used to turn on the Nudge and Shuttle functions. The JOG ON indicator lights up when these functions are on. See “Nudging the Current Position” on page 53 and “Shuttling” on page 52 for more information.

B JOG/DATA dial

This is a dual-function control, the operation of which depends on the [JOG ON] button. When [JOG ON] is off, the JOG/DATA dial is typically used for time and data entry and selecting parameters and functions on the display. Time values can be entered on the 2nd line of the display using the keypad, and then adjusted up or down in sub-frame steps using the JOG/DATA dial.

When [JOG ON] is on, the JOG/DATA dial is used to nudge the current position while auditioning a small section of recorded material. See “Nudging the Current Position” on page 53 for more information.

When the [VARI SPEED], [UTILITY], [SETUP], [V.TRACK SELECT], or [EDIT] button is pressed, the JOG/DATA dial is used to select functions and set parameter values.

C SHUTTLE/CURSOR ring

This is a dual-function control, the operation of which depends on the [JOG ON] button. When [JOG ON] is off, the SHUTTLE/CURSOR ring is used to move the cursor on the display when selecting virtual tracks, titling projects, setting a timecode offset, or setting the absolute start time for a new project.

When [JOG ON] is on, the SHUTTLE/CURSOR ring is used to shuttle forwards or backwards at various speeds while auditioning the recorded material. See “Shuttling” on page 52 for more information.

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16 Chapter 2—Touring the D24

Function Buttons

TIME DISPLAY

UTILITY

EDIT

REMAIN

SETUP

UNDO/ REDO

4 3

CAPTURE ABS/REL

VARI SPEED

V . TRACK SELECT

A EDIT button & indicator

This button is used to access the edit functions. The EDIT indicator lights up when this button is pressed. The D24 must be stopped to use the edit functions. See “Editing Projects” on page 77, “Editing Tracks” on page 85, and “Editing Parts” on page 95 for more information.

B V. TRACK SELECT button & indicator

This button is used to access the Virtual Track function. The V. TRACK SELECT indicator lights up when the Virtual Track function is on. See “Using Virtual Tracks” on page 51 for more information.

C UTILITY button & indicator

This button is used to access the utility functions. The UTILITY indicator lights up when this button is pressed. The D24 must be stopped to use the utility functions.

D VARI SPEED button & indicator

This button is used to access the Varispeed function. The VARI SPEED indicator lights up when the Varispeed function is on. The Varispeed function can be set while the D24 is stopped or during playback.See “Using Varispeed” on page 55 for more information.

E ABS/REL button

This button is used to set the counter mode to either Absolute (ABS), the default setting, or Relative (REL). See “Using Absolute & Relative Zero” on page 49 for more information.

F CAPTURE button

This button is used to capture time positions while the D24 is stopped or during rewind, fast forward, playback, recording, or rehearsal. Captured values appear on the 2nd line of the display and can then be located or stored. See “Storing Locate Points” on page 64 for more information.

G REMAIN button & indicator

This button turns on the Remain function, which shows how much recording time is available. The REMAIN indicator lights up when the Remain function is on. See “Checking the Time Remaining” on page 38 for more information.

H SETUP button & indicator

This button is used to access the setup functions. The SETUP indicator lights up when this button is pressed. The D24 must be stopped to use the setup functions.

I UNDO/REDO button & indicator

This button is used to undo or redo the last recording or edit. See “Undoing a Recording or Edit” on page 35.

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Peak, Monitor, Format & Chase Buttons 17

Peak, Monitor, Format & Chase Buttons

1 2 3 4 5

PEAK HOLD

AUTO INPUT

MONITOR SELECT

ALL INPUT

FORMAT CHASE

A PEAK HOLD button & indicator

This button is used to turn the Peak Hold function on and off. The Peak Hold indicator lights up when the Peak Hold function is on. See “Using Peak Hold” on page 41 for more information.

B AUTO INPUT button & indicator

This button selects the Auto Input function. The Auto Input function works best with punch in/out recording. The AUTO INPUT indicator lights up when the Auto Input function is on.

Normally, when a track is selected for recording, its input signal is monitored during recording. When the Auto Input function is on, however, track monitoring is automatically switches from playback to input signal at the punch-in point, and from input signal back to playback at the punch-out point. See “Monitoring” on page 42 for more information.

C ALL INPUT button & indicator

This button selects the All Input function. When the All Input function is on, all track inputs are monitored regardless of the transport mode, [RECORD READY] buttons. The ALL INPUT indicator lights up when the All Input function is on. See “Monitoring” on page 42 for more information.

D FORMAT button & indicator

This button selects the Format function. The FORMAT indicator lights up when the Format function is used. New MO disks and external disk drives must be formatted before they can be used for recording with the D24. See “Formatting MO Disks” on page 26 and “Formatting External Disk Drives” on page 158 for more information.

E CHASE button & indicator

This button selects Chase mode, in which the D24 synchronizes to an external timecode source. The CHASE indicator lights up when the Chase function is on. See “Chasing External Timecode” on page 138 for more information.

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18 Chapter 2—Touring the D24

Keypad

PROJECT

SELECT

LOC MEM

RECALL

LOC MEM

STORE

LOCATEENTERCANCEL0/-

A Keypad buttons

The keypad is used with various functions to enter time values, parameter values, project numbers, locate memory numbers, and so on.

The [0/-] is used to enter the number “0” and to make values plus or minus.

B PROJECT SELECT button & indicator

This button is used to select projects by number. The PROJECT SELECT indicator lights up when the Project Select function is on. See “Selecting Projects Directly” on page 59 for more information.

C LOC MEM RECALL button & indicator

This button is used to recall locate memories. The LOC MEM RECALL indicator lights up when the Locate Memory Recall function is on. See “Recalling Locate Points” on page 66 for more information.

D LOC MEM STORE button & indicator

This button is used to store locate memories. The LOC MEM STORE indicator lights up when the Locate Memory Store function is on. See “Storing Locate Points” on page 64 for more information.

E LOCATE button

This button is used to locate the position speciﬁed on the 2nd line of the display. See “Locating Positions Directly” on page 63 and “Recalling Locate Points” on page 66 for more information.

F CANCEL button

This button is used to cancel functions and reset time values to zero on the 2nd line of the display.

G ENTER button

This button is used to select, conﬁrm, and execute functions.

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Page 27

Track Buttons

RECORD

READY

Track Buttons 19

7654321

SOLO/

SELECT

A RECORD READY buttons 1–8

These buttons are used to select tracks for recording. When a track is selected for recording, the corresponding READY indicator ﬂashes. During recording or rehearsal, the corresponding indicator lights up continuously. See “Recording” on page 33 for more information.

B SOLO/SELECT buttons & indicators 1–8

These buttons are used to solo individual tracks. When a track is soloed, the corresponding SOLO/SELECT indicator lights up. See “Soloing Tracks” on page 48 for more information.

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20 Chapter 2—Touring the D24

Rear Panel

VIDEO

OUTPUT

INPUT

ON OFF

TERM THRU

MODEL D24 DIGITAL MULTITRACK RECORDER

L M P Q RON

A VIDEO OUTPUT connector

B VIDEO INPUT connector

KJ9875 6421

WORD CLOCK

OUTPUT

AC IN

INPUT

OUTPUT INPUT

THRU OUT IN

TIME CODE

231

COAXIAL

OUTPUT INPUT

STEREO DIGITAL

MIDI

SERIAL I/OSCSI

SLOT 3 (ANALOG OUT)

SLOT 4 (ANALOG OUT)

SYNC OUT

SLOT 1 (ANALOG IN)

SLOT 2 (ANALOG IN)

This BNC connector transmits the video sync signal received at the VIDEO INPUT

when the VIDEO 75Ω ON/OFF switch is set to OFF. See “Using Video Sync” on page

149 for more information.

This BNC connector receives video sync signals (black burst or color bar). See “Using Video Sync” on page 149 for more information.

REMOTE IN/

SYNC IN

C VIDEO 75Ω ON/OFF switch

This switch is used to terminate the video signal received at the VIDEO INPUT connector. When set to OFF, the video sync signal received at the VIDEO INPUT is transmitted by the VIDEO OUTPUT connector. When set to ON, nothing is transmitted by the VIDEO OUTPUT connector. See “Terminating BNC Video Sync Distribution” on page 150 for more information.

D WORD CLOCK 75Ω TERM/THRU switch

This switch is used to terminate the wordclock signal received at the WORD CLOCK INPUT connector. See “Terminating BNC Wordclock Distribution” on page 131 for more information.

E WORD CLOCK OUTPUT connector

This BNC connector transmits the wordclock signal received at the WORD CLOCK

INPUT when the WORD CLOCK 75Ω TERM/THRU switch is set to THRU, or the

internally generated wordclock signal when this switch is set to TERM. See “Wordclock Connections” on page 123 for more information.

F WORD CLOCK INPUT connector

This BNC connector receives wordclock signals when the D24 is locked to an external wordclock source. See “Wordclock Connections” on page 123 for more information.

G MIDI IN, OUT & THRU ports

These are standard MIDI IN, OUT, and THRU ports and are used to connect the D24 to other MIDI equipment for use with MTC (MIDI Timecode) and MMC (MIDI Machine Control). See “MIDI Ports” on page 178 for more information.

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Rear Panel 21

H SCSI port

This 50-pin, half-pitch SCSI connector is used to connect external SCSI disk drives and removable media drives for additional recording space. The SCSI interface supports Narrow SCSI-2 (FAST-20). A personal computer equipped with SCSI can also be connected, which can then access ﬁles on the MO disk in the D24. See “SCSI & the D24” on page 154 for more information.

I SERIAL I/O port

This 9-pin D-sub connector is used to connect the D24 to a video remote controller or video editor for control using 9-pin protocols. See “Connecting a Video Editor” on page 151 for more information.

J SYNC OUT port

This 15-pin D-sub connector is used to connect multiple D24s in a synchronized system. In addition to various control signals, SYNC connections also carry wordclock and timecode signals. See “Expanding the Number of Tracks” on page 145 for more information.

K REMOTE IN/SYNC IN port

This 15-pin D-sub connector is used to connect multiple D24s in a synchronized system. It can also be used to connect an optional remote controller. In addition to various control signals, SYNC connections also carry wordclock and timecode signals. See “Expanding the Number of Tracks” on page 145 for more information.

L Cooling fan

The cooling fan keeps the internal components cool. See “Installing the D24” on page 3 for more information.

M AC IN connector

This connector is used to connect the D24 to an AC outlet, using the supplied power cord. See “Connecting the Power Cord” on page 24 for more information.

N TIMECODE OUTPUT connector

This male XLR-3-32 connector (balanced) transmits internally generated SMPTE/EBU timecode when the D24 is used as the timecode master, or the timecode received at TIMECODE INPUT when the D24 is used as a timecode slave. See “Timecode Connections” on page 134 for more information.

O TIMECODE INPUT connector

This female XLR-3-31 connector (balanced) receives SMPTE/EBU timecode when the D24 is used as a timecode slave. See “Timecode Connections” on page 134 for more information.

P COAXIAL STEREO DIGITAL OUTPUT connector

This phono jack transmits S/PDIF format, 2-channel digital audio. See “Using the Coaxial Digital Input & Output” on page 187 for more information.

Q COAXIAL STEREO DIGITAL INPUT connector

This phono jack receives S/PDIF format, 2-channel digital audio. See “Using the Coaxial Digital Input & Output” on page 187 for more information.

R SLOTs 1–4

These four slots are for use with optional mini YGDAI cards, which offer various analog and digital I/O options. See “Digital Audio I/O” on page 181 for more information.

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In this chapter...

The Basics 23

The Basics

Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Turning On & Off the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Write Protecting Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Inserting & Ejecting Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Formatting MO Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Transport Operation Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Indicator Status Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

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24 Chapter 3—The Basics

Connecting the Power Cord

Warning: Turn off all equipment before making any power connections.

Connect the socket-end of the supplied power cord to the AC IN socket on the rear panel of the D24, and the plug-end to a suitable AC wall outlet, one that conforms to the power supply requirements stated on the D24 rear panel.

Turning On & Off the D24

To prevent loud clicks and thumps in your loudspeakers, turn on your audio equipment in the following order (reverse this order when turning off your equipment)—sound sources, D24, mixing console, monitor ampliﬁer.

Before turning on the D24, turn on any external disk drives connected to the D24’s SCSI port. Disk drives that are not turned on will not be recognized by the D24. Drives that you do not intend to use should be disconnected before turning on the D24. See “Using External Disk Drives” on page 154 for more information.

1 Press the [POWER] switch to turn on the D24.

After several seconds, “NO DISK” appears on the display and the D24 is ready for use.

AC IN

POWER

OFF

2 Press the [POWER] switch again to turn off the D24.

Write Protecting Disks

MO disks feature write-protect tabs similar to those found on ﬂoppy disks, allowing you to protect your recordings against accidental overwriting.

When the write-protect tab window is open, the disk is write protected and cannot be used for recording or editing. When the write-protect tab window is closed, the disk is unprotected and both recording and editing are possible.

Individual projects can be protected using the Project Edit Protect function. See “Protecting Projects” on page 82 for more information.

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Inserting & Ejecting Disks 25

Inserting & Ejecting Disks

This section explains how to insert and eject MO disks.

1 Insert the MO disk into the disk drive with the shutter facing forward and the

labeled side facing up, as shown below. Push it in until it clicks into place.

