Zoom F6 Service Manual

Page 1

Operation Manual

You must read the Usage and Safety Precautions before use.

Copying or reprinting this manual in part or in whole without permission is prohibited.

Product names, registered trademarks and company names in this document are the property of their respective companies. All trademarks and regis-

tered trademarks in this document are for identification purposes only and are not intended to infringe on the copyrights of their respective owners.

Proper display is not possible on grayscale devices.

Page 2

Notes about this Operation Manual

You might need this manual in the future. Always keep it in a place where you can access it easily. The contents of this document and the specications of the product could be changed without notice.

Windows® is a trademark or registered trademark of Microsoft® Cor-

◎

poration.

Mac, macOS, iPad, iPhone and iPod touch are trademarks or registered

◎

trademarks of Apple Inc.

The SD, SDHC and SDXC logos are trademarks.

◎

The Bluetooth® word mark and logo are registered trademarks of Blue-

◎

tooth® SIG, Inc. and these marks are used under license by Zoom Corporation.

Other product names, registered trademarks and company names in

◎

this document are the property of their respective companies.

Note: All trademarks and registered trademarks in this document are for

identication purposes only and are not intended to infringe on the

copyrights of their respective owners.

Recording from copyrighted sources, including CDs, records, tapes, live

performances, video works and broadcasts, without permission of the copyright holder for any purpose other than personal use is prohibited by law. Zoom Corporation will not assume any responsibility related to infringements of copyrights.

Page 3

Introduction

Thank you very much for purchasing a ZOOM The

●

provides the following features in a compact form.

Record the quietest and loudest sounds at high quality with

multitrack eld recorder.

32-bit oat WAV format

The high-quality analog input circuits can handle signals ranging from the most delicate to a professional maximum level of +24 dBu.

In addition to 16/24-bit WAV recording, 32-bit oat WAV recording, which

does not require input level adjustment, is also supported. With 32-bit float WAV format, the recording resolution can be retained even when changing levels greatly after recording.

Simultaneously record 6 channels and 14 tracks

●

Up to 14 tracks can be recorded simultaneously, including 16/24-bit WAV and 32-bit float WAV for Inputs 1–6 along with left and right tracks of a stereo mix.

Support for three types of batteries

●

A USB mobile battery, L battery or AA batteries can be used for power.

Two remote control options

●

Wireless control is possible by installing a ZOOM wireless adapter (e.g. BTA-1) and using the F6 Control iOS app. Moreover by connecting an F6 Control, which is a mixer-style controller designed especially for F Series recorders, with a USB cable, 60mm track faders, LED level meters and various transport buttons can be used for intuitive sound control. Combined with the F6 Control iOS app, iPhones and iPads can also be used as large meters with excellent visibility.

Support for SMPTE timecode input and output along with

●

wireless timecode input

The generate accurate timecode with a discrepancy of less than 0.5 frames

uses a high-precision oscillator that enables it to independently

per 24 hours. If a BTA-1 dedicated wireless adapter is installed, wireless timecode can be received from a Timecode Systems UltraSync BLUE and written to re-

corded les.

Headphone jack with 100mW+100mW maximum output

●

Clear headphone monitoring is possible using the digital boost function while sending audio signals to a video camera or other device from the LINE OUT jack.

Flexible signal routing also makes mixer use possible

●

Pre-fader and post-fader signals from inputs 1–6 can be routed to outputs freely.

Phantom power supply (+24 V or +48 V)

●

This can be set for each input separately.

USB audio interface use with up to 6 ins and 4 outs possible

●

Use as a 2-in/2-out or 6-in/4-out audio interface (driver required for Windows).

Output multitrack audio by USB while recording

●

While recording to the installed SD card, multitrack audio can be sent to and from a computer by USB with up to 8 inputs (6 inputs + L/R stereo mix) and 4 outputs. This enables simultaneous backup recording and Internet live streaming.

360º audio

●

Ambisonic mode enables 360º spatial audio recording using VR mics. Decoding from Ambisonic format A to format B is supported along with gain and setting link functions.

Page 4

Notes about this Operation Manual ......................................................................... 02

Introduction .................................................................................................................... 03

Contents .........................................................................................................................04

Names of parts ............................................................................................................. 06

Connecting mics/other devices to Inputs 1–6 .....................................................08

Equipment connection examples .......................................................................................09

Display overview ........................................................................................................... 10

Preparations ..................................................................................................................13

Supplying power ..................................................................................................................... 13

Loading SD cards ................................................................................................................... 15

Turning the power on and off ..............................................................................................16

Setting the language .............................................................................................................. 17

Setting the date and time ..................................................................................................... 18

Setting the power supply used ............................................................................................ 20

Recording .......................................................................................................................22

Recording process ................................................................................................................. 22

Setting the recording le format .........................................................................................23

Selecting inputs and adjusting levels ................................................................................. 24

Recording .................................................................................................................................26

Setting the sampling rate......................................................................................................27

Setting the recording mode (bit depth) .............................................................................. 29

Setting MP3 le bit rate (MP3) ............................................................................................31

Setting the LR Track ............................................................................................................... 33

Capturing audio before recording starts ........................................................................... 35

Setting the recording time display ...................................................................................... 36

Setting the playback time display ....................................................................................... 38

Folder and le structure ........................................................................................................ 40

Move the previously recorded take to the FALSE TAKE folder. .....................................42

Recorded take settings ............................................................................................... 43

Changing the note for the next take recorded .................................................................. 43

Setting and managing recorded scene names ................................................................ 45

Changing the track name of the next take recorded (Track Name) ............................. 48

Changing the number of the next take recorded ............................................................. 50

Playback .........................................................................................................................51

Playing recordings ..................................................................................................................51

Mixing takes ............................................................................................................................ 52

Monitoring the playback signals of specic tracks during playback ...........................54

Changing the repeat playback setting ................................................................................56

Take and folder operations ........................................................................................57

Working with takes and folders ........................................................................................... 57

Overview of metadata (take information) stored in les ................................................ 63

Checking and editing take metadata ..................................................................................64

Writing a sound report ........................................................................................................... 73

Input settings .................................................................................................................76

Adjusting the input signal monitoring balance ................................................................. 76

Monitoring the input signals of specied tracks .............................................................. 77

Setting the input source ........................................................................................................ 78

Setting the monitoring volume on the PFL screen .......................................................... 80

Cutting low-frequency noise ................................................................................................ 82

Input limiter ............................................................................................................................. 84

Inverting the input phase ...................................................................................................... 90

Changing the phantom power settings ............................................................................. 92

Applying delay to input signals ............................................................................................ 94

Linking inputs as a stereo pair .............................................................................................96

Adjusting multiple track input levels together ..................................................................98

Changing the automatic mixing setting ............................................................................. 99

Setting the Ambisonic format ............................................................................................101

Setting the mic position used for Ambisonic recording ...............................................104

Output settings ...........................................................................................................106

Setting signals sent to the headphone output ...............................................................106

Outputting alerts through headphones ............................................................................ 109

Setting the headphone output volume curve ..................................................................110

Boosting headphone output to alleviate interference from recorded sound............111

Setting the output level .......................................................................................................113

Applying delay to the output ..............................................................................................115

Output Limiter .......................................................................................................................116

Selecting signals sent to the line outputs ........................................................................120

Page 5

Timecode ...................................................................................................................... 122

Timecode overview ..............................................................................................................122

Setting timecode ..................................................................................................................124

Setting the automatic timecode recording delay ...........................................................133

Setting timecode initialization used at startup ............................................................... 134

Using USB functions ..................................................................................................136

Exchanging data with a computer ....................................................................................136

Using as an audio interface ................................................................................................138

Using SD card recording and audio interface functions at the same time ...............140

Audio interface settings ......................................................................................................142

Using an FRC-8 as a controller ..........................................................................................143

Setting the type of keyboard connected to the FRC-8 ..................................................145

Setting user keys for the FRC-8 .........................................................................................147

Setting the FRC-8 LED brightness .....................................................................................149

Updating the FRC-8 rmware ............................................................................................151

Operating with an iOS device .............................................................................................154

Other settings ..............................................................................................................161

Setting the level meter peak hold time .............................................................................161

Setting the LED brightness .................................................................................................162

Making display settings ......................................................................................................164

Setting how marks are added manually ..........................................................................167

Setting the buttons held ......................................................................................................169

Other functions ...........................................................................................................171

Checking SD card information ...........................................................................................171

Testing SD card performance ............................................................................................172

Formatting SD cards............................................................................................................175

Checking the Backing up and loading

Restoring default setting values ........................................................................................180

Checking the rmware version ..........................................................................................181

Updating the rmware .........................................................................................................182

Shortcut List ......................................................................................... 176

settings ...............................................................................177

Appendix .......................................................................................................................183

Troubleshooting ...................................................................................................................183

Metadata list .........................................................................................................................185

List of shortcuts ...................................................................................................................189

Block diagrams .....................................................................................................................190

Specications........................................................................................................................197

Page 6

Names of parts

■ Front

Status indicator Red: Input enabled Green: Playback track enabled Orange: PFL monitoring Unlit: Input disabled

MENU button Home Screen: Open Menu Screen Menu Screen: Return to previous screen

PFL/ENTER button Home Screen: Open PFL Screen Menu Screen: Confirm menu item

■ Back

Track knob Display

STOP

button

REC

button

FF/↑ button Home Screen: Select playback take Menu Screen: Select menu item

RWD/↓ button Home Screen: Select playback take Menu Screen: Select menu item

PLAY/PAUSE

button

L battery lock button

L battery mount

SD card slot

Page 7

■ Left side

USB port LINE OUT jack Zoom wireless adapter (e.g. BTA-1)

■ Right side

TIMECODE IN/OUT jack

HEADPHONE jack POWER switch

Headphone volume

Inputs 1–3

Inputs 1–6 TIMECODE IN/OUT

XLR

1：GND 2：HOT 3：COLD

TRS

TIP: Input to F6 (output from external device)

RING: Output from F6 (input to external device)

SLEEVE: GND

Inputs 4–6

Battery cover

Page 8

Connecting mics/other devices to Inputs 1–6

The can record 6 individual tracks that correspond to Inputs 1–6 and a stereo mix of these inputs with left and right tracks. Mics and the outputs of instruments and audiovisual equipment, for example, can be connected to Inputs 1–6 and recorded to tracks 1–6.

Connecting mics

Connect dynamic and condenser mics with XLR plugs to Inputs 1–6. Phantom power (+24 V/+48 V) can be supplied to condenser mics. ( →P.78)

Connecting line level equipment

Connect XLR cables from keyboards and mixers directly to Inputs 1–6. Direct input of passive guitars and basses is not supported. Connect these instruments through a mixer or effects device.

Dynamic mic

(XLR cable)

NOTE

When disconnecting an XLR cable, pull the XLR plug while pushing the connector lock release button.

Condenser mic

(XLR cable)

Keyboard

(XLR cable)

Mixer

(XLR cable)

Page 9

Equipment connection examples

Recording is possible in a variety of situations like these.

While lming

• Input 1: gun mic for main subject sound

• Inputs 2–4: lapel mics for performers

• Inputs 5–6: mics for ambient sound

Gun mic

Pin mics

Ambient

mics

Concert recording

• Inputs 1–2: line inputs for outputs from mixer

• Inputs 3–4: mics for stage performance

• Inputs 5–6: ambient mics for audience sound

Mics

(Stage performance)

PA mixer

Ambient mics

(Audience voices)

Page 10

Display overview

■ Home Screen

Status icons

Stopped

Paused

Counter During recording: Elapsed/remaining recording time During playback: Elapsed/remaining playback time

Recording

Recording/playback

sample rate

Clip indicator

Level meter

Track number Red: Input enabled Green: Playback track enabled Gray: Input disabled

Input link settings are shown by connected adjacent track numbers.

Mono

Playing back

Power type and remaining amount USB: Power supply connected to port EXT: L battery AA: AA batteries

Recording/playback take name When stopped, press and hold to show the name that will be given to the next recorded take.

Recording/playback timecode

Frame rate INT: Internal timecode enabled EXT: External timecode input enabled

Stereo

Ambisonic

HINT

•

When the Home Screen is not open, press and hold

• Some of the screen will appear differently when the recording mode is Float (32 bit).

•

to return to the Home Screen.

Page 11

■ Character input screen

Text box

Keyboard

Operation

indicator

Press

input button

Automatic

Press

abc

Press

#+=

Press

123

Press

NOTE

• The following characters can be used in project names.

•

• (space) ! # $ ' ( ) + , - 0 1 2 3 4 5 6 7 8 9 ; = @ A B C D E F G H I J K L M N O P Q

•

R S T U V W X Y Z [ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { }

Page 12

■ Editing operations

Move cursor in text box Select characters (vertical) Select characters (horizontal)

Conrm

characters

Delete characters

Use “ ←” and “ →” to move and press

Press

Move the cursor to the character to input, and

press Move cursor before the character to delete in the

text box, and press

Complete editing

Cancel editing

Move cursor to "OK" and press

Press

■ Automatic input keys

(Date): This automatically inputs the date. Example: 190210 (Time): This automatically inputs the time. Example: 180950 (Scene): This automatically inputs the current scene name.

Page 13

Preparations

Supplying power

Power can be supplied three ways using AA batteries, an L battery or USB.

■ Using AA batteries

1. Loosen the screw in the battery cover on the bottom.

2. Open the battery compartment cover on the bottom,

remove the battery case, and insert 4 AA batteries.

3. Put the case into the compartment.

4. Close the battery cover and tighten the screw.

■ Using an L battery

1. Slide the battery in the direction of the arrow while

pressing it toward the recorder.

NOTE

• Be careful because the battery case could become loose unexpectedly if

•

the battery compartment cover screw is not tightened rmly.

• Use only one type of batteries (alkaline, NiMH or lithium) at a time.

•

• After loading AA batteries, set "Power Source" to the correct type of bat-

•

tery. ( →P.20)

• If the remaining battery power indicator becomes red, turn the power off

•

immediately and install new batteries.

Page 14

■ Using a USB Type-C cable

1. Connect the cable of the dedicated ZOOM AD-17 AC

adapter to the USB port.

2. Plug the dedicated AC adapter into an outlet.

NOTE

• A 5V mobile battery (commercially-available) can also be connected.

•

• When connected to a computer, power can be supplied by USB.

•

Page 15

Loading SD cards

1. Open the SD card slot cover, and insert an SD card.

2. To remove the card: push it further into the slot and

then pull it out.

NOTE

Before using SD cards that have just been purchased or that have been formatted on a computer, they must be formatted. To format an SD card, use Menu > SYSTEM > SD Card > Format.