T R

T S

RTN

The disk should slide easily into the disk drive. If it doesn’t, make sure that you’ve inserted it the right way around.

When a disk is inserted, “DISK LOADED” appears on the display.

If the disk has already been used for recording in the D24, the number and title of the ﬁrst project appear on the display. If the disk has been formatted for use with the D24 but not yet used for recording, “01 NO TITLE” is displayed.

2 To eject a disk, press the eject button, as shown below.

A L K

The eject button also functions as a drive activity indicator, lighting up when the disk drive is busy.

The eject button does not operate during recording and should not be pressed simultaneously with another button, as this may cause a malfunction.

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26 Chapter 3—The Basics

Formatting MO Disks

New MO disks and MO disks that have been used to store other kinds of data must be formatted before they can be used in the D24. The formatting process prepares a disk for storing D24 data. Formatting erases all previously stored data, so if you’re reusing a disk, make sure that it contains no important data before formatting.

Before formatting a disk, set the sampling rate as required. If the sampling rate is changed after formatting, project start times other than 00:00:00.00 may change. If the start time does change, use the TC Modify function to correct it. See “Modifying a Project’s Start Time” on page 83 for more information.

1 Insert the disk into the D24 disk drive.

If the disk is new or has been formatted for use in a device other than the D24, the message “UNFORMATTED” appears on the display.

2 Press the [FORMAT] button.

The FORMAT indicator ﬂashes and “FORMAT DISK—ARE YOU SURE” ﬂashes on the display.

3 Press the [ENTER] button.

“PRESS—REC + PLAY” appears on the display.

4 Press the [REC] and [PLAY] buttons simultaneously to format the disk, or the

[CANCEL] button to cancel the Format function.

While the disk is being formatted, “FORMATTING” appears on the display.

When formatting is complete, “FINISHED” appears on the display, the FORMAT indicator goes out, and “01 NEW PROJ” appears on the display.

5 If you want to set the absolute start time of project 01 to a time other than

“00:00:00.00,” set it now. See “Recording” on page 33 for more information. Otherwise, press the [ENTER] button.

The absolute start time for subsequent projects can be speciﬁed as and when they are recorded.

The MO disk is now ready for use.

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Page 34

Button

Transport Operation Table

The following table shows the function of each control in each transport mode.

X = no change or invalid

Transport Mode

Stop Play Rew FF Record

Transport Operation Table 27

Rehearse

Standby

Rehearse

Nudge/

Shuttle

A–B

Repeat

Rew (8x)

[REW]

[FF]

[STOP]

[PLAY]

[REC]

[REHE]

Eject

1. Release button for normal playback.

Rew (8x)

FF (8x)

X Stop play Stop rew Stop FF

Play X

Rehearse

standby

Eject X X X X

while

pressing

FF (8x)

while

pressing

REC+PLAY

to start

recording

Rehearsal

punch in

Rew

(16x)

Stop rew

& FF

Stop rew

& play

XXXXXXX

X X X Cancel X X

Stop FF

& rew

(16x)

Stop FF

& play

Stop rec &

rew

Stop rec &

Punch out

& stop

Punch out

& play

Rew

Cancel &

stop

Rehearsal

punch in

Cancel &

eject

Stop

rehearsal &

rew

Stop

rehearsal &

Punch out &

stop

Punch out &

play

XXX

Cancel &

rew

Cancel &

stop

Cancel &

play

Cancel &

rew

Cancel &

Stop play

Cancel &

rehearsal punch in

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28 Chapter 3—The Basics

Indicator Status Tables

The following tables show the status and meaning of the front-panel indicators.

Transport Indicators

● On z Flashing - Off

Indicator

REW 8x

REW 16x

FF 8x

FF 16x

STOP

PLAY

REC

REHE

READY (REC READY=OFF)

READY (REC READY=ON)

Eject

Stop Play Rew/FF Record

●

---

----

--------

zzz

Transport Mode

Rehearse

Standby

●

-------

●

-----

●

Rehearse

----

●●●

●

zzz

Nudge/

Shuttle

A–B

Repeat

1. Indicates drive activity. Lights up continuously when a disk is being loaded or ejected.

Other Indicators

● On - Off

Indicator Status Condition

LAST REC IN

LAST REC OUT

UNDO/REDO

SOLO/SELECT

Other front-panel indicators typically indicate whether a function is on or off.

- LAST REC IN point has not been set

LAST REC IN point has been set

●

- LAST REC OUT point has not been set

LAST REC OUT point has been set

●

- A point has not been set

A point has been set

●

- B point has not been set

B point has been set

●

- Last record or edit operation has not been undone

Last record or edit operation has been undone

●

- Track not soloed

Track soloed

●

D24—Owner’s Manual

Page 36

In this chapter...

Recording 29

Recording

About Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Preparing to Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Setting the Recording Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Conserving Disk Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Undoing a Recording or Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Rehearsing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Extending the Top of a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Checking the Time Remaining . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Using Normal & Fine Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Using Peak Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

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30 Chapter 4—Recording

About Projects

D24 recordings are organized as projects, with a typical project consisting of many sound ﬁles and a settings ﬁle. Up to 99 projects can be recorded on a single MO or external disk drive. The following settings are stored with each project: recording resolution (BIT), sampling rate (FS), timecode frame rate, absolute start time, project title, virtual track assignments, relative zero position, up to 99 locate points, and the LAST REC IN, OUT, A, and B locate points, as shown in the following illustration. The wordclock source (WC) and timecode source (TC) settings are not stored with each project.

WC: INT TC: MASTER BIT: 16 FS: 44.1 kHz Frame rate: 30 Start: 00:00:00.00 Title: POP SONG Virtual track assignments Rel: 00:00:00.00 LOC MEM LAST REC IN, OUT, A, B

Internal or external wordclock source (INT, EXT) Timecode master or slave (MASTER, SLAVE) Recording resolution (16, 20, 24) Sampling rate (44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz) Timecode frame rate (24, 25, 30D, 30) Absolute start time of project Project title 1-1, 2-3, 3-4, 4-4, etc Relative zero position Locate points 1–99 IN, OUT, A, & B points

Highlighted settings are stored with each project

The following illustration shows four example projects and their associated settings.

00:00:00.00

01 PROJECT 02 PROJECT 03 PROJECT 04 PROJECT

WC: INT TC: MASTER BIT: 16 FS: 44.1 kHz Frame rate: 30 Start: 00:00:00.00 Title: POP SONG V.TRK assign: 1-1... Rel: 00:00:00.00 LOC MEM: 1–99 IN: 00:01:05.12 OUT: 00:01:30.29 A: 00:00:20.00 B: 00:00:45.00

00:10:00.00

WC: INT TC: MASTER BIT: 24 FS: 96 kHz Frame rate: 24 Start: 00:10:00.00 Title: DVD X V.TRK assign: 1-1... Rel: 00:00:00.00 LOC MEM: 1–99 IN: 00:11:05.12 OUT: 00:11:30.23 A: 00:10:20.00 B: 00:10:45.00

01:00:00.00

WC: EXT TC: SLAVE BIT: 16 FS: 44.1 kHz Frame rate: 30D Start: 01:00:00.00 Title: TVCM V.TRK assign: 1-1... Rel: 00:00:00.00 LOC MEM: 1–99 IN: 01:01:05.12 OUT: 01:01:30.29 A: 01:00:20.00 B: 01:00:45.00

23:30:00.00

WC: EXT TC: SLAVE BIT: 20 FS: 48 kHz Frame rate: 30D Start: 23:30:00.00 Title: NEWS V.TRK assign: 1-1... Rel: 00:00:00.00 LOC MEM: 1–99 IN: 23:31:05.12 OUT: 23:13:30.29 A: 23:31:20.00 B: 23:31:45.00

The recording resolution and sampling rate are set when a new project is created, and once something has been recorded in a project, cannot be changed. Although a project can be played with a timecode frame rate different to that used when it was originally recorded, stored locate memories will be out of sync with the recorded material, so in addition to the recording resolution and sampling rate, it’s best to set the timecode frame rate as required before recording each new project.

When an already recorded project is selected, the D24 automatically sets the recording resolution and timecode frame rate, using the settings stored with that particular project. If the project’s sampling rate is different to the current setting, the project’s sampling rate ﬂashes in the FS window and you must use the Wordclock function (“Selecting a Wordclock Source” on page 124) to set the sampling rate of the D24 to match that of the project, otherwise, playback will be distorted.

D24—Owner’s Manual

Page 38

Preparing to Record 31

Projects recorded using an external wordclock source can also be played, edited, or recorded using an internal wordclock source, and vice versa. A project originally recorded with an external wordclock source running at 44.1 kHz, for example, can also be used with an internal wordclock of 44.1 kHz.

Projects recorded using an external timecode source can be played, edited, or recorded using an internal timecode source even at a different frame rate, and vice versa. A project originally recorded with an external timecode source running at 30 fps, for example, can also be used with an internal timecode source of 25 fps.

When recording a new project, the counter initially displays 00:00:00.00. If this value is not changed, it’s used as the absolute start time for the new project. You can, however, specify a different start time.

New projects are numbered using the next available project number. If the highest numbered project on disk is 06, for example, the next new project will be 07. Projects can be titled for easy identiﬁcation. See “Titling Projects” on page 81 for more information.

D24 disks contain sound ﬁles and project settings ﬁles.

Sound files

Project settings files

Preparing to Record

This section explains how to prepare for recording.

1 Select a wordclock source.

See “Selecting a Wordclock Source” on page 124 for more information. Although the wordclock source can be changed after recording, the sampling rate cannot be changed once something is recorded in a project.

2 If you’re using a brand-new disk, format it.

See “Formatting MO Disks” on page 26 or “Formatting External Disk Drives” on page 158 for more information.

3 Select a timecode source.

See “Selecting a Timecode Source” on page 135 for more information. The timecode source can be changed after recording.

4 Set the timecode frame rate.

See “Setting the Timecode Frame Rate” on page 136 for more information.

5 Set the recording resolution.

See “Setting the Recording Resolution” on page 32 for more information. The recording resolution cannot be changed once something is recorded in a project.

6 Proceed to “Recording” on page 33.

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32 Chapter 4—Recording

Setting the Recording Resolution

The recording resolution can be set to one of three bit rates: 16, 20, or 24. Once something has been recorded in a project, the recording resolution cannot be changed, so it’s important that you set the correct resolution when creating a new project.

1 Press the [SETUP] button.

The SETUP indicator lights up.

2 Use the JOG/DATA dial to select “REC BIT,” and then press the [ENTER] button.

The currently selected recording resolution appears on the display.

3 Use the JOG/DATA dial to select a recording resolution.

The recording resolution can be set to 16, 20, or 24. The default setting is 24.

4 Press the [ENTER] button to activate your selection, or the [CANCEL] button

to cancel the Rec Bit function.

The selected resolution appears in the BIT window on the display, as shown here.

5 Press the [SETUP] button again to leave setup.

The SETUP indicator goes out.

The following table lists the theoretical dynamic range available with each resolution.

BIT BIT BIT

Recording Resolution Theoretical Dynamic Range

96 dB

120 dB

144 dB

Higher recording resolutions offer improved sonic performance by increasing the dynamic range, but require more disk space. A 640 MB Overwrite-type MO disk, for example, can store approximately 120 track minutes of 16-bit, 44.1 kHz digital audio, compared with 80 track minutes of 24-bit, 44.1 kHz digital audio.

The recording resolution you choose will ultimately depend on your application and recording system. There’s no point selecting a 20- or 24-bit recording resolution on the D24 if your digital mixing console’s A/D converters are only 16-bit. If you intend to deliver your project to a third party, another studio, for example, consult them and agree on a recording resolution before you start recording on the D24.

In general, 16-bit is the standard for music CDs and MiniDiscs, while 20- and 24-bit are used for professional recording and mastering applications, although you don’t have to select the same resolution as that of the ﬁnal distribution media. In fact, recording, mixing, and mastering at a higher resolution will most likely yield a better result. In a 16-bit system, for example, it’s necessary to keep recording levels high to make best use of the 96 dB dynamic range and maximize signal-to-noise performance, which restricts headroom and constrains level setting. In a 24-bit system, levels can be set lower due to the larger 144 dB dynamic range, providing additional headroom, while maintaining signal-to-noise performance.

Low-resolution digital audio signals can easily be transferred to higher-resolution systems, however, the reverse is not true. A 20-bit digital signal recorded on a 16-bit recorder without digital dither will be truncated, resulting in distortion. See “Digital I/O & Wordlength” on page 189 for more information.

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Recording 33

Recording

Before recording a new project, you must ﬁrst set the wordclock source, timecode source, timecode frame rate, and recording resolution. See “Preparing to Record” on page 31 for more information.

The following illustration shows the procedure for recording.

READY 2

1-1 2-1 3-1 4-1 5-1 6-1 7-1 8-1

1 2 3 4 5 6 7 8

RECORD

READY

LAST REC IN

point

REC

LAST REC OUT

point

Record

STOPPLAY

1 Press the [ ] PROJECT SEARCH button repeatedly until “nn NEW PROJ”

appears on the display (“nn” being the number of the new project). If the disk has just been formatted, this will already be displayed, so you can ignore this step.

The 2nd line of the display shows “00:00:00.00,” which is the absolute start time for the new project.

2 If you want to change the absolute start time, use the keypad or JOG/DATA

dial to enter a time.

Use the SHUTTLE/CURSOR ring to move the cursor. Press the [CANCEL] button to return to the previous value.