Page 16

Turning the power on and off

■ Turning the power on

1. Press and hold briey.

The ZOOM logo appears and the power turns on.

NOTE

• The rst time the power is turned on after purchase, the date/time must

•

be set ( →P.18). This setting can also be changed later.

• If “No Card!” appears on the display, conrm that an SD card is inserted

•

properly.

■ Turning the power off

1. Press and hold briey.

NOTE

Keep pressing it until the ZOOM logo appears on the LCD.

• If “Card Protected!” appears on the display, the SD card write-protection is

•

enabled. Slide the lock switch on the SD card to disable write-protection.

• If “Invalid Card!” appears on the display, the card is not formatted cor-

•

rectly. Format the card or use a different card. Formatting SD cards ( →P.175)

Page 17

Setting the language

The menu display language can be changed.

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Language, and press

4. Use and to select the

desired language, and press

NOTE

The rst time the power is turned on after purchase, the language must be

set.

Page 18

Setting the date and time

The date and time set on the are used when recording les, for example. The date format (order of year, month and day) can also be set.

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

4. Use and to select

Date/Time, and press

▶ Continue to one of the following procedures.

Setting the date and time ……………………………………………………… P.19 Setting the date format ………………………………………………………… P.19

NOTE

The rst time the power is turned on after purchase, the date/time must be

set.

Page 19

■ Setting the date and time

8. When done setting, use

5. Use and to select Set

Date/Time, and press

6. Set the date and time

Move cursor or change value:

Use

Change item value:

Use the item, and press

and

and to select

Enter, and press

This completes setting the date and time.

■ Setting the date format

5. Use and to select

Date Format, and press

7. The item selected to be

changed appears red.

Use

it, and press

and to change

6. Use and to select

the format, and press

Setting Explanation mm/dd/yy Month, day, year order dd/mm/yy Day, month, year order yy/mm/dd Year, month, day order

Page 20

Setting the power supply used

When using AA batteries, set the battery type so that the amount of remaining power can be shown accurately. The voltage of each power supply and the remaining battery charge can be checked on this menu page.

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

4. Use and to select

Power Source, and press

Page 21

■ Setting the installed AA battery type

5. Use and to select

Type, and press

6. Use and to select

the type, and press

NOTE

• When multiple power supplies are connected, they will be used in the fol-

•

lowing order of priority.

1. USB (Power supply connected to USB port)

2. EXT (L battery)

3. AA (Installed AA batteries)

• The voltages of each power supply are shown on the display.

•

Page 22

Recording

Recording process

Recording with the follows the process shown below. The data created for each recording occurrence is called a "take".

Connecting

Connect mics, instruments, audiovisual devices, and other equipment to Inputs 1–6. ( →P.8)

1. Set the recording mode (bit depth) ( →P.29).

• Select one of the recording modes: 16/24-bit WAV, 32-bit Float WAV, simultaneous 16/24-bit WAV and 32-bit WAV, or MP3.

Turning the

power on

( →P.16)

2. Set the recording le

• Set the recording le format

( →P.23).

• Set the sampling rate ( →P.27).

Preparing to

record

・ Press to start

recording and stop.

・ Marks (for cueing) can

also be set.

・ Press

recording the next take.

・ Press to pause.

3. Select tracks to record ( →P.48).

• Turn the left until it clicks to disable the input. Input is

enabled at all other positions.

• This can be set to a stereo track ( →P.96).

to start

Recording

( →P.26)

・ Press to start playback

and

・ Marks (for cueing), for exam-

ple, can also be set.

or to stop.

4. Make various input and recording settings

• Settings, including metadata ( →P.64), pre-re- cording ( →P.35), low-cut

lter ( →P.82) and limiter ( →P.84) can be made.

Playing and

checking

( →P.51)

Checking take

information

( →P.64)

・ Check and edit

metadata.

5. Adjust input levels ( →P.25).

• Setting input levels is necessary in some operation modes.

Page 23

Setting the recording le format

1. Press .

2. Use and to select

REC, and press

3. Use and to select

File Format, and press

Setting

Poly

Mono/Stereo

NOTE

• When recording Mono/Stereo, audio les are saved in a folder that is cre-

•

ated. ( →P.40)

• This cannot be set when the mode is set to MP3.

•

Tracks

recorded

Selected tracks 1-6

Explanation

A single poly le will be created that contains

audio for multiple tracks.

A single mono le is created for each mono track and a single stereo le is created for

each stereo track.

4. Use and to select the

le format, and press

Page 24

Selecting inputs and adjusting levels

Select which among Inputs 1–6 to use. Inputs will be recorded on tracks with the same numbers. For example, Input 1 will be recorded on track 1 and Input 2 will be recorded on track 2.

Selecting inputs

1. Turn right for the number of an input to record,

making the track status indicator light.

HINT

Turn left until it clicks to disable the input. Input is enabled at all other positions.

NOTE

• The signals from the inputs selected this way will also be sent to the L/R

•

tracks.

•

The levels sent to the L/R tracks are adjusted with

Track indicator

Lit red Red The input is enabled. Unlit Gray The input is disabled.

Track number

background color

Explanation

Page 25

■ Adjusting input levels

5. Use and to select

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

Trim, and press

6. Use and to adjust the

input level, and press

4. Use and to select the

desired track, and press

HINT

• This can be set in a range from +12 to +75 dB when the input source is

•

set to Mic, from –8 to +55 dB when set to Line, and from –35 to +30 dB when set to USB.

• If the sound distorts even after lowering the input level, try changing mic

•

positions and adjusting the output levels of connected devices.

• Using the limiter ( →P.84)

•

• Using the high pass lter ( →P.82)

•

Page 26

Recording

3. Press to pause.

NOTE

• Pausing occurs at whole second increments.

•

• When recording is paused, a mark is added at that point.

•

1. Press .

This starts recording.

HINT

If the timecode function is enabled, recording will start from frame 00 (00 or 02 when using drop frame) and the le length will always be a full second value. This makes synchronization easy when editing later.

2. Press to start a new take when recording.

This will end the current take and start a new take while con-

tinuing to record without interruption.

Press

• A maximum of 99 marks can be added to a take.

•

HINT

•

During playback, have been added.

• Marks can be added without pausing. ( →P.167)

•

to resume recording.

and can be pressed to jump to places where marks

4. Press to stop.

NOTE

If the file size exceeds 2GB during recording, a new take will be created automatically and recording will continue without interruption. No gap in sound will occur between the two takes when this happens.

HINT

•

Press and hold the next take recorded.

when the Home Screen is open to check the name of

NOTE

Pressing during recording is only possible after recording for at least a second.

• Files are automatically saved at regular intervals during recording. If

•

the power is interrupted or another problem occurs during recording, an

affected le can be restored to normal by playing it with the

Page 27

Setting the sampling rate

The sampling rate used to record les can be set.

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Sample Rate, and press

4. Use and to select the

sampling rate, and press

Setting Explanation

44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 192 kHz

47.952 kHz

48.048 kHz

47.952 kHz(F), 48.048 kHz(F)

These are standard sampling rates.

Select this when recording video at 23.976 frames per second in order to edit later at 24 frames per second. Select this when recording video at 24 frames per second in order to edit later at NTSC 29.97 or 23.98 HD. These function the same as the two above, but the sampling rate metadata will be recorded as 48 kHz for <FILE_SAMPLE_RATE>. This enables playback and editing with devices and software that do not support 47.952 kHz and 48.048

kHz WAV les. Playback, however, will occur at the ±0.1% speed at which the le was recorded.