3 Press the [ENTER] button.

The absolute start time appears on the main counter.

4 Use the [RECORD READY] buttons to select tracks for recording.

The corresponding READY indicators ﬂash.

5 Set the recording levels in conjunction with the D24 track meters.

See “Metering” on page 39 for more information. Recording levels are typically set using the group, or bus output faders on the mixing console.

6 Select a monitoring mode.

See “Monitoring” on page 42 for more information.

7 Press the [REC] and [PLAY] buttons simultaneously to start recording.

Recording starts, “nn RECORDING” appears on the display (“nn” being the project number), and the REC and PLAY button indicators and READY indicators light up continuously. The LAST REC IN point is set automatically and its indicator lights up.

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34 Chapter 4—Recording

If the [PLAY] button is pressed while recording, the D24 punches out of recording and continues with normal playback, in which case the REC button indicator goes out, the READY indicators ﬂash, and the LAST REC OUT point is set.

8 Press the [STOP] button to stop recording.

The REC and PLAY button indicators go out and the READY indicators ﬂash. The LAST REC OUT point is set automatically and its indicator lights up.

To audition what you’ve just recorded, press the LAST REC [IN] button to locate the point at which recording started, and then press the [PLAY] button to start playback.

Recording can be undone using the Undo Function. See “Undoing a Recording or Edit” on page 35 for more information.

Projects can be titled using the Project Edit Title function. See “Titling Projects” on page 81 for more information. When an untitled project is selected, “NO TITLE” appears on the display.

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Conserving Disk Space 35

Conserving Disk Space

Like all digital audio recorders, the D24 uses up disk space regardless of what’s being recorded, so recorded silence uses as much disk space as recorded music. A two minute section of continuous music, for example, will use the same amount of disk space as a two minute section of silence. Obviously, it’s wasteful to leave the D24 recording silence longer than necessary.

Disk space can be conserved by recording only when there’s something that actually needs recording. When recording material with long silent sections, for example, you could save disk space by punching out of recording during those sections.

The disk space occupied by the recorded silences can be retrieved for additional recording by ﬁrst deleting the silent sections, using the Part Erase function, see “Erasing Parts” on page 104, and then optimizing the disk, using the Optimize function, which deletes unused sound ﬁles from disk, thereby freeing up space for additional recording, see “Recovering Disk Space” on page 172.

Undoing a Recording or Edit

The Undo function can be used to undo the last recording or edit. After recording or performing an edit, the UNDO/REDO indicator lights up, indicating that the Undo function can be used.

1 Press the [UNDO/REDO] button.

The last recording or edit is undone and the UNDO/REDO indicator goes out. When the last recording is undone, the previous recording (i.e., the recording that was overwritten), if any, is restored.

2 Press the [UNDO/REDO] button again to redo the last recording or edit.

The UNDO/REDO indicator lights up.

As well as undoing unneeded recordings or edits, the Undo function provides a convenient way to compare the previous and last recording, or edit.

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36 Chapter 4—Recording

Rehearsing

In Rehearsal mode, recording can be practiced, with automatic playback and input monitor switching at the punch in and out points, without actually recording anything to disk.

The following illustration shows the procedure for rehearsal.

LAST REC OUT

point

STOPPLAY

READY 2

1-1 2-1 3-1 4-1 5-1 6-1 7-1 8-1

RECORD

READY

LAST REC IN

point

1 2 3 4 5 6 7 8

Rehearse

REHE

Rehearse Standby

1 Set wordclock source, timecode source, timecode frame rate, and recording

resolution. See “Preparing to Record” on page 31 for more information.

2 Use the [RECORD READY] buttons to select tracks for recording.

The corresponding READY indicators ﬂash.

3 Set the recording levels in conjunction with the D24 track meters.

See “Metering” on page 39 for more information. Recording levels are typically set using the group, or bus output faders on the mixing console.

4 Select a monitoring mode.

See “Monitoring” on page 42 for more information.

5 Press the [REHE] button.

The REHE button indicator ﬂashes, indicating Rehearse Standby mode.

To cancel Rehearse Standby mode, press the [STOP] button.

6 Press the [PLAY] button to start rehearsal.

Rehearsal starts and the PLAY button indicator and READY indicators light up continuously. The LAST REC IN point is set automatically and its indicator lights up.

Rehearsal can also be started by pressing the [PLAY] and [REHE] buttons simultaneously.

If the [PLAY] button is pressed during rehearsal, the D24 punches out of rehearsal, continues with normal playback, and sets the LAST REC OUT point.

7 Press the [STOP] button to stop rehearsal.

The REHE and PLAY button indicators go out and the READY indicators ﬂash. The LAST REC OUT point is set automatically and its indicator lights up.

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Extending the Top of a Project 37

Extending the Top of a Project

Since it’s not possible to record before the absolute 00:00:00.00 position of a recorded project, if you need to record something new at the top of a project, for example, you need to extend the intro of a song, you must use the Track Slip function to slip forward the tracks already recorded, and then record the new material. See “Slipping Tracks” on page 93 for more information.

In the following example, a project’s absolute start time is 00:00:00.00. Using the Track Slip function, the four recorded tracks are slipped forward eight seconds, so that new material can be recorded at the top of the project.

00:00:00.00

1 2 3 4

Tracks moved

forward 8 seconds

00:00:08.00

Before track slip

After track slip

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38 Chapter 4—Recording

Checking the Time Remaining

The Remain function displays how much time is available for additional recording.

1 Press the [REMAIN] button.

The amount of time left for additional recording is displayed on the 2nd line of the display, as shown below.

The Remain function displays the recording time available relative to the number of tracks selected for recording. For example, you can check the simultaneous recording time available for four tracks by pressing four [RECORD READY] buttons, and then pressing the [REMAIN] button. In the following example, tracks 1 through 4 are selected for recording and the Remain function displays the recording time available for four tracks.

HMS F

00 00 00 00

R- 006040000

HMS F

00 00 00 00

R- 001510000

READY 1 2 3 4 5 6 7 8

When tracks, or parts are erased or deleted, although they can no longer be accessed, the actual audio data remains on disk as unused sound ﬁles, taking up disk space, and reducing the time available for additional recording. After repeated recording and editing, there may be a lot of unused sound ﬁles on the disk. To delete these unused sound ﬁles and recover the disk space for further recording or editing, use the Optimize function. See “Recovering Disk Space” on page 172 for more information.

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Metering 39

Metering

Playback and input signal levels are displayed on the eight 16-segment track meters, with Peak Hold, and Normal and Fine metering modes.

The 0 dB indicators light up when audio samples reach the maximum digital level. The OVER indicators light up when several consecutive samples exceed the digital saturation point. When setting recording levels, it’s okay for signals to light the 0 dB indicator. If the OVER indicator lights up, however, you should back off the input level, as shown below.

Okay Back off recording level

OVER

–dB 2 6 12 20 30 42 60

READY

OVER

–dB

READY

0 2

6 12 20 30 42 60

When the Shuttle, Nudge, Time Compression, or Pitch Change function is used, track meters 7 and 8 function as stereo meters, and meters 1 through 6 are turned off.

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40 Chapter 4—Recording

Using Normal & Fine Metering

Track meters function in one of two modes: Normal or Fine. In Normal mode, the meter range is from –60 dB to 0 dB. In Fine mode, it’s from –26 dB to 0 dB.

Normal

Fine

OVER

–dB

READY

OVER

–dB

FINE

10 12 14 20 18 30

26 60

READY

OVER

–dB 2 6 12 20 30 42 60

READY

OVER

–dB

FINE

2 6 12 10 20 14 30 18

42 60 26

READY

0 2

6 12 20 30 42 60

Fine mode is useful for accurate level setting when recording reference tones at –10, –14, –18, or –20 dB, but can also be used for precise metering with normal recording.

The normal and ﬁne meter modes are set using the Level Meter function.

1 Press the [UTILITY] button.

The UTILITY indicator lights up.

2 Use the JOG/DATA dial to select “LEVEL METER,” and then press the [ENTER]

button.

The currently selected meter mode appears on the display.

3 Use the JOG/DATA dial to select either “NORMAL” or “FINE.”

4 Press the [ENTER] button to activate your selection, or the [CANCEL] button

to cancel the Level Meter function.

5 Press the [UTILITY] button again to leave utility.

The UTILITY indicator goes out.

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Using Peak Hold 41

Using Peak Hold

By keeping the highest lit segment of each meter illuminated, the Peak Hold function provides a convenient way to check for signal peaks.

Peak Hold can be set so that the highest lit segment of each meter remains lit for 800 ms (MOMENTARY) or continuosuly (PERMANENT). See “Setting the Peak Hold Mode” on page 170 for more information.

1 Press the [PEAK HOLD] button to turn on the Peak Hold function.

The PEAK HOLD indicator lights up.

2 Press the [PEAK HOLD] button again to turn off the Peak Hold function.

The PEAK HOLD indicator goes out.

To reset the Peak Hold function, turn it off and then on again.

Peak Hold: Off

Peak Hold: On

OVER

–dB

READY

OVER

–dB

READY

0 2

6 12 20 30 42 60

Peak levels

6 12 20 30 42 60

OVER

–dB 2 6 12 20 30 42 60

READY

OVER

–dB 2 6 12 20 30 42 60

READY

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42 Chapter 4—Recording

Monitoring

In a typical D24 multitrack recording system, monitoring is performed at the mixing console via the tape returns, which are connected to the D24’s track outputs via mini YGDAI cards (“About mini YGDAI Cards” on page 182). The signal source for each track output, either playback or input signal, depends on that track’s [RECORD READY] button setting, the transport mode (e.g., stop, playback, or record), and the [AUTO INPUT] and [ALL INPUT] MONITOR SELECT buttons, as shown in the following illustrations.

The disk and plug symbols used in the following illustrations are explained below.

AUTO INPUT

MONITOR SELECT

ALL INPUT

Track output source:

Input signalPlayback

In the following illustration, the [AUTO INPUT] and [ALL INPUT] buttons are both turned off. Tracks not selected for recording don’t output anything during stop, fast forward, or rewind, but output playback signals during playback, recording, or rehearsal. Tracks selected for recording output the track input signal regardless of the transport mode.

LAST REC OUT

point

PlaybackStop/FF/Rew

READY 1

Playback

LAST REC IN

point

Recording/

Rehearsal

In the following illustration, the [AUTO INPUT] button is turned on, the default setting. Tracks not selected for recording function as before. Tracks selected for recording, however, output playback signals during playback, but switch to track input signals during recording or rehearsal. This setting is convenient for punch in/out recording.

AUTO INPUT

MONITOR SELECT

D24—Owner’s Manual

ALL INPUT

READY 1

Playback

LAST REC IN

point

Recording/

Rehearsal

LAST REC OUT

point

PlaybackStop/FF/Rew

Page 50

Monitoring 43

In the following illustration, the [ALL INPUT] button, which has priority over all other settings, is turned on and the track outputs output the track input signals regardless of the transport mode and [RECORD READY] button. All Input is useful when you want to monitor track inputs regardless of any other settings.

AUTO INPUT

MONITOR SELECT

ALL INPUT

READY 1

LAST REC IN

point

PlaybackStop/FF/Rew

Recording/

Rehearsal

LAST REC OUT

point

Playback

D24—Owner’s Manual

Page 51

In this chapter...

General Operation 45

General Operation

Using Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Using Fast Forward & Rewind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

A–B Repeat Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Soloing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Selecting the Solo Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Using Absolute & Relative Zero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Using Roll-back . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Setting the Roll-back Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Using Virtual Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Shuttling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Nudging the Current Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Setting the Nudge Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Using Varispeed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

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46 Chapter 5—General Operation

Using Playback

The Playback function is used to play back recorded material.

1 While the D24 is stopped, press the [PLAY] button.

Playback starts and the PLAY button indicator lights up.

2 Press the [STOP] button to stop playback.

Playback stops and the PLAY button indicator goes out.

If the [REW] or [FF] button is pressed and held during playback, the D24 rewinds (8x) or fast forwards (8x) respectively and returns to normal playback when the button is released. You can go directly to play from either rewind or fast forward simply by pressing the [PLAY] button.

Note: In Rehearse Standby mode, and during recording and rehearsal, the [PLAY] button is used to punch in and out of recording. See “Transport Operation Table” on page 27 for more information.

Using Fast Forward & Rewind

The Fast Forward and Rewind functions are used to fast forward and rewind at either 8x or 16x normal play speed.

1 Press the [FF] button to fast forward, or the [REW] button to rewind.

The respective button ﬂashes and fast forward or rewind runs at 8x normal play speed.

2 Press the [FF] or [REW] button again for fast forward or rewind at 16x normal

play speed.

The respective button lights up continuously and fast forward or rewind runs at 16x normal play speed.

3 Press the [STOP] button to stop fast forward or rewind.

If the [PLAY] button is pressed during fast forward or rewind, the D24 stops, and then starts playback.

Pressing and holding the [FF] or [REW] button during playback fast forwards or rewinds respectively at 8x normal play speed. Releasing the [FF] or [REW] button resumes normal playback.

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A–B Repeat Playback 47

A–B Repeat Playback

A–B Repeat playback can be used to repeatedly play a speciﬁc part of a project, with playback cycling between the speciﬁed A and B points, as shown below.

point

Repeat playback

point

To use the A–B Repeat function, you must ﬁrst set the A and B points, which can be set while the D24 is stopped or during rewind, fast forward, playback, recording, or rehearsal, but cannot be changed during A–B repeat playback.