Page 28

NOTE

• 192 kHz cannot be selected when the recording mode is Float (32bit) and

•

the LR track is on.

• When 192 kHz is selected, Dual (16+32bit) and Dual (24+32bit) cannot be

•

set.

• When the recording mode is MP3, only 44.1 kHz and 48 kHz can be

•

selected.

• When 192 kHz is selected, L/R tracks will not be recorded. Input and out-

•

put delay are also disabled.

• The Limiter cannot be set to On (Advanced) if Auto Mix is On or the Ambi-

•

sonic format is not set to Off.

• AIF with Rec cannot be used when values other than 44.1 kHz or 48 kHz

•

are selected.

Page 29

Setting the recording mode (bit depth)

Set the recording mode. The bit depth of WAV les recorded by the will change according to the mode setting.

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Mode, and press

4. Use and to select

the mode, and press

HINT

The setting options are Linear (16bit), Linear (24bit), Float (32bit), Dual (16+32bit), Dual (24+32bit) and MP3.

Page 30

Mode setting Mode name Explanation

Linear (16bit)

Linear

Linear (24bit)

Float (32bit) Float

Dual (16 + 32bit)

Dual

Dual (24 + 32bit)

These modes record ordinary 16/24-

bit WAV les.

Adjust input (trim) levels so that the clip indicators do not light when recording. The level meters show input levels after adjustments.

This mode records 32-bit oat WAV les. Adjusting input levels is unneces-

sary. As long as maximum input levels are not exceeded, both quiet and loud sounds can be recorded with high quality. The level meters show levels after

adjustments by

These modes simultaneously record

ordinary 16/24-bit WAV les and 32-bit oat WAV les.

Adjust input (trim) levels so that the clip indicators do not light when recording. Even if clipping occurs in 16/24bit

WAV le data during recording, data

at a suitable level without clipping can be obtained by editing the 32bit Float

WAV les during post-production.

knobs.

MP3 MP3

This mode records MP3 les.

Trim setting is necessary in this mode.

Page 31

Setting MP3 le bit rate (MP3)

The bit rate used for recording MP3 les can be set.

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Mode, and press

4. Use and to select

MP3, and press

5. Press to return to

the REC screen.

6. Conrm that the Mode is set to

MP3. Then, use

select Bit Rate, and press

and to

Page 32

7. Use and to select

the bit rate, and press

HINT

This can be set to 128 kbps, 192 kbps or 320 kbps.

Page 33

Setting the LR Track

■ Enabling the LR track

1. Press .

2. Use and to select

REC, and press

3. Use and to select

LR Track, and press

4. Use and to select

On/Off, and press

5. Use and to select

On, and press

• NOTE

•

• Off: This disables the LR Track.

•

• On: This enables the LR Track. All selected tracks and the LR Track will be

•

recorded.

• On (LR only): This enables the LR Track. Only the LR Track will be

•

recorded.

• On cannot be selected if the simple rate is 192 kHz or the recording mode

•

is Float (32bit).

Page 34

■ Adjusting the L/R track volume

1. Press .

2. Use and to select

5. Use and to select

LR Fader, and press

REC, and press

3. Use and to select

LR Track, and press

4. Use and to select

6. Use and to change

the LR fader value, adjust-

ing the LR track volume.

NOTE

Pressing + when the Home Screen is open will also open the LR/ Line Out setting screen.

LR Fader, and press

Page 35

Capturing audio before recording starts

The input signal is always buffered for a set amount of time, so it can be captured for up to 6 seconds before is pushed (pre-recording). This is useful when is pressed late, for example.

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Pre Rec, and press

4. Use and to select

WAV

MP3

On, and press

Sample Rate Maximum pre-recording time

44.1 kHz 6 seconds 48 kHz 6 seconds

88.2 kHz 3 seconds 96 kHz 3 seconds 192 kHz 1 second

47.952 kHz 6 seconds

47.952 (F) kHz 6 seconds

48.048 kHz 6 seconds

48.048 (F) kHz 6 seconds

44.1 kHz 6 seconds 48 kHz 6 seconds

NOTE

Pre-recording will be disabled if MENU > TIMECODE > Mode ( →P.124) is set to Int Record Run, Ext or Ext Auto Rec.

Page 36

Setting the recording time display

During recording, either the elapsed recording time or the remaining possible recording time can be shown.

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

4. Use and to select

Display, and press

5. Use and to select

Time Display, and press

Page 37

6. Use and to select

Recording, and press

NOTE

When recording for a long time, if the le size

exceeds 2 GB, recording will continue in a new

le and the recording time will reset. This can

be changed, however, so that it is not reset and the total recording time is shown. Set Rec Time Reset on the Time Display screen to On/Off to set whether or not recording time

resets when a new le is created.

7. Use and to select the

time to show, and press

Off: When recording, even if the file size reaches 2GB, the counter shown on the Home Screen will not reset.

On (reset): When recording, if the file size reaches 2GB, the counter shown on the Home Screen will be reset to 000:00:00.

Page 38

Setting the playback time display

During playback, either the elapsed playback time or the remaining playback time can be shown.

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

4. Use and to select

Display, and press

5. Use and to select

Time Display, and press

6. Use and to select

Playing, and press

Page 39

7. Use and to select the

time to show, and press

Page 40

Folder and le structure

When recording with the , folders and les are created on the SD card in the following manner.

folders and les are used to manage scenes and takes as a rule.

Folder and le structure

The folder and le structure differs according to the recording le format. In addition, the names of folders and les depend on how scenes

are named.

Root

Recording order

190101_001.WAV

Scene 190101

(1st take)

WAV format

polyphonic file

→

190101_002.MP3

Scene 190101

(2nd take)

MP3 format

stereo file

190101_003.TAKE

190101_003_Tr1.WAV

190101_003_Tr2.WAV

190101_003_Tr3.WAV

Scene 1 (Folder created by user)

Scene001

Scene001_001.WAV Scene001_002.MP3

Scene001

(1st take)

WAV format

polyphonic file

Scene001

(2nd take)

MP3 format

stereo file

NOTE

• Setting the recording le format ( →P.23)

•

• Setting how scenes are named (mode) ( →P.45)

•

HINT

Take: This is a unit of data created for a single recording. Scene: This is a unit containing multiple files and takes that comprise a single scene.

Scene 2 (Folder created by user)

Scene002

Scene001_003.TAKE

Scene001_003_Tr1.WAV

Scene001_003_Tr2.WAV

Scene002_001.WAV Scene002_002.MP3

Scene002

(1st take)

WAV format

polyphonic file

Scene002

(2nd take)

MP3 format

stereo file

Scene002_003.TAKE

Scene002_003_Tr1.WAV

Scene002_003_Tr2.WAV

190101_003_Tr4.WAV

190101_003_Tr5_6.WAV

190101_003_TL_R.WAV

Scene 190101 (3rd take)

WAV format

Mono files (tracks 1–4)

Stereo file (tracks 5, 6) Stereo file (tracks L, R)

Recording when scene naming is set to “Date”

Scene001_003_Tr3.WAV

Scene001_003_Tr4.WAV

Scene001_003_Tr5_6.WAV

Scene001_003_TL_R.WAV

Scene001 (3rd take)

WAV format

Mono files (tracks 1–4)

Stereo file (tracks 5, 6) Stereo file (tracks L, R)

Recording when scene naming is set to “Current Folder”

Scene002_003_Tr3.WAV

Scene002_003_Tr4.WAV

Scene002_003_Tr5_6.WAV

Scene002_003_TL_R.WAV

Scene00 (3rd take)

WAV format

Mono files (tracks 1–4)

Stereo file (tracks 5, 6) Stereo file (tracks L, R)

Page 41

■ Take names

■ Audio le names

Scene001-001

Structure Explanation

Scene name: Select none, the folder name, the date or a name input by the

Take number

(001–999)

Scene number

(1-9999)

Scene Name

user ( →P.45). Scene number: Press

increase the number by one. Take number: This number increases by 1 with each recording made with the same scene name and scene number.