1 While holding down the [SET] button, press the [A] button to set the A point,

and then the [B] button to set the B point.

point

SETSET

point

When a point is set, the corresponding indicator (A or B) lights up and the stored position appears on the 2nd line of the display. See “Using the A & B Points” on page 61 for more information about setting the A and B points.

2 Press the [REPEAT] button.

The REPEAT indicator lights up.

3 Press the [PLAY] button to start repeat playback.

Playback cycles between the A and B points.

Repeat playback can also be started by pressing the [REPEAT] button during playback.

If the [REPEAT] button is pressed during repeat playback, the D24 cancels repeat playback and continues with normal playback.

4 Press the [STOP] button to stop playback.

5 Press the [REPEAT] button to cancel A–B Repeat.

The REPEAT indicator goes out.

A–B Repeat playback plays from the lowest point to the highest, so if the B point occurs before the A point, playback cycles from B to A.

The A and B points for each project are saved to disk automatically.

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48 Chapter 5—General Operation

Soloing Tracks

Tracks can be monitored individually using the Solo function.

1 To solo a track, press its [SOLO/SELECT] button.

The signal from the soloed track is fed to the outputs selected using the Solo Out function, and the corresponding SOLO/SELECT indicator lights up.

Several tracks can be soloed at the same time, with odd numbered tracks mixed to the left channel, and even numbered tracks mixed to the right channel.

2 Press the [SOLO/SELECT] button again to unsolo the track.

The corresponding SOLO/SELECT indicator goes out.

Selecting the Solo Outputs

Solo can be used with all outputs (i.e., PHONES jack, COAXIAL DIGITAL STEREO OUTPUT, and the tracks outputs), or just the PHONES jack. This setting is made using the Solo Out function.

1 Press the [UTILITY] button.

The UTILITY indicator lights up.

2 Use the JOG/DATA dial to select “SOLO OUT,” and then press the [ENTER]

button.

The current Solo Out setting appears on the display.

3 Use the JOG/DATA dial to select either “ALL OUTPUTS” or “PHONES.”

The default setting is PHONES.

4 Press the [ENTER] button to activate your selection, or the [CANCEL] button

to cancel the Solo Out function.

5 Press the [UTILITY] button again to leave utility.

The UTILITY indicator goes out.

When Solo Out is set to PHONES, the Solo signal is output only to the PHONES jack, with odd numbered tracks mixed to the left channel, and even numbered tracks mixed to the right channel. The COAXIAL DIGITAL STEREO OUTPUT and track outputs are not affected by the Solo function.

When Solo Out is set to ALL OUTPUTS, the Solo signal is output to the PHONES jack and COAXIAL DIGITAL OUTPUT, with odd numbered tracks mixed to the left channel, and even numbered tracks mixed to the right channel. In addition, the track outputs of soloed tracks output their respective track signals, and other track outputs are muted. When track 1 is soloed, for example, track output 1 outputs the track 1 signal, while track outputs 2 through 8 are muted.

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Using Absolute & Relative Zero 49

Using Absolute & Relative Zero

The zero point can be the absolute zero position of a project, or a speciﬁed point relative to it. In Absolute mode (ABS), 00:00:00.00 is typically the top of the project. In Relative mode (REL), you can set the zero point to any position within the project. Before being set, the relative zero position is the same as the absolute zero position.

1 To set the Relative zero position, while holding the [SET] button, press the

[RTN TO ZERO] button.

The relative zero position is set at the point at where the [SET] button and [RTN TO ZERO] buttons are pressed.

In the following example, the relative zero position has been set at the absolute position of 00:02:00.00.

00:00:00.00 00:02:00.0000:01:00.00 00:03:00.00

ABS

23:58:00.00 00:00:00.0023:59:00.00 00:01:00.00

REL

RTN TO

SET

2 To select Relative counter mode, press the [ABS/REL] button.

ZERO

The ABS indicator goes out and the REL indicator lights up.

3 To select Absolute counter mode, press the [ABS/REL] button again.

The REL indicator goes out and the ABS indicator lights up.

4 To locate the zero position in either Absolute or Relative mode, press the [RTN

TO ZERO] button.

If the current project doesn’t have a zero position, the Return to Zero function locates the top of the project.

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50 Chapter 5—General Operation

Using Roll-back

The Roll Back function rolls back from the current position in steps of between 1 and 30 seconds, the default being 5 seconds.

1 Press the [ROLL BACK] button to roll back by the speciﬁed amount.

If the [ROLL BACK] button is pressed during playback, the D24 rolls back by the speciﬁed amount, and then continues playing.

Current

position

ROLL

BACK

Roll-back

time

ROLL BACK

Roll-back

time

Setting the Roll-back Time

The roll-back time is set using the Roll Back function.

1 Press the [UTILITY] button.

The UTILITY indicator lights up.

2 Use the JOG/DATA dial to select “ROLL BACK,” and then press the [ENTER]

button.

The currently set roll-back time appears on the display.

3 Use the JOG/DATA dial to set the roll-back time from 1 to 30 seconds.

4 Press the [ENTER] button to activate your selection, or the [CANCEL] button

to cancel the Roll Back time setting.

5 Press the [UTILITY] button again to leave utility.

The UTILITY indicator goes out.

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Using Virtual Tracks 51

Using Virtual Tracks

Each main track has access to eight virtual tracks, making 64 tracks in all. Virtual tracks are assigned to their respective main track using the Virtual Track function. Main and virtual track combinations are identiﬁed using the notation 1-1, 1-2, 2-1, etc., (main-virtual). For example, “2-3” indicates that virtual track 3 is assigned to main track 2, as shown in the following illustration.

64 virtual tracks

1-1

8 main tracks

1-2

2-3

3-1

4-1

5-1

6-1

7-1

8-1

1-2 1-3 1-4 1-5 1-6 1-7 1-8

2-1 2-2 2-3

1 While the D24 is stopped, press the [V. TRACK SELECT] button.

The V. TRACK SELECT indicator lights up and the display shown below appears.

TRK 1234567 8 VI R 11111111

The 1st line of the display shows the main track numbers from 1 through 8. The 2nd line shows the virtual tracks assigned to those main tracks. Initially, each main track is assigned its respective virtual track 1.

2 Use the SHUTTLE/CURSOR ring to select a main track.

The number of the virtual track assigned to the selected main track ﬂashes on the 2nd line of the display.

3 Use the JOG/DATA dial to assign a virtual track to the selected main track.

4 Press the [ENTER] button to apply your virtual track settings.

The V. TRACK SELECT indicator goes out and “FINISHED” appears on the display for a few seconds.

In the following example, virtual track 5 is assigned to main track 3.

Selected main track

TRK 1234567 8 VI R 11511111

Assigned virtual track

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52 Chapter 5—General Operation

Shuttling

The Shuttle function can be used to shuttle forwards or backwards at various speeds while listening to the recorded material.

1 Press the [JOG ON] button.

The JOG ON and [STOP] button indicators light up.

2 Turn the SHUTTLE/CURSOR ring clockwise to shuttle forwards, or counter-

clockwise to shuttle backwards. The further you turn the ring, the faster the shuttling.

“SHTL” appears on the 1st line of the display.

The center position of the SHUTTLE/CURSOR ring is stop. The following shuttle speeds are available. The plus or minus sign in front of each value indicates forward or backward motion, respectively, and 1/1 is normal playback speed.

Forward: +1\16, +1\8, +1\4, +1\2, +1, +2, +4

Backward: –1\16, –1\8, –1\4, –1\2, –1, –2, –4

Stop

Backward

shuttle

–1 (normal speed)

3 Press the [JOG ON] button again, or any transport button to cancel the Shuttle

–1/4

–1/2

–2

–4

+1/16–1/16

+1/8–1/8

Forward

shuttle

+1/4

+1/2

+1 (normal speed)

function.

The JOG ON and [PLAY] button indicators go off and the [STOP] button indicator lights up.

The Shuttle function requires a lot of processing power, so for monitoring purposes only, all tracks are mixed to tracks 7 and 8, with odd-numbered tracks appearing on the output and meter of track 7, and even-numbered tracks appearing on the output and meter of track 8. This mix can also be monitored via the PHONES, or if the Coaxial I/O is assigned to tracks 7 and 8 (see “Assigning the Coaxial Input & Output” on page 188), the COAXIAL STEREO DIGITAL OUTPUT. Track outputs 1 through 6 do not output anything when these functions are used. In addition, up to 4 tracks can be monitored simultaneously at the x2 speed, and up to 2 tracks at the x4 speed.

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Nudging the Current Position 53

Nudging the Current Position

The Nudge function can be used to nudge the current position backwards or forwards in sub-frame steps while auditioning a small section of the recorded material after the current position. This is useful for locating precise positions when editing parts, storing locate memories, or setting the LAST REC IN and OUT points for auto punch in/out recording. The length of the section to be auditioned can be set from 25 ms to 100 ms using the Nudge Time function, the default setting is 50 ms.

1 Press the [JOG ON] button.

The JOG ON and [STOP] button indicators light up.

Playback cycles from the current position for the speciﬁed number of milliseconds, as shown below.

Current position

Forward nudgeBackward nudge

Nudge time

2 Turn the JOG/DATA dial clockwise to nudge for-

wards, or counterclockwise to nudge backwards.

“NUDGE” appears on the 1st line of the display, and the position, including sub-frame digits, appears on the 2nd line.

The current position is nudged forwards or backwards in sub-frame steps.

3 Press the [JOG ON] button again, or any transport

Backward

nudge

Forward

button to cancel the Nudge function.

The JOG ON and [PLAY] button indicators go off and the [STOP] button indicator lights up.

The Nudge function requires a lot of processing power, so for monitoring purposes only, all tracks are mixed to tracks 7 and 8, with odd-numbered tracks appearing on the output and meter of track 7, and even-numbered tracks appearing on the output and meter of track 8. This mix can also be monitored via the PHONES, or if the Coaxial I/O is assigned to tracks 7 and 8 (see “Assigning the Coaxial Input & Output” on page 188), the COAXIAL STEREO DIGITAL OUTPUT. Track outputs 1 through 6 do not output anything when these functions are used.

nudge

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54 Chapter 5—General Operation

Setting the Nudge Time

The length of the section to be auditioned is set using the Nudge Time function.

1 Press the [UTILITY] button.

The UTILITY indicator lights up.

2 Use the JOG/DATA dial to select “NUDGE TIME,” and then press the [ENTER]

button.

The currently set nudge time appears on the display.

3 Use the JOG/DATA dial to set the nudge time to 20, 50, or 100 ms.

The default setting is 100 ms.

4 Press the [ENTER] button to activate your selection, or the [CANCEL] button

to cancel the Nudge Time function.

5 Press the [UTILITY] button again to leave utility.

The UTILITY indicator goes out.

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Using Varispeed 55

Using Varispeed

The Varispeed function can be used to adjust the playback, recording, and rehearsal speed in 0.05% steps from –6.00% to +6.00% (approximately ±100 cents, or ±1 semitone). Increasing the speed has the effect of raising the pitch, while decreasing it lowers the pitch. Varispeed can be set while the D24 is stopped or during playback, recording, or rehearsal.

1 Press the [VARI SPEED] button.

The VARI SPEED indicator lights up and the following display appears.

vari spe e d

+000

2 Use the JOG/DATA dial to set the varispeed.

When Varispeed is set to something other than “+0.00,”

44.1K V ARI

“VARI” appears in the FS window on the display, as shown here.

Playback, recording, and rehearsal will now run at the speciﬁed speed.

Varispeed can also be set using the keypad. To enter a value of –2.90%, for example, press [0/-], [2], [9], [0/-] and then press the [ENTER] button to activate the setting.

3 Press the [VARI SPEED] button again to turn off the Varispeed function.

The Varispeed setting is stored when the Varispeed function is turned off.

You can toggle between varispeed and normal speed by pressing the [VARI SPEED] button.

In addition to playback speed, varispeed also affects the sampling rate and wordclock frequency. If the varispeed is set to –1%, for example, the sampling rate and wordclock frequency decrease by 1%. So with the wordclock source set to internal 44.1 kHz, the resultant sampling rate would be 43.659 kHz. Anything recorded at this rate will be sampled at 43.659 kHz, not 44.1 kHz. Equipment that is wordclock synchronized to the D24 will also be affected, although in most cases this shouldn’t be an issue. Some equipment, however, may have trouble synchronizing to the D24’s wordclock at certain varispeed settings.

When the D24 is used as a wordclock slave, the Varispeed function cannot be used because the D24’s sampling rate is locked to the external source.

In a multiple D24 system, slave D24s follow the Varispeed setting made on the master D24. See “Multiple D24s” on page 144 for more information.

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Page 62

In this chapter...

Quick Locate 57

Quick Locate

Searching for Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Project Search Conﬁrmation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Selecting Projects Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Returning to Zero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Using the A & B Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Locating the LAST REC IN & OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Locating Positions Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Storing Locate Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Storing Locate Points Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Recalling Locate Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

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58 Chapter 6—Quick Locate

Searching for Projects

Projects can be selected using the PROJECT SEARCH buttons.

1 Press the [ ] PROJECT SEARCH button to locate the top of the current

project. Press the button again to locate the top of the previous project.