+ to

File names given by the differ according to polyphonic, mono and stereo file formats. Track numbers and other data are added to file names.

File names

File names are given according in the following formats.

Type Structure Explanation

This is a le created by

polyphonic recording. Audio for multiple tracks is recorded to a single

le.

This is a le created by

monophonic recording.

This is a le created by

stereophonic recording.

This is a 32bit Float

WAV le created when

in Dual recording mode.

This is a le created

automatically when the

le size exceeded 2 GB

during recording. The long recording le number increases one each

time the le changes.

Poly le

Mono le

Stereo le

Float le

in Dual mode

Long recording

le

Scene001-001.wav

Take name

Scene001-001_Tr1.wav

Track number

Take name

Scene001-001_Tr1_2.wav

Track number

Take name

Scene001_001_32FP.wav

Float le characters

Scene001_001_0002.wav

Long recording le number

HINT

When recording with a Mono/Stereo setting, the audio les are saved in a

take folder that is created.

Page 42

Move the previously recorded take to the FALSE TAKE folder.

If the just recorded take was a failure, a shortcut can be used to move the recording to the FALSE TAKE folder.

1. Open the Home Screen.

2. While pressing , press .

HINT

• Moving a take to the FALSE TAKE folder reduces the take number by one.

•

• Even during recording, the previously recorded take can be moved to the

•

FALSE TAKE folder.

3. Use and to select

Execute, and press

Page 43

Recorded take settings

Changing the note for the next take recorded

Characters can be input, for example, as a note to use as metadata in les.

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Metadata, and press

■ Editing notes

4. Use and to select

Note, and press

5. Use and to select

Edit, and press

▶ Continue to one of the following procedures.

Editing notes …………………………………………………………………………… P.43 Selecting notes from the history list …………………………………… P.44

Page 44

6. Edit the note.

■ Selecting notes from the history list

See "Character input screen" ( →P.11) for how to input characters.

NOTE

This note is written to the <NOTE> metadata.

5. Use and to select

History, and press

6. Use and to select

the desired history

item, and press

NOTE

The history list will be erased if the Factory Reset function is used.

Page 45

Setting and managing recorded scene names

The way scenes are named (name mode) can be set.

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Metadata, and press

Setting how scenes are named (mode)

4. Use and to select

Scene Name, and press

5. Use and to select

Mode, and press

▶ Continue to one of the following procedures.

Setting how scenes are named (mode) ……………………………… P.45 Changing scene names ………………………………………………………… P.46 Selecting a scene name from the history list …………………… P.47

Page 46

Setting Explanation

The name of the currently selected folder is used as the scene name.

Current Folder

advancing the scene number by 1, the corresponding folder will be used as the recording destination. If that folder does not already exist, it will be created. Example: FOLDER001-001.wav

The date is used as the scene name.

can be used to advance the scene number by 1. After

■ Changing scene names

If Scene Name Mode is set to User Name, set the scene name used like this.

4. Use and to select

User Name, and press

Date

User Name

cannot be used to advance the scene number by 1.

Example: 20190101-001.wav

A scene name input by the user is used.

can be used to advance the scene number by 1.

Example: MYSCENE001-001.wav

5. Use and to select

Edit, and press

6. Edit the scene name.

See "Character input screen" ( →P.11) for how to input

characters.

Page 47

NOTE

• The scene name is written to the <SCENE> metadata.

•

• Spaces and @ marks cannot be input at name beginnings.

•

■ Selecting a scene name from the history list

4. Use and to select

6. Use and to select

the desired history

item, and press

User Name, and press

5. Use and to select

History, and press

NOTE

The history list will be erased if the Factory Reset function is used.

Page 48

Changing the track name of the next take recorded (Track Name)

The track name set with the following procedure will be given to the next recorded track.

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Metadata, and press

4. Use and to select

Track Name, and press

5. Use and to select

a track, and press

▶ Continue to one of the following procedures.

Editing the track name …………………………………………………………… P.49 Selecting a track name from the history list ………………………P.49

Page 49

■ Editing the track name.

■ Selecting a track name from the history list

6. Use and to select

Edit, and press

7. Edit the track name.

See "Character input screen" ( →P.11) for how to input characters.

6. Use and to select

History, and press

7. Use and to select

the desired history

item, and press

NOTE

The track name is written to the <TRACK> <NAME> metadata.

NOTE

The history list will be erased if the Factory Reset function is used.

Page 50

Changing the number of the next take recorded

The number given to the next recorded take can be changed when the Home Screen is open.

1. While pressing , press .

2. Use or to increase

or decrease the take num-

ber, and press

NOTE

This function cannot be used during recording and playback or when the Scene Name Mode is set to Date. How scenes are named can be changed with the following menu item. MENU > Metadata > Scene Name > Mode

Page 51

Playback

Playing recordings

HINT

•

The longer / is pressed and held, the faster the speed of searching backward/forward.

• An "Invalid Take!" message will appear if the selected take is not valid.

•

• A "No Take!" message will appear if no playable take exists.

•

1. Press .

■ Playback operations

Select take/Jump to mark: Press /

Search backward/forward: Press and hold /

Pause/resume playback: Press

NOTE

Track backgrounds will appear black.

•

During playback, press (→P.167)

to add marks that can be used for skipping.

2. Press to return to the Home Screen.

Page 52

Mixing takes

The volume and panning of each track during playback can be changed.

■ Setting faders

1. Touch on the Home

Screen ( →P.10).

2. Turn to adjust the

input signal level.

■ Setting the panning

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

NOTE

Turn left until it clicks to mute the input.

Page 53

5. Use and to select the

desired track, and press

6. Use and to select

Pan, and press

Parameter Setting range Explanation

Fader (in Float mode) Fader (in Linear mode)

Pan L100 – Center – R100

NOTE

• Settings are saved separately for each take and are used during playback.

•

• Mix settings are not saved with the take when the recorded le format is

•

MP3.

Mute, −48.0 – +24.0 dB

Adjusts the input signal level.

Mute, −60.0 – +60.0 dB

Adjusts the stereo balance of the sound.

7. Adjust the panning.

Page 54

Monitoring the playback signals of specic tracks during playback

The playback signals of specic tracks can be monitored using SOLO mode.

1. Open the Home Screen.

2. Press to start playback.

4. Use and to select

INPUT, and press

NOTE

SOLO mode can only be used with tracks that can be played back (indicators lit green).

5. Use and to select

PFL, and press

3. Press during playback.

Page 55

6. Use and to select the

track to monitor, and press

Page 56

Changing the repeat playback setting

The repeat setting used during playback can be changed.

1. Press .

2. Use and to select

PLAY, and press

3. Use and to select

Repeat, and press

4. Use and to select the

repeat mode, and press

Setting Explanation

Play One (single playback) Play All (all playback) Repeat One (single repeat playback) Repeat All (all repeat playback)

Only the selected take will be played.