01 PROJECT 02 PROJECT 03 PROJECT 04 PROJECT

2 Press the [ ] PROJECT SEARCH button to locate the top of the next project.

Current

position

Current position

01 PROJECT 02 PROJECT 03 PROJECT 04 PROJECT

If the [ ] PROJECT SEARCH button is pressed while the last recorded project is selected, “nn NEW PROJ” appears on the display. See “Recording” on page 33 for more information.

Project Search Conﬁrmation

The Project Search Conﬁrmation function is used to prevent accidental project selection with the PROJECT SEARCH buttons. When set to ON, the message “ARE YOU SURE” appears when a different project is selected by using the PROJECT SEARCH buttons, and you must press the [ENTER] button to conﬁrm your selection.

Project search conﬁrmation is turned on or off using the P SERCH CNFM function.

1 Press the [UTILITY] button.

The UTILITY indicator lights up.

2 Use the JOG/DATA dial to select “P SERCH CNFM,” and then press the [ENTER]

button.

The current setting appears on the display.

3 Use the JOG/DATA dial to select either “OFF” or “ON.”

The default setting is OFF.

4 Press the [ENTER] button to activate your selection, or the [CANCEL] button

to cancel the P SERCH CNFM function.

5 Press the [UTILITY] button again to leave utility.

The UTILITY indicator goes out.

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Selecting Projects Directly 59

Selecting Projects Directly

A project can be selected directly by entering its number using the keypad or JOG/DATA dial.

1 Press the [PROJECT SELECT] button.

The PROJECT SELECT indicator lights up.

2 Use the keypad or JOG/DATA dial to enter the number of the project.

The number and title of the project appear on the display.

3 Press the [ENTER] button to locate the top of the speciﬁed project.

The PROJECT SELECT indicator goes out.

In the following example, project number 4 is selected.

Current

position

01 PROJECT 02 PROJECT 03 PROJECT 04 PROJECT

PROJECT SELECT

ENTER

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60 Chapter 6—Quick Locate

Returning to Zero

The Return to Zero function can be used to locate the zero position. In Absolute (ABS) mode, Return to Zero locates the absolute zero position. In Relative (REL) mode, it locates the relative zero position. See “Using Absolute & Relative Zero” on page 49 for more information about the Absolute and Relative modes.

1 Press the [RTN TO ZERO] button to locate the zero position.

When the [RTN TO ZERO] button is pressed during playback, the zero position is located, and then playback continues.

In the following example, Absolute (ABS) mode is used, so the absolute zero position is located when the [RTN TO ZERO] button is pressed.

00:00:00.00 00:02:00.0000:01:00.00 00:03:00.00ABS

RTN TO

ZERO

In the following example, Relative (REL) mode is used, so the relative zero position is located when the [RTN TO ZERO] button is pressed.

00:00:00.00)

(ABS

23:58:00.00 00:00:00.0023:59:00.00 00:01:00.00

REL

RTN TO

ZERO

If the current project doesn’t have a zero position, for example, the project starts at the absolute time of 01:00:00.00, the Return to Zero function locates the top of the project.

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Page 66

Using the A & B Points 61

Using the A & B Points

The A and B points can be used for quick locate or A–B Repeat playback. See page 47 for more information on A–B repeat playback.

Setting the A & B Points

The A and B points can be set while the D24 is stopped or during rewind, fast forward, playback, recording, or rehearsal.

1 While holding down the [SET] button, press the [A] button to set the A point,

or the [B] button to set the B point.

point

SETSET

point

When a point is set, the corresponding indicator (A or B) lights up and the stored position appears on the 2nd line of the display.

A and B points are set with sub-frame accuracy.

To set the A or B point to a speciﬁc position, ﬁrst locate that position, see “Locating Positions Directly” on page 63, and then store as explained above.

To set the A or B point to one of the 99 locate memories, ﬁrst recall the locate memory, see “Recalling Locate Points” on page 66, and then store as explained above.

The A and B points for each project are saved to disk automatically.

Locating the A & B Points

1 Press the [A] or [B] button to locate the A or B point respectively.

point

Current

position

point

When the [A] or [B] button is pressed during playback, the stored point is located, and then playback continues.

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62 Chapter 6—Quick Locate

Locating the LAST REC IN & OUT Points

The LAST REC IN and OUT points are typically used to mark the punch-in and punch-out points for recording and rehearsal, but can also be used as general locate points.

1 While holding down the [SET] button, press the [IN] button to set the IN

point, or the [OUT] button to set the OUT point.

When a point is set, the corresponding indicator (IN or OUT) lights up. See “Setting the LAST REC IN & OUT Points” on page 71 for more information about setting the LAST REC IN and OUT points.

2 Press the LAST REC [IN] or LAST REC [OUT] button to locate the IN or OUT

point respectively.

LAST REC IN

point

Current position

OUT

LAST REC OUT

point

When the LAST REC [IN] or [OUT] button is pressed during playback, the stored point is located, and then playback continues.

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Locating Positions Directly 63

Locating Positions Directly

Positions can be located directly by entering time values.

1 Use the keypad to enter the position that you want to locate, starting with

hours, minutes, and seconds.

To enter the position 3 minutes and 27 seconds (00:03:27), for example, press [3], [2], and [7].

The entered value appears on the 2nd line of the display, as shown below.

HMS F

00 00 00 00

01 no ti t l e

000327

Press the [CANCEL] button to reset the entered value back to the captured value.

The JOG/DATA dial can be used to ﬁnely adjust the entered value.

You can specify the value with sub-frame accuracy by switching the Keypad Timecode Input mode to hours, minutes, seconds, frames, and sub-frames. To do this, while holding down the [SET] button, press the [LOCATE] button. Repeat this procedure to switch the Keypad Timecode Input mode back to hours, minutes, and seconds.

2 Press the [ENTER] button to ﬁx the entered value.

Alternatively, press the [LOCATE] button to locate the speciﬁed position straightaway.

3 Press the [LOCATE] button to locate the speciﬁed position.

The speciﬁed position is located.

In the following example, the position 00:03:00 is located.

Current

00:00:00

0/-

position

LOCATEENTER

00:03:00

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64 Chapter 6—Quick Locate

Storing Locate Points

Up to 99 locate points can be stored with each project using the Locate Memory Store function. Locate points can be stored while the D24 is stopped or during rewind, fast forward, playback, recording, or rehearsal.

1 Display the position that you want to store on the 2nd line of the display.

You can do this by capturing the current position by pressing the [CAPTURE] button, entering a value by using the keypad or JOG/DATA dial, or recalling the LAST REC IN, OUT, A, or B point by pressing the corresponding button.

2 Press the [LOC MEM STORE] button.

The LOC MEM STORE indicator lights up, “STORE MEM nn” (the ﬂashing “nn” being the memory number), and the value already stored in the locate memory appear on the display. If no value has been stored in the memory, “--:--:--.--.-” is displayed.

3 Use the keypad or JOG/DATA dial to select a locate memory from 1 to 99.

To select locate memory 15, for example, press [1] and then [5].

To cancel your selection and select another locate memory, press the [CANCEL] button, and then reenter the locate memory number.

4 Press the [ENTER] button to store the locate point.

The stored locate point appears on the 2nd line of the display.

5 Press the [LOC MEM STORE] button to leave the Locate Memory Store func-

tion.

The LOC MEM STORE indicator goes out.

Locate points are stored with sub-frame accuracy. They are saved to disk automatically, and loaded from disk automatically when a project is selected.

In the following example, the position 00:01:00.00.0 is captured and stored to locate memory 5.

00:00:00.00.0 00:01:00.00.0

CAPTURE

LOC MEM STORE

ENTER

LOC MEM STORE

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Storing Locate Points Automatically 65

Storing Locate Points Automatically

Locate points can easily be stored on-the-ﬂy by using the Auto Memory Store function, which automatically selects the next locate memory as each locate point is stored.

1 Press the [LOC MEM STORE] button.

2 Use the JOG/DATA dial or keypad to select a locate memory from 1 to 99.

3 While holding down the [SET] button, press the [ENTER] button.

The current position is stored to the selected locate memory and the next locate memory is selected automatically.

4 Repeat step 3 to store further locate points.

Locate points can be stored while the D24 is stopped or during rewind, fast forward, playback, recording, or rehearsal.

5 Press the [LOC MEM STORE] button to leave the Locate Memory Store func-

tion.

The LOC MEM STORE indicator goes out.

In the following example, the positions 00:01:00.00.0, 00:02:00.00.0, and 00:03:00.00.0 are stored to locate memories 01, 02, and 03 respectively during playback.

00:00:00.00.0 00:01:00.00.0

LOC MEM STORE

ENTER

SET

LOC MEM: 01 LOC MEM: 02 LOC MEM: 03

00:02:00.00.0 00:03:00.00.0

SET

ENTER

SET

ENTER

Playback

LOC MEM STORE

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66 Chapter 6—Quick Locate

Recalling Locate Points

Stored locate points can be recalled using the Locate Memory Recall function.

1 Press the [LOC MEM RECALL] button.

The LOC MEM RECALL indicator lights up, “RECALL MEM nn” (the ﬂashing “nn” being the memory number), and the value stored in the locate memory appear on the display. If no value has been stored in the memory, “--:--:--.--.-” is displayed.

2 Use the keypad or JOG/DATA dial to select a locate memory from 1 to 99.

To enter number 37, for example, press [3] and then [7].

To cancel your selection and select another locate memory, press the [CANCEL] button, and then reenter the locate memory number.

3 Press the [ENTER] button to ﬁx the selected memory number.

The memory number “nn” stops ﬂashing.

HMS F

00 00 00 00

re c al l me m01

000327 000

Alternatively, press the [LOCATE] button to locate the selected point straightaway.

4 Press the [LOCATE] button to locate the recalled position.

The speciﬁed position is located and the position appears on the main counter, as shown below.

HMS F

00 03 27 00

re c al l me m01

000327 000

5 Press the [LOC MEM RECALL] button to leave the Locate Memory Recall func-

tion.

The LOC MEM RECALL indicator goes out.

Locate points are recalled with sub-frame accuracy.

In the following example, locate memory number 5 is recalled and located.

Current

00:00:00.00 00:01:00.00

position

LOC MEM RECALL

D24—Owner’s Manual

ENTER

LOCATE

LOC MEM RECALL

Page 72

Punch In/Out Recording

In this chapter...

Punch In/Out Recording 67

About Punch In/Out Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Manual Punch In/Out Rehearsal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Manual Punch In/Out Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Setting the LAST REC IN & OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Auto Punch In/Out Rehearsal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Auto Punch In/Out Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Setting the Pre-roll Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Setting the Post-roll Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

D24—Owner’s Manual

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68 Chapter 7—Punch In/Out Recording

About Punch In/Out Recording

The D24 provides both manual and automated punch in/out recording, both of which can be rehearsed before actually recording anything to disk. The number of tracks available for simultaneous punch-in recording is the same as that for regular recording. See “Tracks Available for Simultaneous Recording” on page 6 for more information.

Manual Punch In/Out Recording

Manual punch in/out recording allows you to manually punch in and out of recording on the tracks selected for recording while monitoring previously recorded tracks.

Auto Punch In/Out Recording

Auto punch in/out recording is used to automatically punch in and out of recording on the tracks selected for recording while monitoring the previously recorded tracks. The punch-in point is referred to as the LAST REC IN point, while the punch-out point is referred to as the LAST REC OUT point. These points are set automatically when you manually punch in and out of recording or rehearsal, and can also be set manually. See “Setting the LAST REC IN & OUT Points” on page 71 for more information.

Auto Punch allows you to record up to 99 takes. You can listen to the recorded takes using the Audition Take function, and pick the take that you want to keep using the Fix Take function.

Punch In/Out Fade In/Out

When dissimilar sounds are digitally spliced together, the discontinuity and sudden level change sometimes produces an audible click. To smooth the transition when using punch in/out recording, a small fade in/out is applied at the punch-in and out points. See “Setting the Fade In/Out Time” on page 170 for more information.

Monitoring

How you choose to monitor tracks for punch-in/out recording will depend on your application. The Auto Input monitoring function, which provides automatic playback and input monitor switching at the LAST REC IN and OUT points, is convenient for this type of recording. See “Monitoring” on page 42 for more information.

At the punch-out point, the outputs of tracks selected for recording are muted for an instant as the monitor circuits switch from input to playback. The length of the mute depends on the number of tracks selected for recording and the type of MO disk being used, although it’s typically less than one second. Since this affects only the monitoring circuitry, audio data recorded to disk is not affected and punch outs are seamless.

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Manual Punch In/Out Rehearsal 69

Manual Punch In/Out Rehearsal

The Rehearse function allows you to practice manual punch in/out recording without actually recording anything to disk. With the Auto Input monitoring function turned on, playback and input monitor switching is performed automatically at the LAST REC IN and OUT points. See “Monitoring” on page 42 for more information.

The following illustration shows the procedure for manual punch-in/out rehearsal.

READY 2

1-1 2-1 3-1 4-1 5-1 6-1 7-1 8-1

RECORD

READY

LAST REC IN

point

1 2 3 4 5 6 7 8

Rehearse PlayPlay

REHE

LAST REC OUT

point

1 Use the [RECORD READY] buttons to select tracks for recording.

The corresponding READY indicators ﬂash.

2 Press the [PLAY] button to start playback.

Playback starts and the PLAY button indicator lights up.

STOPPLAYPLAY

3 Press the [REHE] button to punch in.

Rehearsal starts, “REHEARSAL” appears on the display, and the REHE button indicator and READY indicators light up continuously. The LAST REC IN point is set automatically and its indicator lights up.

4 Press the [PLAY] button to punch out.

The D24 stops rehearsal and continues with normal playback. The LAST REC OUT point is set automatically and its indicator lights up.

The REHE button indicator goes out and the READY indicators ﬂash.

5 Press the [STOP] button to stop playback.

The PLAY button indicator goes out.

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Manual Punch In/Out Recording

This section explains how to perform manual punch in/out recording for real. With the Auto Input monitoring function turned on, playback and input monitor switching is performed automatically at the LAST REC IN and OUT points. See “Monitoring” on page 42 for more information.

The following illustration shows the procedure for manual punch-in/out recording.

READY 2

RECORD

READY

1-1 2-1 3-1 4-1 5-1 6-1 7-1 8-1

LAST REC IN

point

1 2 3 4 5 6 7 8

REC

LAST REC OUT

point

Record PlayPlay

1 Use the [RECORD READY] buttons to select tracks for recording.

The corresponding READY indicators ﬂash.

2 Press the [PLAY] button to start playback.

Playback starts and the PLAY button indicator lights up.

STOPPLAYPLAY PLAY

3 Press the [REC] and [PLAY] buttons simultaneously to punch in.

Recording starts, “RECORDING” appears on the display, and the REC button indicator and READY indicators light up continuously. The LAST REC IN point is set automatically and its indicator lights up.

4 Press the [PLAY] button to punch out.

The D24 stops recording and continues with normal playback.

The REC button indicator goes out and the READY indicators ﬂash. The LAST REC OUT point is set automatically and its indicator lights up.

The transport buttons are inactive for about one second following a punch out, due to internal processing by the D24.

5 Press the [STOP] button to stop playback.

The PLAY button indicator goes out.

To play back what you’ve just recorded, press the LAST REC [IN] button to locate the point at which recording started, and then press the [PLAY] button to start playback.

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Setting the LAST REC IN & OUT Points 71

Setting the LAST REC IN & OUT Points

The LAST REC IN and OUT points are set automatically when you manually punch in and out of recording or rehearsal. They can also be set using the [SET] and LAST REC [IN] and [OUT] buttons while the D24 is stopped or during rewind, fast forward, playback, recording, or rehearsal. When the LAST REC IN or OUT point is set, the corresponding indicator (IN or OUT) lights up.

1 While holding down the [SET] button, press the [IN] button to set the IN

point, or the [OUT] button to set the OUT point.

LAST REC IN

point

SET

LAST REC OUT

point

SET

OUT

The LAST REC IN and OUT points are set with sub-frame accuracy.

The LAST REC IN and OUT points can be located using the LAST REC [IN] and [OUT] buttons respectively. See “Locating the LAST REC IN & OUT Points” on page 62 for more information.

To set the LAST REC IN or OUT point to an A or B point, ﬁrst locate the A or B point, see “Using the A & B Points” on page 61, and then set as explained above.

To set the LAST REC IN or OUT point to one of the 99 locate memories, ﬁrst recall the locate memory, see “Recalling Locate Points” on page 66, and then set as explained above.

The LAST REC IN and OUT points for each project are saved to disk automatically.

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Auto Punch In/Out Rehearsal

The Rehearse function allows you to practice auto punch-in/out recording without actually recording anything to disk. With the Auto Input monitoring function turned on, playback and input monitor switching is performed automatically at the LAST REC IN and OUT points. See “Monitoring” on page 42 for more information.

The following illustration shows the procedure for auto punch-in/out rehearsal.

RECORD

READY

READY 2

AUTO PUNCH

1-1 2-1 3-1 4-1 5-1 6-1 7-1 8-1

1 2 3 4 5 6 7 8

REHE

PLAY

Pre-roll

point

LAST REC IN

point

Rehearse

LAST REC OUT

point

PlayPlayLocate

Locate

1 Set the LAST REC IN and OUT points. See “Setting the LAST REC IN & OUT

Points” on page 71 for more information.

2 Use the [RECORD READY] buttons to select tracks for recording.

The corresponding READY indicators ﬂash.

3 Press the [AUTO PUNCH] button.

Post-roll

point

The AUTO PUNCH indicator ﬂashes and “AUTO PUNCH—REC TAKE 1” appears on the display.

4 Press the [REHE] and [PLAY] buttons simultaneously.

The PLAY button indicator lights up, the REHE indicator ﬂashes, and “REC TAKE 1” disappears from the display. The Pre-roll point is located, and then playback starts. The Pre-roll time is set using the Pre Roll function. “Setting the Pre-roll Time” on page 76

5 Rehearsal punch in is performed automatically at the LAST REC IN point.

The REHE and READY indicators light up continuously.

6 Rehearsal punch out is performed automatically at the LAST REC OUT point.

The REHE indicator goes out and the READY indicators ﬂash.

Playback continues up to the Post-roll point at which playback stops, the PLAY button indicator goes out, the Pre-roll point is located, and the D24 waits.

7 Press the [AUTO PUNCH] button to leave Auto Punch In/Out.

The AUTO PUNCH indicator goes out.

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Auto Punch In/Out Recording 73

Auto Punch In/Out Recording

This section explains how to perform auto punch in/out recording for real. With the Auto Input monitoring function turned on, playback and input monitor switching is performed automatically at the LAST REC IN and OUT points. See “Monitoring” on page 42 for more information.

The following illustration shows the procedure for auto punch-in/out recording.

RECORD

READY

READY 2

AUTO PUNCH

1-1 2-1 3-1 4-1 5-1 6-1 7-1 8-1

1 2 3 4 5 6 7 8

REC

PLAY

Pre-roll

point

LAST REC IN

point

LAST REC OUT

point

Record PlayPlayLocate

1 Set the LAST REC IN and OUT points. See “Setting the LAST REC IN & OUT

Points” on page 71 for more information.

2 Use the [RECORD READY] buttons to select tracks for recording.

The corresponding READY indicators ﬂash.

Post-roll

point

3 Press the [AUTO PUNCH] button.

The AUTO PUNCH indicator ﬂashes and the following display appears.

AUTO Punc h REC take1

4 Press the [REC] and [PLAY] buttons simultaneously.

The PLAY button indicator lights up and the REC indicator ﬂashes. The Pre-roll point is located, and then playback starts. The Pre-roll time is set using the Pre Roll function. See “Setting the Pre-roll Time” on page 76 for more information.

5 Record punch in is performed automatically at the LAST REC IN point.

The READY and REC button indicators light up continuously.

6 Record punch out is performed automatically at the LAST REC OUT point.

The REC button indicator goes out and the READY indicators ﬂash

Playback continues up to the Post-roll point at which playback stops, the PLAY button indicator goes out, the Pre-roll point is located, and the D24 waits. The display shows “AUTO PUNCH—REC TAKE 2”.

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74 Chapter 7—Punch In/Out Recording

7 Use the Audition Take function to listen to the take that you’ve just recorded

(see bellow), record additional takes by repeating step 4 (or simply pressing the [ENTER] button), or leave the Auto Punch In/Out function by pressing the [AUTO PUNCH] button.

So long as the LAST REC IN and OUT points are not set to new positions, you can continue recording additional takes in the same place on the same track or on other tracks, and continue using the Audition and Fix functions. If the LAST REC IN or OUT point is set to a new position, however, you will not be able to audition or ﬁx the previously recorded takes, in fact, they will become unused sound ﬁles that can no longer accessed. The disk space occupied by these unused sound ﬁles can be retrieved for additional recording using the Optimize function. See “Recovering Disk Space” on page 172 for more information.

As each additional take is recorded, the take number increments automatically. When several takes have been recorded, you must select the one you want to keep using the Fix Take function. See “Fixing Takes” on page 75 for more information. When only one take has been recorded, it’s not necessary to use the Fix function, as the take is ﬁxed automatically when you leave the Auto Punch In/Out function.

If all 99 takes are recorded, the D24 waits at the Pre-roll point and “NO MORE TAKE” appears on the display, indicating that no more takes can be recorded. In this case, use the Audition Take and Fix Take functions to select the take that you want to keep.

Auditioning Takes

The Audition Take function is used to audition recorded takes.

In the following example, take 4 is auditioned.

Pre-roll

point

READY 2

Select "AUDITION" Select take 4

2-1

ENTER ENTER

LAST REC IN

point

Take 0 (original) Take 1 Take 2 Take 3 Take 4 Take 5 Take 6 Take 7

Audition

Press to

audition

take 4

LAST REC OUT

point

Post-roll

point

8 Use the JOG/DATA dial to select “AUDITION,” and then press the [ENTER] but-

ton.

“AUDITION—TAKE nn” appears on the display (“nn” being the number of the take to be auditioned).

Take 0 is the original material and can be auditioned even before any takes are recorded.

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Auto Punch In/Out Recording 75

9 Use the JOG/DATA dial to select the take that you want to audition, and then

press the [ENTER] button.

The D24 plays the selected take along with the seven other main tracks from the Pre-roll point through to the Post-roll point. Then it locates the Pre-roll point and waits.

Press the [ENTER] button again to audition the selected take again.

10 Use the JOG/DATA dial and [ENTER] button to select and audition other takes.

11 To leave the Audition function, press the [CANCEL] button.

“AUDITION” appears on the display.

12 Use the JOG/DATA dial to select “REC TAKE nn” for additional take recording,

or “FIX TAKE” to ﬁx a take, and then press the [ENTER] button to activate your selection.

Fixing Takes

The Fix Take function is used to select the take you want to keep.

When only one take has been recorded, it’s not necessary to use the Fix function, as the take is ﬁxed automatically when you leave the Auto Punch In/Out function.

In the following example, eight takes have been recorded and take 4 is ﬁxed.

READY 2

Select "FIX TAKE" Select take 4

2-1

ENTER ENTER

LAST REC IN

point

Take 0 (original) Take 1 Take 2 Take 3 Take 4 Take 5 Take 6 Take 7

Press to

fix take 4

LAST REC OUT

point

13 Use the JOG/DATA dial to select “FIX TAKE,” and then press the [ENTER] button.

“FIX TAKE—TAKE nn” appears on the display (“nn” being the number of the take).

14 Use the JOG/DATA dial to select the take that you want to ﬁx, and then press

the [ENTER] button.

“TAKE nn—ARE YOU SURE” appears on the display.

15 Press the [ENTER] button to ﬁx the take, or the [CANCEL] button to select

another take.

If you press the [ENTER] button, “FIXED” appears on the display for a few seconds, the selected take is ﬁxed, the Auto Punch In/Out function is cancelled, and the AUTO PUNCH indicator goes out.

If you press the [CANCEL] button, repeat step 14 to select another take.

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76 Chapter 7—Punch In/Out Recording

Setting the Pre-roll Time

The pre-roll time can be set from 1 to 30 seconds, the default being 5 seconds.

Pre-roll

point

1 Press the [UTILITY] button.

LAST REC IN

point

Pre-roll

time

The UTILITY indicator lights up.

2 Use the JOG/DATA dial to select “PRE ROLL,” and then press the [ENTER] but-

ton.

The currently set pre-roll time appears on the display.

3 Use the JOG/DATA dial to set the pre-roll time from 1 to 30 seconds.

4 Press the [ENTER] button to activate your selection, or the [CANCEL] button

to cancel the Pre Roll function.

5 Press the [UTILITY] button again to leave utility.

The UTILITY indicator goes out.

Setting the Post-roll Time

The post-roll time can be set from 1 to 30 seconds, the default being 5 seconds.

LAST REC OUT

point

Post-roll

1 Press the [UTILITY] button.

The UTILITY indicator lights up.

2 Use the JOG/DATA dial to select “POST ROLL,” and then press the [ENTER]

button.

The currently set post-roll time appears on the display.

3 Use the JOG/DATA dial to set the post-roll time from 1 to 30 seconds.

4 Press the [ENTER] button to activate your selection, or the [CANCEL] button

to cancel the Post Roll function.

Post-roll

point

time

5 Press the [UTILITY] button again to leave utility.

The UTILITY indicator goes out.

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In this chapter...

Editing Projects 77

Editing Projects

Copying Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Erasing Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Deleting Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Titling Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Protecting Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Modifying a Project’s Start Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

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78 Chapter 8—Editing Projects

Copying Projects

The Project Copy function is used to copy projects.

1 Press the [EDIT] button.

The EDIT indicator lights up.

2 Use the JOG/DATA dial to select “PROJECT EDIT,” and then press the [ENTER]

button.

3 Use the JOG/DATA dial to select “COPY,” and then press the [ENTER] button.

“FROM PROJ nn—project title” appears on the display (“nn” and “project title” being the number and title of the project to be copied).

4 Use the JOG/DATA dial to select the project that you want to copy, and then

press the [ENTER] button.

“TO NEWPROJ nn—ARE YOU SURE” appears on the display (“nn” being the next available project number, which is the automatically assigned to the new project).

5 Press the [ENTER] button to copy the selected project, or the [CANCEL] but-

ton to cancel.

The selected project is copied.

When the copy operation is complete, “FINISHED” appears on the display.

To copy another project, press the [ENTER] button to return to step 4.

6 Press the [EDIT] button to leave edit.

The EDIT indicator goes out.

In the following example, project 2 is copied with new project number 4.

01 PROJECT 02 PROJECT

01 PROJECT 02 PROJECT 03 PROJECT 04 PROJECT

03 PROJECT

Copied

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Erasing Projects 79

Erasing Projects

The Project Erase function is used to erase the contents of a project. The project number is kept.