Takes will be played back continuously from the selected one until the last one.

The selected take will be played repeatedly.

All takes in the selected folder will be played repeatedly.

Page 57

Take and folder operations

Working with takes and folders

The Finder allows the viewing of the contents of SD cards, takes and folders and the creation of project/scene folders. It also allows the setting and deletion of recording/playback folders along with viewing their information, for example.

1. Press .

■ Editing operations

Cursor: Press /

2. Use and to select

FINDER, and press

3. Use and to select the

SD card, and press

Move down a level (next): Press

Move up a level (previous): Press

Show Option screen: Press and hold

NOTE

•

When the cursor is on a take, pressing

, and can also be used.

• A check mark appears on the playback take and recording/playback

•

folder.

▶ Continue to one of the following procedures.

Creating folders ……………………………………………………………………… P.58 Selecting the take recording/playback folder ……………………P.58 Checking take marks and using them for playback …………P.59 Changing folder and take names ………………………………………… P.59 Deleting folders and takes …………………………………………………… P.60 Emptying the TRASH/FALSE TAKE folders …………………………P.61

will play the selected take.

Page 58

■ Creating folders

■ Selecting the take recording/playback folder

Folders can be created inside the currently selected SD card/folder.

5. Use and to select

New Folder, and press

6. Edit the folder name.

See "Character input screen" ( →P.11) for how to input characters.

Use this procedure to select the folder that contains the take to be played back or the folder to use for recording takes and return to the Home Screen.

5. Press and hold to open the Option screen.

6. Use and to select

Select, and press

NOTE

•

Select a folder or take before pressing and holding screen.

to open the Option

NOTE

• The folder created will be set as the recording folder.

•

• The name of the folder created is written to the <PROJECT> or <SCENE>

•

metadata of the recorded take.

• Spaces and @ marks cannot be input at name beginnings.

•

• The rst take inside the selected SD card or folder will be set as the play-

•

back take.

Page 59

■ Checking take marks and using them for playback

■ Changing folder and take names

A list of the marks in a recorded take can be shown.

5. Press and hold to open the Option screen.

6. Use and to select

Mark List, and press

7. Use and to select a mark, and press .

The Home Screen will reopen, and playback will start from the mark.

5. Press and hold to open the Option screen.

6. Use and to select

Rename, and press

7. Edit the folder/take name.

See "Character input screen" ( →P.11) for how to input characters.

Added mark

Mark added when skipping occurred

during recording and

its time

NOTE

• The edited name of the folder/take is written to the <PROJECT> or

•

<SCENE> metadata.

• Spaces and @ marks cannot be input at name beginnings.

•

Page 60

■ Deleting folders and takes

9. Use and to select

5. Press and hold to open the Option screen.

6. Use and to select

Delete, and press

7. Use and to select

the folder/take to delete,

and press

Press to cancel deletion.

Execute, and press

NOTE

• Deleted folders and takes are not immediately erased from the SD card.

•

They are moved to the TRASH folder.

• Deleting folders and takes in the TRASH folder will completely erase their

•

data.

NOTE

Press to select/deselect all the folders and takes that are currently shown.

8. Press and hold .

Page 61

■ Checking folder and take information

■ Take selected

4. Press and hold to open the Option screen.

5. Use and to select

Info, and press

■ SD card selected

Free: Open space Size: Card capacity Remain: Remaining recording time

TC: Timecode FPS: Timecode frame rate Len: Take recording length Fmt: Take sample format Date: Date Time: Time Size: Take size

■ Folder selected

Date: Date Time: Time

Page 62

■ Emptying the TRASH/FALSE TAKE folders

7. Use and to select

5. Use and to select

TRASH or FALSE TAKE.

TRASH folder

FALSE TAKE folder

Empty, and press

8. Use and to select

Execute, and press

NOTE

• Emptying the TRASH folder will completely erase the data in it.

•

6. Press and hold .

• Emptying the FALSE TAKE folder does not immediately erase its data

•

from the SD card. The data is moved to the TRASH folder.

Page 63

Overview of metadata (take information) stored in les

The writes a variety of information (metadata) to les during recording.

When these les are read by an application that supports metadata, the

saved information can be checked and used.

HINT

••Metadata is data that contains information related to other data. The

saves scene names and take numbers, for example, as metadata in audio

les.

• A chunk is a unit that contains multiple data in a single block.

•

• To use BEXT and iXML chunk metadata, an application that supports

•

both data formats is necessary.

■ WAV le metadata

The metadata saved in les recorded by the in WAV format is collected in BEXT (Broadcast Audio Extension) and iXML chunks. For details about the metadata saved in these chunks, see "Metadata contained in BEXT chunks in WAV files" ( →P.185), "Metadata con-

tained in iXML chunks in WAV les" ( →P.186).

■ MP3 le metadata

The metadata saved in les recorded by the in MP3 format is written as ID3v1 tags. For information about the ID3 fields and formats saved as metadata,

see "Metadata and ID3 elds contained in MP3 les" ( →P.188).

HINT

•

MP3 les conform to the MPEG-1 Layer III standard.

• MP3 metadata cannot be edited.

•

Page 64

Checking and editing take metadata

1. Press .

2. Use and to select

FINDER, and press

3. Use and to select an

SD card, and press

4. Use and to select

a folder, and press

5. Use and to select

a take, and press

This opens the Option screen. See "Take and folder operations" for how to use the Finder ( →P.57).

6. Use and to select Meta-

data Edit, and press

Page 65

▶ Continue to one of the following procedures.

Checking and editing notes ………………………………………………… P.65 Selecting notes from the history list …………………………………… P.66 Checking and editing scene names …………………………………… P.66 Selecting a scene name from the history list …………………… P.67 Checking and editing take names ……………………………………… P.68 Circling takes …………………………………………………………………………P.69 Changing tape names …………………………………………………………… P.69 Changing project names ……………………………………………………… P.70 Checking and editing track names ………………………………………P.70 Selecting a track name from the history list ………………………P.71

■ Checking and editing notes

7. Use and to select

9. Edit the note.

See "Character input screen" ( →P.11) for how to input characters.

NOTE

The contents of this note is written to the <NOTE> metadata.

Note, and press

8. Use and to select

Edit, and press

Page 66

■ Selecting notes from the history list

■ Checking and editing scene names

7. Use and to select

Note, and press

8. Use and to select

History, and press

7. Use and to select

Scene/Take, and press

8. Use and to select

Scene, and press

9. Use and to select

the desired history

item, and press

NOTE

The history list will be erased if the Factory Reset function is used.

9. Use and to select

Edit, and press

Page 67

10. Edit the scene name.

9. Use and to select

See "Character input screen" ( →P.11) for how to input characters.

NOTE

The scene name is written to the <SCENE> metadata.

■ Selecting a scene name from the history list

7. Use and to select

Scene/Take, and press

History, and press

10. Use and to select

the History item to use,

and press

NOTE

The history list will be erased if the Factory Reset function is used.

8. Use and to select

Scene, and press

Page 68

■ Checking and editing take numbers

■ Editing operations

7. Use and to select

Scene/Take, and press

8. Use and to select

Take, and press

Move cursor or change value: Press /

Select parameter to change: Press

HINT

This can be set from 1 to 999.

NOTE

The take number is written to the <TAKE> metadata.