1 Press the [EDIT] button.

The EDIT indicator lights up.

2 Use the JOG/DATA dial to select “PROJECT EDIT,” and then press the [ENTER]

button.

3 Use the JOG/DATA dial to select “ERASE,” and then press the [ENTER] button.

“PROJECT nn—project title” appears on the display (“nn” and “project title” being the number and title of the project whose contents are to be erased).

4 Use the JOG/DATA dial to select the project whose contents you want to erase,

and then press the [ENTER] button.

“ERASE PROJ nn—ARE YOU SURE” appears on the display.

5 Press the [ENTER] button to erase the contents of the selected project, or the

[CANCEL] button to cancel.

The contents of the selected project are erased.

When the erase operation is complete, “FINISHED” appears on the display.

To erase another project, press the [ENTER] button to return to step 4.

6 Press the [EDIT] button to leave edit.

The EDIT indicator goes out.

In the following example, the contents of project 2 are erased.

01 PROJECT 02 PROJECT 03 PROJECT 04 PROJECT

Contents erased

01 PROJECT 02 PROJECT 03 PROJECT 04 PROJECT

When a project’s contents are erased, the time available for additional recording is increased.

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80 Chapter 8—Editing Projects

Deleting Projects

The Project Delete function is used to delete a project.

1 Press the [EDIT] button.

The EDIT indicator lights up.

2 Use the JOG/DATA dial to select “PROJECT EDIT,” and then press the [ENTER]

button.

3 Use the JOG/DATA dial to select “DELETE,” and then press the [ENTER] button.

“PROJECT nn—project title” appears on the display (“nn” and “project title” being the number and title of the project to be deleted).

4 Use the JOG/DATA dial to select the project that you want to delete, and then

press the [ENTER] button.

“DEL PROJ nn—ARE YOU SURE” appears on the display.

5 Press the [ENTER] button to delete the selected project, or the [CANCEL] but-

ton to cancel.

The selected project is deleted.

When the delete operation is complete, “FINISHED” appears on the display.

To delete another project, press the [ENTER] button to return to step 4.

6 Press the [EDIT] button to leave edit.

The EDIT indicator goes out.

In the following example, project 2 is deleted.

01 PROJECT 02 PROJECT 03 PROJECT 04 PROJECT

Deleted

01 PROJECT 03 PROJECT 04 PROJECT

When a project’s contents are deleted, the time available for additional recording is increased.

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Titling Projects 81

Titling Projects

Projects can be titled for easy identiﬁcation, and titles can be up to 12 characters long. When a titled project is selected, the ﬁrst nine characters of its title appear on the display.

1 Select the project that you want to title.

2 Press the [EDIT] button.

The EDIT indicator lights up.

3 Use the JOG/DATA dial to select “PROJECT EDIT,” and then press the [ENTER]

button.

4 Use the JOG/DATA dial to select “TITLE,” and then press the [ENTER] button.

“PROJECT nn—project title” appears on the display (“nn” and “project title” being the number and title of the project to be titled).

5 Use the JOG/DATA dial to select characters, and the SHUTTLE/CURSOR ring

to move the cursor to the left or right.

The following characters are available:

aE c de fghi

[

nopqrstuvwx z

1234567 89

=+-/

[

( = space)

6 Press the [ENTER] button.

“PROJ TITLE—ARE YOU SURE” appears on the display.

7 Press the [ENTER] button to set the title.

8 Press the [EDIT] button to leave edit.

The EDIT indicator goes out.

jklmb

[

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82 Chapter 8—Editing Projects

Protecting Projects

The Project Protect function can be used to protect projects against accidental editing. When a project is protected, it cannot be edited using the Project, Track, or Part edit functions, although it can still be copied.

1 Select the project that you want to protect.

2 Press the [EDIT] button.

The EDIT indicator lights up.

3 Use the JOG/DATA dial to select “PROJECT EDIT,” and then press the [ENTER]

button.

4 Use the JOG/DATA dial to select “PROTECT,” and then press the [ENTER] but-

ton.

“PROTECT—PROTECT OFF” appears on the display.

5 Use the JOG/DATA dial to select either “OFF” or “ON.”

The default setting is OFF.

6 Press the [ENTER] button.

“PROJ PROT—ARE YOU SURE” appears on the display.

7 Press the [ENTER] button to conﬁrm your selection, or the [CANCEL] button

to cancel.

When OFF is selected, “UNPROTECTED” appears on the display, and when ON is selected, “PROTECTED” appears.

8 Press the [EDIT] button to leave edit.

The EDIT indicator goes out.

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Modifying a Project’s Start Time 83

Modifying a Project’s Start Time

The TC Modify function is used to modify a project’s start time, which is initially set when a project is ﬁrst recorded. See “Recording” on page 33 for more information.

1 Select the project whose start time you want to modify.

2 Press the [EDIT] button.

The EDIT indicator lights up.

3 Use the JOG/DATA dial to select “PROJECT EDIT,” and then press the [ENTER]

button.

4 Use the JOG/DATA dial to select “TC MODIFY,” and then press the [ENTER]

button.

“PROJ TC MOD—00:00:00.00.0” appears on the display.

5 Use the JOG/DATA dial or keypad to enter a new start time.

The default setting is 00:00:00.00.0.

The current position can be captured by pressing the [CAPTURE] button and adjusted in sub-frame steps using the JOG/DATA dial.

6 Press the [ENTER] button.

“PROJ TC MOD—ARE YOU SURE” appears on the display.

7 Press the [ENTER] button to ﬁx the entered start time.

8 Press the [ENTER] button to modify the start time of the selected project, or

the [CANCEL] button to cancel.

The start time of the selected project is modiﬁed.

When the timecode modify operation is complete, “FINISHED” appears on the display.

9 Press the [EDIT] button to leave edit.

The EDIT indicator goes out.

In the following example, the project’s start time is modiﬁed from 00:00:00.00 to 00:10:00.00.

00:00:00.00

01 PROJECT

Timecode modified

to 00:10:00.00

00:10:00.00

00:05:00.00

00:15:00.00

01 PROJECT

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In this chapter...

Editing Tracks 85

Editing Tracks

Copying Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Moving Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Erasing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Swapping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Slipping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

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86 Chapter 9—Editing Tracks

Copying Tracks

The Track Copy function is used to copy tracks. Existing material on the destination track is overwritten by the Copy function. The source track is unaffected.

1 Press the [EDIT] button.

The EDIT indicator lights up.

2 Use the JOG/DATA dial to select “TRACK EDIT,” and then press the [ENTER]

button.

3 Use the JOG/DATA dial to select “COPY,” and then press the [ENTER] button.

“EDIT COPY—FROM TR nn” appears on the display (“nn” being the number of the track to be copied).

4 Use the JOG/DATA dial to select the source track.

You can select individual tracks, track pairs, or all tracks: 1–8, 1/2–7/8, or ALL. To copy a virtual track, assign it to a main track ﬁrst, and then copy the main track.

5 Press the [ENTER] button.

“COPY TR nn—TO TR nn” appears on the display (“TO TR nn” being the destination track).

6 Use the JOG/DATA dial to select the destination track.

When FROM is an individual track, TO can be a main track or one of the source’s virtual tracks. When FROM is a pair of tracks, TO can be a pair of main tracks or a pair of the source’s virtual tracks. When FROM is set to ALL, all tracks can be copied to their corresponding virtual tracks. The following table lists the FROM and TO options, with several examples (“TR” stands for “main track,” and “V. TR” for “virtual track”).

Source & Destination Examples

From To From To Result

TR 1–8 TR 1–8, source’s V. TR 1–8

TR pair 1/2–7/8

ALL Source V. TR 1–8

7 Press the [ENTER] button.

TR pair 1/2–7/8, source pair’s V. TR 1–8

TR 1 TR 2 TR 1 copied to TR 2

TR 1 V. TR 3 TR 1 copied to V. TR 1-3

TR 1/2 TR 3/4 TR 1/2 copied to TR 3/4

TR 1/2 V. TR 3 TR 1/2 copied to V. TR 1-3/2-3

TR 1 copied to V. TR 1-1

ALL V. TR 1

ALL V. TR 3

TR 2 copied to V. TR 2-1 TR 3 copied to V. TR 3-1 etc.

TR 1 copied to V. TR 1-3 TR 2 copied to V. TR 2-3 TR 3 copied to V. TR 3-3 etc.

“TRACK COPY—ARE YOU SURE” appears on the display. If the destination track contains material, “OVER WRITE” appears instead.

8 Press the [ENTER] button to copy the selected tracks, or the [CANCEL] button

to cancel.

The selected track is copied. When the copy operation is complete, “FINISHED” appears on the display and the UNDO/REDO indicator lights up, indicating that it can be undone. See “Undoing a Recording or Edit” on page 35 for more information.

To copy another track, press the [ENTER] button to return to step 4.

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Copying Tracks 87

9 Press the [EDIT] button to leave edit.

The EDIT indicator goes out.

The following ﬁve examples show how tracks can be copied using a variety of FROM and TO combinations.

Track Copy From: 1 To: 2

Track Copy From: 1 To: V_TR 3

Track Copy From: 1/2 To: 3/4

Main tracks

1 2 3 4 5 6 7 8

Main tracks

1 2 3 4 5 6 7 8

Main tracks

1 2 3 4 5 6 7 8

Track 1 copied

to track 2

Track 1 copied

to virtual track 1-3

Tracks 1 and 2

copied to

tracks 3 and 4

Main tracks

1 2 3 4 5 6 7 8

Virtual tracks

1-1 1-2 1-3 1-4 1-5 1-6 1-7 1-8

Main tracks

1 2 3 4 5 6 7 8

Track Copy From: 1/2 To: V_TR 3

Track Copy From: ALL To: V_TR 1

Main tracks

1 2 3 4 5 6 7 8

Main tracks

1 2 3 4 5 6 7 8

Tracks 1 and 2

copied to

virtual tracks

1-3 and 2-3

Tracks 1 through 8

copied to virtual tracks

1-1, 2-1, 3-1, etc.

Virtual tracks

1-3 2-3 3-3 4-3 5-3 6-3 7-3 8-3

Virtual tracks

1-1 2-1 3-1 4-1 5-1 6-1 7-1 8-1

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88 Chapter 9—Editing Tracks

Moving Tracks

The Track Move function is used to move tracks. Existing material on the destination track is overwritten by the Move function. The source track is left empty.

1 Press the [EDIT] button.

The EDIT indicator lights up.

2 Use the JOG/DATA dial to select “TRACK EDIT,” and then press the [ENTER]

button.

3 Use the JOG/DATA dial to select “MOVE,” and then press the [ENTER] button.

“EDIT MOVE—FROM TR nn” appears on the display (“nn” being the number of the track to be moved).

4 Use the JOG/DATA dial to select the source track.

You can select individual tracks, track pairs, or all tracks: 1–8, 1/2–7/8, or ALL. To move a virtual track, assign it to a main track ﬁrst, and then move the main track.

5 Press the [ENTER] button.

“MOVE TR nn—TO TR nn” appears on the display (“TO TR nn” being the destination track).

6 Use the JOG/DATA dial to select the destination track.

When FROM is an individual track, TO can be a main track or one of the source’s virtual tracks. When FROM is a pair of tracks, TO can be a pair of main tracks or a pair of the source’s virtual tracks. When FROM is set to ALL, all tracks can be moved to their corresponding virtual tracks. The following table lists the FROM and TO options, with several examples (“TR” stands for “main track,” and “V. TR” for “virtual track”).

Source & Destination Examples

From To From To Result

TR 1–8 TR 1–8, source’s V. TR 1–8

TR pair 1/2–7/8

ALL Source V. TR 1–8

7 Press the [ENTER] button.

TR pair 1/2–7/8, source pair’s V. TR 1–8

TR 1 TR 2 TR 1 moved to TR 2

TR 1 V. TR 3 TR 1 moved to V. TR 1-3

TR 1/2 TR 3/4 TR 1/2 moved to TR 3/4

TR 1/2 V. TR 3 TR 1/2 moved to V. TR 1-3/2-3

TR 1 moved to V. TR 1-1

ALL V. TR 1

ALL V. TR 3

TR 2 moved to V. TR 2-1 TR 3 moved to V. TR 3-1 etc.

TR 1 moved to V. TR 1-3 TR 2 moved to V. TR 2-3 TR 3 moved to V. TR 3-3 etc.

“TRACK MOVE—ARE YOU SURE” appears on the display. If the destination track contains material, “OVER WRITE” appears instead.

8 Press the [ENTER] button to move the selected tracks, or the [CANCEL] button

to cancel.

The selected track is moved. When the move operation is complete, “FINISHED” appears on the display and the UNDO/REDO indicator lights up, indicating that it can be undone. See “Undoing a Recording or Edit” on page 35 for more information.

To move another track, press the [ENTER] button to return to step 4.

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Moving Tracks 89

9 Press the [EDIT] button to leave edit.

The EDIT indicator goes out.

The following ﬁve examples show how tracks can be moved using a variety of FROM and TO combinations.

Track Move From: 1 To: 2

Track Move From: 1 To: V_TR 3

Track Move From: 1/2 To: 3/4

Main tracks

1 2 3 4 5 6 7 8

Main tracks

1 2 3 4 5 6 7 8

Main tracks

1 2 3 4 5 6 7 8

Track 1 moved

to track 2

Track 1 moved

to virtual track 1-3

Tracks 1 and 2

moved to

tracks 3 and 4

Main tracks

1 2 3 4 5 6 7 8

Virtual tracks

1-1 1-2 1-3 1-4 1-5 1-6 1-7 1-8

Main tracks

1 2 3 4 5 6 7 8

Track Move From: 1/2 To: V_TR 3

Track Move From: ALL To: V_TR 1

Main tracks

1 2 3 4 5 6 7 8

Main tracks

1 2 3 4 5 6 7 8

Tracks 1 and 2

moved to

virtual tracks

1-3 and 2-3

Tracks 1 through 8

moved to virtual tracks

1-1, 2-1, 3-1, etc.

Virtual tracks

1-3 2-3 3-3 4-3 5-3 6-3 7-3 8-3

Virtual tracks

1-1 2-1 3-1 4-1 5-1 6-1 7-1 8-1

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90 Chapter 9—Editing Tracks

Erasing Tracks

The Track Erase function is used to erase the contents of a track.

1 Press the [EDIT] button.

The EDIT indicator lights up.

2 Use the JOG/DATA dial to select “TRACK EDIT,” and then press the [ENTER]

button.

3 Use the JOG/DATA dial to select “ERASE,” and then press the [ENTER] button.

“EDIT ERASE—TR nn” appears on the display (“nn” being the number of the track to be erased).

4 Use the JOG/DATA dial to select the track you want to erase.

You can select individual tracks, track pairs, or all tracks: 1–8, 1/2–7/8, or ALL. To erase a virtual track, assign it to a main track ﬁrst, and then erase the main track.

5 Press the [ENTER] button.

“TRACK ERASE—ARE YOU SURE” appears on the display.

6 Press the [ENTER] button to erase the selected track, or the [CANCEL] button

to cancel.

The selected track is erased.

When the erase operation is complete, “FINISHED” appears on the display and the UNDO/REDO indicator lights up, indicating that it can be undone. See “Undoing a Recording or Edit” on page 35 for more information.

To erase another track, press the [ENTER] button to return to step 4.

7 Press the [EDIT] button to leave edit.

The EDIT indicator goes out.

In the following example, track 2 is erased.

Main tracks

1 2

Track Erase TR: 2

3 4 5 6 7 8

When a track is erased, although they can no longer be accessed, its sound ﬁles remain on disk as unused ﬁles, taking up disk space, and reducing the time remaining for additional recording. To delete these unused ﬁles and recover the disk space, use the Optimize function. See “Recovering Disk Space” on page 172 for more information.

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Swapping Tracks 91

Swapping Tracks

The Track Swap function is used to swap tracks. The material on the source track is swapped with that on the destination track.

1 Press the [EDIT] button.

The EDIT indicator lights up.

2 Use the JOG/DATA dial to select “TRACK EDIT,” and then press the [ENTER]

button.

3 Use the JOG/DATA dial to select “SWAP,” and then press the [ENTER] button.

“EDIT SWAP—FROM TR nn” appears on the display (“FROM TR nn” being the source track).

4 Use the JOG/DATA dial to select the source track.

You can select individual tracks, track pairs, or all tracks: 1–8, 1/2–7/8, or ALL. To swap a virtual track, assign it to a main track ﬁrst, and then swap the main track.

5 Press the [ENTER] button.

“SWAP TR nn—TO TR nn” appears on the display (“TO TR nn” being the destination track).

6 Use the JOG/DATA dial to select the destination track.

When FROM is an individual track, TO can be a main track or one of the source’s virtual tracks. When FROM is a pair of tracks, TO can be a pair of main tracks or a pair of the source’s virtual tracks. When FROM is set to ALL, all tracks can be swapped with their corresponding virtual tracks. The following table lists the FROM and TO options, with several examples (“TR” stands for “main track,” and “V. TR” for “virtual track”).

Source & Destination Examples

From To From To Result

TR 1–8 TR 1–8, source’s V. TR 1–8

TR pair 1/2–7/8

ALL Source V. TR 1–8

TR pair 1/2–7/8, source pair’s V. TR 1–8

TR 1 TR 2 TR 1 swapped with TR 2

TR 1 V. TR 3 TR 1 swapped with V. TR 1-3

TR 1/2 TR 3/4 TR 1/2 swapped with TR 3/4

TR 1/2 V. TR 3

ALL V. TR 1

ALL V. TR 3

TR 1/2 swapped with V. TR 1-3/2-3

TR 1 swapped with V. TR 1-1 TR 2 swapped with V. TR 2-1 TR 3 swapped with V. TR 3-1 etc.

TR 1 swapped with V. TR 1-3 TR 2 swapped with V. TR 2-3 TR 3 swapped with V. TR 3-3 etc.

7 Press the [ENTER] button.

“TRACK SWAP—ARE YOU SURE” appears on the display.

8 Press the [ENTER] button to swap the selected tracks, or the [CANCEL] button

to cancel.

The selected tracks are swapped. When the swap operation is complete, “FINISHED” appears on the display and the UNDO/REDO indicator lights up, indicating that it can be undone. See “Undoing a Recording or Edit” on page 35 for more information.

To swap other tracks, press the [ENTER] button to return to step 4.

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92 Chapter 9—Editing Tracks

9 Press the [EDIT] button to leave edit.

The EDIT indicator goes out.

The following ﬁve examples show how tracks can be swapped using a variety of FROM and TO combinations.

Track Swap From: 1 To: 2

Track Swap From: 1 To: V_TR 3

Track Swap From: 1/2 To: 3/4

Main tracks

1 2 3 4 5 6 7 8

Main tracks

1 2 3 4 5 6 7 8

Main tracks

1 2 3 4 5 6 7 8

Track 1 swapped

with track 2

Track 1 swapped

with virtual track 1-3

Tracks 1 and 2

swapped with

tracks 3 and 4

Main tracks

1 2 3 4 5 6 7 8

Virtual tracks

1-1 1-2 1-3 1-4 1-5 1-6 1-7 1-8

Main tracks

1 2 3 4 5 6 7 8

Track Swap From: 1/2 To: V_TR 3

Track Swap From: ALL To: V_TR 1

D24—Owner’s Manual

Main tracks

1 2 3 4 5 6 7 8

Main tracks

1 2 3 4 5 6 7 8

Tracks 1 and 2

swapped with

virtual tracks

1-3 and 2-3

Tracks 1 through 8

swapped with virtual tracks

1-1, 2-1, 3-1, etc.

Virtual tracks

1-3 2-3 3-3 4-3 5-3 6-3 7-3 8-3

Virtual tracks

1-1 2-1 3-1 4-1 5-1 6-1 7-1 8-1

Page 97

Slipping Tracks 93

Slipping Tracks

The Track Slip function is used to modify a track’s start time.

The following points, which can be adjusted in sub-frame steps, can be selected when specifying a new start time: LAST REC IN, LAST REC OUT, A, B, or a locate memory from 1 through 99. Note that you must set the point that you intend to use before entering the Track Slip function. See the Quick Locate Chapter on page 57 for more information about setting these points.

For projects whose start time is “00:00:00.00,” the speciﬁed point becomes the track’s new start time. For projects whose start time is not “00:00:00.00,” the track’s new start time will be its current start time plus the value of the speciﬁed point.

1 Press the [EDIT] button.

The EDIT indicator lights up.

2 Use the JOG/DATA dial to select “TRACK EDIT,” and then press the [ENTER]

button.

3 Use the JOG/DATA dial to select “SLIP,” and then press the [ENTER] button.

“EDIT SLIP—TR nn” appears on the display (“nn” being the number of the track to be slipped).

4 Use the JOG/DATA dial to select the track you want to slip.

You can select individual tracks, track pairs, or all tracks: 1–8, 1/2–7/8, or ALL. To slip a virtual track, assign it to a main track ﬁrst, and then slip the main track.

5 Press the [ENTER] button.

“EDIT SLIP—TO MARK” appears on the display.

6 Use the JOG/DATA dial to select one of the following points:

MARK IN—LAST REC IN point

MARK OUT—LAST REC OUT point

MARK A—A point

MARK B—B point

LOC MEM 01–99—a locate memory from 1 through 99

7 Press the [ENTER] button.

“EDIT SLIP—TO 00:00:00.00.0” appears on the display (“00:00:00.00.0” being the position of the selected point).

8 Use the JOG/DATA dial or keypad to adjust the position, and then press the

[ENTER] button.

“TRACK SLIP—ARE YOU SURE” appears on the display.

9 Press the [ENTER] button to slip the selected track, or the [CANCEL] button

to cancel.

The selected track is slipped.

When the slip operation is complete, “FINISHED” appears on the display and the UNDO/REDO indicator lights up, indicating that it can be undone. See “Undoing a Recording or Edit” on page 35 for more information.

To slip another track, press the [ENTER] button to return to step 4.

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94 Chapter 9—Editing Tracks

10 Press the [EDIT] button to leave edit.

The EDIT indicator goes out.

In the following example, track 2 is slipped to a new start time.

Track Slip TR: 2

Project start time

00:00:00.00

1 2 3 4 5 6 7 8

Track slipped to

00:00:30.00

D24—Owner’s Manual

Page 99

In this chapter...

Editing Parts 95

Editing Parts

Copying Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Moving Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Deleting Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Erasing Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Inserting Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Insert Copying Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Time Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Pitch Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

D24—Owner’s Manual

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96 Chapter 10—Editing Parts

Copying Parts

The Part Copy function is used to copy part of a track. Existing material on the destination track is overwritten by the Copy function. The source track is unaffected.

The following points, which can be adjusted in sub-frame steps, can be selected when specifying edit points: LAST REC IN, LAST REC OUT, A, B, or a locate memory from 1 through 99. Note that you must set these points before entering the Part Copy function. See the Quick Locate Chapter on page 57 for more information about setting these points.

1 Press the [EDIT] button.

The EDIT indicator lights up.

2 Use the JOG/DATA dial to select “PART EDIT,” and then press the [ENTER] but-

ton.

3 Use the JOG/DATA dial to select “COPY,” and then press the [ENTER] button.

“PART COPY—FROM TR nn” appears on the display (“nn” being the number of the track from which the part is to be copied).

4 Use the JOG/DATA dial to select the source track.

You can select individual tracks, track pairs, or all tracks: 1–8, 1/2–7/8, or ALL. To copy part of a virtual track, assign it to a main track ﬁrst, and then copy.

5 Press the [ENTER] button.

“COPY TR nn—ST MARK IN” appears on the display (“nn” being the number of the selected track and “ST” being the start point of the part to be copied).

6 Use the JOG/DATA dial to select one of the following points: MARK IN, MARK

OUT, MARK A, MARK B, or a locate memory from 1 through 99.

7 Press the [ENTER] button.

“COPY TR nn—ST 00:00:00.00.0” appears on the display (“00:00:00.00.0” being the position of the selected point).

8 Use the JOG/DATA dial or keypad to adjust the start position, and then press

the [ENTER] button.

“COPY TR nn—ED MARK IN” appears on the display (“ED” being the end point of the part to be copied).

9 Use the JOG/DATA dial to select one of the following points: MARK IN, MARK

OUT, MARK A, MARK B, or a locate memory from 1 through 99.

10 Press the [ENTER] button.

If the duration of the speciﬁed part is less than 15 milliseconds, the minimum size, the message “TOO SHORT” appears.

“COPY TR nn—ED 00:00:00.00.0” appears on the display (“00:00:00.00.0” being the position of the selected point).

11 Use the JOG/DATA dial or keypad to adjust the end position, and then press

the [ENTER] button.

“COPY TR nn—TO TR nn” appears on the display (“TO TR nn” being the destination track).

D24—Owner’s Manual

Yamaha Audio D24 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Important Information

Read the Following Before Operating the D24

Contents

Welcome to the D24

Welcome to the D24

About this Manual

Installing the D24

D24 Features

Choosing MO Disks

Touring the D24

Front Panel

Display

Transport Controls

Power Switch & Phones

Jog/Data & Shuttle/Cursor Controls

Function Buttons

Peak, Monitor, Format & Chase Buttons

Keypad

Track Buttons

Rear Panel

The Basics

Connecting the Power Cord

Turning On & Off the D24

Write Protecting Disks

Inserting & Ejecting Disks

Formatting MO Disks

Transport Operation Table

Indicator Status Tables

Recording

About Projects

Preparing to Record

Setting the Recording Resolution

Recording

Conserving Disk Space

Undoing a Recording or Edit

Rehearsing

Extending the Top of a Project

Checking the Time Remaining

Metering

Using Normal & Fine Metering

Using Peak Hold

Monitoring

General Operation

Using Playback

Using Fast Forward & Rewind

A–B Repeat Playback

Soloing Tracks

Selecting the Solo Outputs

Using Absolute & Relative Zero

Using Virtual Tracks

Shuttling

Nudging the Current Position

Setting the Nudge Time

Using Varispeed

Quick Locate

Searching for Projects

Selecting Projects Directly

Returning to Zero

Using the A & B Points

Locating the LAST REC IN & OUT Points

Locating Positions Directly

Storing Locate Points

Storing Locate Points Automatically

Recalling Locate Points

Punch In/Out Recording

About Punch In/Out Recording

Manual Punch In/Out Rehearsal

Manual Punch In/Out Recording

Setting the LAST REC IN & OUT Points

Auto Punch In/Out Rehearsal

Auto Punch In/Out Recording

Editing Projects

Copying Projects

Erasing Projects

Deleting Projects

Titling Projects