10. When done changing,

use

Enter, and press

and to select

9. Change the take number.

Page 69

■ Circling takes

■ Changing tape names

An @ mark can be added to the beginning of the name of the best take to make it stand out. This is called a "circled take".

7. Use and to select

Circle, and press

8. Use and to select

Circled, and press

7. Use and to select

Tape Name, and press

8. Edit the folder (tape) name.

See "Character input screen" ( →P.11) for how to input characters.

NOTE

•

To clear a circle, select Not Circled and press

• This circled status is written to the <CIRCLE> metadata.

•

NOTE

• The folder (tape) name is written to the <TAPE> metadata.

•

• The folder (tape) name used immediately after recording is the name of

•

the folder in which the take was recorded.

Page 70

■ Changing project names

■ Checking and editing the track names

7. Use and to select Proj-

ect Name, and press

8. Edit the project name.

See "Character input screen" ( →P.11) for how to input characters.

7. Use and to select

TrackName

, and press

8. Use and to select

a track, and press

NOTE

• The project name is written to the <PROJECT> metadata.

•

• The project name used immediately after recording is the name of the

•

highest level folder (inside the SD card root directory) that contains the folder in which the take was recorded.

9. Use and to select

Edit, and press

Page 71

10. Edit the track name.

■ Selecting a track name from the history list

See "Character input screen" ( →P.11) for how to input characters.

NOTE

The track name is written to the <TRACK> <NAME> metadata.

7. Use and to select

Track Name, and press

8. Use and to select

a track, and press

9. Use and to select

History, and press

Page 72

10. Use and to select the

desired history, and press

NOTE

The history list will be erased if the Factory Reset function is used.

Page 73

Writing a sound report

A sound report includes information about recording times and takes.

Reports can be written as CSV format les (F6_[folder name].CSV).

Comments written in sound reports can also be edited.

1. Press .

2. Use and to select

FINDER, and press

3. Use and to select the

folder or SD card desired

for sound report creation,

and press and hold

4. Use and to select

Sound Report, and press

▶ Continue to one of the following procedures.

Writing sound reports …………………………………………………………… P.74 Editing comments ………………………………………………………………… P.74 Selecting comments from the history list …………………………… P.75

Page 74

■ Writing sound reports

■ Editing comments

5. Use and to select

Create, and press

6. Use and to select

Execute, and press

This writes the sound report inside the selected SD card or folder.

5. Use and to select

Info, and press

6. Use and to select

Edit, and press

NOTE

• Only information about takes in the folder or SD card is written in the

•

sound report.

• Be careful because a sound report file with the same name will be

•

overwritten.

7. Edit the comment.

See "Character input screen" ( →P.11) for how to input characters.

Page 75

■ Selecting comments from the history list

7. Use and to select

5. Use and to select

Info, and press

6. Use and to select

History, and press

the desired history

item, and press

NOTE

The history list will be erased if the Factory Reset function is used.

Page 76

Input settings

Adjusting the input signal monitoring balance

The volume of each track can be adjusted when monitoring input signals.

1. Open the Home Screen

( →P.10).

2. Use to adjust the faders.

HINT

The fader setting range is muted and –48.0 to +24.0 dB.

NOTE

• Mix settings are saved separately for each recorded take and can be

•

changed during playback ( →P.52).

• Mix settings are not saved with the take when the recorded le format is

•

MP3.

Page 77

Monitoring the input signals of specied tracks

The input signals of specied tracks can be monitored.

Even tracks that have not been set to record can be input to the PFL screen and their input sounds monitored. This is convenient when using tracks as return inputs. Carious settings can be made for selected tracks.

1. Press when the Home Screen is open.

The PFL screen for the track that was last opened opens, and the status indicator lights orange. Only the input sound of the track show can be monitored through headphones.

Level meter

(pre-fader input

signal level)

Parameter Explanation

Source This sets the input source. Trim This sets the input level. HPF/Limiter This sets the high pass lter and limiter. Phase/Delay This sets the phase reversal and delay. Pan This sets the panning. Monitor This sets the monitoring volume on the PFL screen.

Parameter name

NOTE

This does not change the signals output from line outputs.

HINT

•

Use

• When the cursor is on the topmost track number, press

•

next track.

and to select parameters and change setting values.

2. Press .

This opens the Home Screen.

to show the

Page 78

Setting the input source

The input source and phantom power on/off status can be set for each track.

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

4. Use and to select

a track, and press

5. Use and to select

Source, and press

6. Use and to select the

input source, and press

Page 79

Setting Explanation

Mic

Mic (PH) Use for mic level with phantom power.

Line

Line (PH) Use this setting for line level with phantom power.

Use when connecting a mic or other equipment with a low input level.

Use when connecting line level equipment. The input level will be reduced 20 dB compared to when Mic is selected.

USB 1–4

When AIF with Rec ( → P.140) is set to On, computer output signals are treated as input signals

HINT

For phantom power voltage, see “Changing the phantom power settings” ( →P.92).

Page 80

Setting the monitoring volume on the PFL screen

On the PFL screen, the monitoring sound can be set to be either pre-fader listening (PFL) or fader solo (SOLO).

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

4. Use and to select

a track, and press

5. Use and to select

Monitor, and press

6. Use and to select

the mode, and press

Page 81

Setting Explanation

PFL On the PFL screen, monitor the pre-fader sound. SOLO On the PFL screen, monitor the post-fader sound.

NOTE

• When the PFL screen is open during playback, the monitoring sound will

•

be post-fader (SOLO) regardless of the setting.

• The pre-fader and post-fader monitoring positions depend on the set

• recording mode. See the block diagrams for details about the positions (→

“Block diagrams” on P.190).

Page 82

Cutting low-frequency noise

The high pass lter can cut low frequencies to reduce the sound of wind, vocal pops and other noise.

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

4. Use and to select

a track, and press

5. Use and to select

HPF/Limiter, and press

6. Use and to select

HPF, and press

Page 83

7. Use and to select

the desired cutoff fre-

quency, and press

HINT

This can be set to Off or between 10 and 240 Hz.

Page 84

Input limiter

The limiter can prevent distortion by reducing input signals that have excessively high levels.

Attack time

Input signal

Signal after limiter

Release time

Time

Level

Threshold

When the limiter is ON, if the input signal level exceeds the set threshold value, the input signal level will be suppressed to prevent the sound from distorting. The amount of time after the input signal exceeds the threshold until

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

compression of the output signal is maximized is called the “attack time”. The amount of time after the input signal goes below the threshold until the limiter stops compressing the signal is called the “release time”. Change these two to adjust the audio quality.

4. Use and to select

a track, and press

Page 85

5. Use and to select

Using the limiter

HPF/Limiter, and press

6. Use and to select

Limiter, and press

▶ Continue to one of the following procedures.

Using the limiter ……………………………………………………………………… P.85 Setting the type ……………………………………………………………………… P.87 Setting the threshold ……………………………………………………………… P.87 Setting the attack time ………………………………………………………… P.88 Setting the release time ………………………………………………………… P.88 Setting the target level …………………………………………………………… P.89

7. Use and to select

On/O󽗈

, and press

8. Use and to select

the setting, and press

Page 86

On (Normal)

Before limiter use After limiter use

Target level

On (Advanced)

Before limiter use After limiter use

Sometimes peaks remain

Threshold

Sudden peaks are prevented by looking ahead for maximum levels

NOTE

When set to On (Advanced), the input latency of the increases 1 ms. When monitoring sounds being recorded with a mic in real-time, increased latency can cause interference between the sound being recorded that is transmitted through the air and the delayed monitored sound, possibly

making accurate monitoring dicult.

NOTE

• When set to On (Advanced), the Sample Rate cannot be set to 192 kHz.

•

• Moreover, when the Sample Rate is set to 192 kHz, the On (Advanced)

•

setting cannot be selected.

Setting Explanation

Off This disables the limiter.

On (Normal) This applies an ordinary limiter. The ratio is 20:1.

On (Advanced)

By detecting the maximum level in advance, this optimized limiter prevents distortion even more than ordinary limiter opera-

tion. The ratio is ∞:1, providing increased internal headroom.

Page 87

■ Setting the type

■ Setting the threshold

7. Use and to select

Type, and press

8. Use and to select

the type, and press

This sets the base level from which the limiter operates.

7. Use and to select

Threshold, and press

8. Use and to adjust

the setting, and press

Setting Explanation

Hard Knee

Soft Knee

NOTE

This setting becomes available when On/Off is set to On (Normal).

Only peaks that exceed the threshold are attenuated. There is no effect below the threshold. The limiter gradually affects the signal about 6 dB below the threshold for a gentler effect.

HINT

This can be set from −16 to −2 dBFS.

NOTE

This setting becomes available when On/Off is set to On (Normal).

Page 88

■ Setting the attack time

■ Setting the release time

This sets the amount of time until compression starts after the input signal exceeds the threshold.

7. Use and to select

Attack Time, and press

8. Use and to adjust

the time, and press

This sets the amount of time until compression stops after the input signal goes below the threshold.

7. Use and to select

Release Time, and press

8. Use and to adjust

the time, and press

HINT

This can be set from 1 to 4 ms.

NOTE

This setting becomes available when On/Off is set to On (Normal).

HINT

Limiter operation is linked for tracks that have stereo link or MS stereo link enabled. If the signal for either linked channel reaches the threshold, the limiter will operate on both tracks.

NOTE

This setting becomes available when On/Off is set to On (Normal).

Page 89

■ Setting the target level

When the limiter On/Off setting is set to On (Advanced), use this to set the target output level for the signal.

7. Use and to select Tar-

get Level, and press

8. Use and to adjust

the setting, and press

HINT

• This can be set from −16 to 0 dBFS.

•

• After a signal passes through the limiter, it will not exceed the set target

•

level value.

NOTE

This setting becomes available when On/Off is set to On (Advanced).

Page 90

Inverting the input phase

The phase of the input signal can be inverted. This is useful when sounds cancel each other out due to mic settings.

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

4. Use and to select

a track, and press

5. Use and to select

Phase/Delay, and press

Page 91

6. Use and to select

Phase Invert, and press

7. Use and to select

On, and press

Page 92

Changing the phantom power settings

The can provide phantom power. The voltage can be set to +24V or +48 V and it can be turned on/off for each input separately.

HINT

Phantom power is a function that supplies power to devices that require an external power supply, including some condenser mics. The standard power is +48 V, but some devices can operate with lower voltages.

NOTE

Do not use this function with devices that are not compatible with phantom power. Doing so could damage the device.

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select Phan-

tom Settings, and press

▶ Continue to one of the following procedures.

Setting the voltage ………………………………………………………………… P.93 Disabling phantom power during playback ………………………… P.93 Using phantom power …………………………………………………………… P.78

Page 93

■ Setting the voltage

■ Disabling phantom power during playback

4. Use and to select

Voltage, and press

5. Use and to select the

voltage, and press

4. Use and to select

Power Saving, and press

5. Use and to select

On (PH off during play-

back), and press

HINT

When using mics and other equipment that can operate with voltages less than +48 V, selecting the lower voltage can reduce the consumption.

power

Setting Explanation

Off Phantom power is supplied even during playback. On (PH off during playback)

HINT

If mics do not need phantom power during playback, disabling it can reduce

NOTE

This setting affects all tracks.

power consumption.

Phantom power is not supplied during playback. This can reduce the

power consumption.

Page 94

Applying delay to input signals

If there are differences in the timing of input sounds, use this function to correct them when recording.

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

4. Use and to select

a track, and press

5. Use and to select

Phase/Delay, and press

6. Use and to select

Delay, and press

Page 95

7. Use and to adjust the

delay time, and press

HINT

This can be set from 0 to 30.0 ms.

NOTE

When Sample Rate is set to 192 kHz, Delay is disabled.

Page 96

Linking inputs as a stereo pair

By enabling the stereo link for tracks 1/2, 3/4 or 5/6, the corresponding Inputs (1/2, 3/4 or 5/6) can be handled as a stereo pair. When linked, Input 1, 3 or 5 will be the left channel and Input 2, 4 or 6 will be the right channel.

■ MS stereo format overview

S-

Phase

Pan

Mid mic

Side mic

Master

This method takes input from a directional mid mic, which captures sound in the center, and a bidirectional side mic, which captures sounds from the left and right, and converts it to stereo. The stereo width can be changed as desired by adjusting the side mic level. Since this method can capture a wide stereo image, it is ideal for recording large open spaces with numerous sound sources, including orchestras, live concerts and soundscapes. This technique is also extremely effective when you want to adjust room ambience. Since it offers a high degree of freedom, it is used not only in studios but also for a wide range of recording, even for rehearsals and live per-

S+

Phase

Pan

Pan L R

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select Link

Settings, and press

formances.

Page 97

4. Use and to select

Input Link, and press

■ Setting stereo links

Stereo

Setting Explanation

Stereo When stereo-linked, inputs are handled normally.

NOTE

• When stereo-linked, odd tracks are handled as left and even tracks as

•

right channels.

• When MS stereo-linked, odd tracks are handled as mid signals and even

•

tracks as side signals.

When stereo-linked, signals from mid-side mics are converted to ordinary stereo.

Use and to select Stereo, and

press

Use and to select MS, and

press

HINT

When MS stereo-linked, the method to balance mid and side is according to the recording mode as follows.

•

Float (32bit): Use

• Not Float (32bit): Use the input level for each track to adjust the mid/side

•

balance. (See “Adjusting input levels →•P.25.)

for each track to adjust the mid/side balance.

Page 98

Adjusting multiple track input levels together

The input levels of multiple tracks can be linked and adjusted at the same time.

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select Link

Settings, and press

4. Use and to select

Trim Link, and press

5. Use and to select a track to link, and press .

Clear all settings

Linked Not linked

NOTE

• A track cannot be in more than one group at a time.

•

• The input levels of tracks set to MS stereo link will also be linked if those

•

tracks are put into groups.

Page 99

Changing the automatic mixing setting

When using multiple mics to capture audio during a meeting, for example, automatically attenuating the inputs of mics that are not in active use pro-

vides the following benets.

· The likelihood of feedback is reduced.

· Background noise, including fans and crowds, is suppressed to a certain level regardless of the number of people.

· Sound quality degradation due to phase differences caused by variations in the distances of multiple mics is reduced.

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

Auto Mix, and press

4. Use and to select

a track, and press

5. Use and to select

On, and press

Page 100

NOTE

• The following functions and settings cannot be used with this function.

•

− The sampling rate cannot be set to 192 kHz.

− The Ambisonic format cannot be set to any value other than Off.

• When monitoring sounds being recorded with a mic in real-time, increased

•

latency can cause interference between the sound being recorded that is transmitted through the air and the delayed monitored sound, possibly

making accurate monitoring dicult.

100